Souya Handa “public void re-anthropocentrism()”

LAG (LIVE ART GALLERY) is pleased to present “public void re-anthropocentrism(),” a solo exhibition by Souya Handa, running from January 26 to February 24, 2024. Hailing from Hiroshima and currently based in Tokyo, Handa, born in 1994, unveils his series of new works, exploring the intricate interplay between technological advancement and humans.
 
With an MFA from Tokyo University of the Arts, Handa has evolved as both artist and independent curator. In 2023, not only he held a solo exhibition supported by Arts Council Tokyo, but also curated the group exhibition “Take it Home, for (__) Shall Not Repeat the Error,” centered on the atomic bomb, coinciding with the G7 Hiroshima Summit, later traveling to Tokyo. This curatorial project won an open call, securing an exhibition at apexart, a New York-based non-profit art space in 2025. In addi-tion to his artistic practices, Handa holds a master’s research degree from the University of Tokyo, focusing on Japanese video art in the 1980s.
 
In a new series presented in this exhibition, Handa employs photos to highlight subjectivity, emphasizing the role of the selector over the generator. Reflecting on this, he states, “The essence of authorship lies not in what generates but in who selects. I must choose a photo for each piece, mirroring common practices with AI-generated content.”
 
In another piece, Handa incorporates the image of the Japanese yen banknote, symbolizing his contemplation on subjectivity. He explores the idea that the value of banknotes is rooted in the trust bestowed upon them, emphasizing the worth within belief systems. Stripped of trust, they are merely printed paper, but belief imparts significance, at least within the perspective of the individual and the artist.
 
This exhibition delves into ways humanity can re-center its behaviors, challenging anthropocentrism through environmental degradation (post-anthropocentrism) and the rapid evolution of AIs (post-humanism). While Handa aligns with environmental activism and embraces technological advancements, he deems both perspectives irresponsible.
 
“Who is the subject? This is the question,” Handa asserts. “Humanity must confront its responsibility to history, driving climate changes, developing technologies, and triggering various events.” He emphasizes our responsibility toward the future, question-ing, “Who strives to halt climate changes? Who employs new technologies? We must not relinquish our subjectivity. We cannot truly be ‘objects.’”
 
Despite his criticism of post-anthropocentrism and post-humanism, Handa rejects old humanocentrism as selfish. Through this exhibition, Handa does not advocate just a return to humanocentrism but self-awareness, emphasizing, “We should reposition ourselves at the center and rediscover belief in our capabilities.”