— Allie Tsubota
Dead Letter Room is comprised of three interdependent parts: 1) a reproduction of a post-atomic archive–the United States Strategic Bombing Survey–created by the U.S. military in Occupied Japan; 2) a fictive, transhistorical correspondence with the late Japanese poet and hibakusha, Hara Tamiki; and 3) a photographic search for (or "survey" of) the material, literary and spectral traces of Hara's life, conducted by the artist in 2022.
Together, the elements of Dead Letter Room engage in a politics of mediation and exchange, flowing across disciplines, languages, nations and temporalities. The project is preoccupied with recovering life disappeared by the state and its archives, and to do so, it looks to the pregnant breaks between language, light and atomic time.
© Allie Tsubota
Exhibition Items
© Allie Tsubota
The United States Strategic Bombing Survey, Pacific Theater, 1945 In October 1945, a team of U.S. Air Force photographers arrived in Occupied Japan to document the efficacy of Allied bombing on Japanese soil, including the magnitude of damage sustained by atomic-bombed Hiroshima and Nagasaki. Over several months, the team of photographers captured over 8,000 photographs, recording what was visible of the wrecked Japanese war economy and the masses of civilians left dead, disfigured, or disappeared. The survey, titled the United States Strategic Bombing Survey (USSBS), was critical to the United States’ postwar intelligence gathering, and it remains one the most extensive visual records of the ruins of nuclear war.
© Allie Tsubota
Letters to/from H Penned between March–December 2022, and is a central to Dead Letter Room. The correspondence is written in English and has been kindly translated into Japanese by YAMADA Kyle and TAMURA Kanoko.
© Allie Tsubota
Contemporary Sites:
Hiroshima & Tokyo, Japan, 2022 A photographic search for (or “survey” of) the material and spectral traces of Hara Tamiki’s life, and an inquiry into post-imperial and postwar erasures in the Japanese landscape. The series of photographs distantly echoes the language of the USSBS, as a visual index of absence-as-presence, disappearance, and the aftermath.
Hiroshima & Tokyo, Japan, 2022 A photographic search for (or “survey” of) the material and spectral traces of Hara Tamiki’s life, and an inquiry into post-imperial and postwar erasures in the Japanese landscape. The series of photographs distantly echoes the language of the USSBS, as a visual index of absence-as-presence, disappearance, and the aftermath.
The United States Strategic Bombing Survey, Pacific Theater, 1945
Letters to/from H
Contemporary Sites:
Hiroshima & Tokyo, Japan, 2022
Hiroshima & Tokyo, Japan, 2022
Allie Tsubota (she/her) is an artist exploring intersections of race, visuality, and the formation of historical memory. Her projects join photography, video, photographic and filmic archives, and text to examine the role of visual spectatorship across racialized space and collapsed historical time. She holds a Master of Fine Arts in Photography from Rhode Island School of Design, and presently teaches at Parsons School of Design and The College of New Jersey.
www.allietsubota.com