Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 4 – 8 pm 

Admission: Free

Join us for the inauguration of TONO Festival 2026 at Museo Casa Estudio Diego Rivera y Frida Kahlo with a special event by Tino Sehgal.
From 4-7 pm, three dancers surrender themselves to the music of Ludwig van Beethoven and translate the enthusiasm that emanates from it into physical encounters as part of Sehgal’s piece “This joy.”

“This joy” will be followed by a cocktail hosted by 1800 Tequilla to celebrate the start of TONO 2026!

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 7 pm 

Admission: Free

At each festival, TONO collaborates with an international museum on screening programs. We have worked with the MMCA in Seoul, MoMA in New York, and PAMM in Miami. This year, Rosalia Namsai Engchuan, curator of moving images at Kunsthalle Bangkok, has been invited to propose a program.

This group selection of Thai artists is titled “Training Grounds” and explores the ways in which power acts in subtle and silent, yet increasingly powerful, ways through repetition, monumentalization, ritualization, the capture of external dreams, and the inherent pressures of capitalism that drain life. Through leisure, rituals, education, fantasy, and extraction, the program moves between speculative, performative, energetic, physical, and dreamlike bodies and the spaces through which they move.

There are works by Montika Kham-on, Oat Moniten, Tulapop Saenjaroen, Harit Srikhao, and Wannawat Suwannarath.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 6 pm 

Admission: Free

YOBS is an ever-evolving, multiform inquiry by Space Afrika into how power structures determine who is seen, how, and under what conditions. A study in movement and constraint, intimacy and distance, YOBS invites viewers to navigate the edges of perception — between the seen, the unseen, and the system that governs both. YOBS is experienced as a site-specific event merging an eponymous live A/V show, sound installation and film screening – featuring original compositions by Space Afrika interwoven with unreleased visual works and captured footage. Echoing beyond the “non-performance,” the Manchester duo transport audiences deeper into parallel spaces of contemplation and disappearance.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 12 – 2 pm 

Admission: Free

TONO is collaborating with Museo Jumex on an afternoon speaker event to coincide with Melanie Smith’s project at Museo Jumex. A Time of Freedom in Which the World Had Been Possible is a video installation commissioned by Museo Jumex and Museo de Arte de Zapopan (MAZ) by the British-Mexican artist Melanie Smith. Its title comes from a phrase in the short story “Axolotl” by the writer Julio Cortázar, and serves to present Smith’s own interpretation and approach to these amphibians. Faced with the questions of painting and representation, the artist studied axolotls in collaboration with the biologist Eria Rebollar and curator Helena Chávez MacGregor, attempting to discern what kind of image of them may be produced today.

Axolotls were represented in codices since Mesoamerican times and were studied, among others and very notably, by the painter José María Velasco. They also appear in the Cárcamo de Dolores, Diego Rivera’s hydraulic-engineering mural, and were an obsession for the Surrealist artist Wolfgang Paalen. In these images, axolotls appear as deity, object of naturalist investigation, symbol, or allegory. Today, even as they are going extinct in their natural habitat, the image of the axolotl is spreading exponentially on banknotes, dolls, t-shirts, keychains, and visual culture, as a cultural commodity and as part of the imaginary of Mexico City’s identity.

Smith is intrigued by axolotls as surface: as a site of negotiation from the membranes, between the internal and the external, between different scales, as a projection screen that inevitably eludes any fixed identity. With this exhibition, Smith proposes an animation that speculates on a world where axolotls float beyond
aquariums and bodies of water, while on the other hand, the viewer—in a sort of control room, like those gazing out into outer space—contemplates a series of visual records without knowing whether the amphibians are inside or outside, whether they belong to this world, or if it is something remote or yet to come. In doing so, Smith invites us to imagine a time of freedom in which the world had been possible.

Exhibition organized by Museo Jumex
Curated by Helena Chávez Mac Gregor, guest curator.

Melanie Smith is a member of the Sistema Nacional de Creadores.
Helena Chávez Mac Gregor is a researcher at the Instituto de Investigaciones Estéticas at UNAM.

As part of TONO Festival, there will be a series of talks from 12 – 2 pm on March 14th.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 7 pm 

Admission: Free

At each festival, TONO collaborates with an international museum on screening programs. We have worked with the MMCA in Seoul, MoMA in New York, and PAMM in Miami. This year, Rosalia Namsai Engchuan, curator of moving images at Kunsthalle Bangkok, has been invited to propose a program.

Tonight we will focus on the work of Thai artist Jeanne Penjan Lassus. Her works are inspired by reflections on sensory perceptions and the porosity of spaces and bodies. By exploring how we, as humans and other beings, perceive and make sense of our surroundings, her practice focuses on how our perceptions shape our experiences, our languages, and the way we move and extend ourselves in space.

Lassus has presented her work internationally and in contexts that blur the boundaries between experimental film and the visual arts. Her notable projects include a part of us exposed (Bangkok Experimental Film Festival, 2025), Eye Your Ear at the Bangkok Center for Art and Culture, A Primordial Void (solo exhibition at Blind Space, Bangkok), and Embodied Cartography and Visual Entanglements in the Indus Delta at the Alserkal Arts Foundation in Dubai. He has participated in programs such as the TBA21 Ocean Fellowship 2020 and has received research support from the Alserkal Art Foundation and the Bangkok Center for Art and Culture’s Residency Grant for Initial Projects.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 8 pm 

Admission: Free

“Rafael Lozano-Hemmer: Unfinished Garden” runs from February 11 to April 25, 2026 at Museo de Arte Moderno Mexico (MAM). This major exhibition brings together nine interactive installations that respond to the heat, voice, pulse, and movement of the audience. Lozano-Hemmer makes perceptible invisible phenomena, such as thermal energy that disperses into wandering particles; the voice converted into patterns of sound and light or turbulent digital currents fed with poems in indigenous languages ​​that were shared by their writers. In addition to the artist, twenty-one people participated in the creation of the project, which includes three previously unseen installations, as well as recent works that have been reconfigured to inhabit the MAM and engage in dialogue with its architecture, collection, and sculpture garden. The exhibition’s title points to its conceptual focus: the “unfinished,” understood more as a critical stance that rejects closure and totalization than as a deficiency. For the artist, the unfinished also represents hope.

“My works are characterized by being unfinished and out of control… They depend on participation to exist, and that can be profoundly revealing. Delegating responsibility to the public is a conceptual decision, but also a political one: an acknowledgment that meaning cannot be found without interaction,” he stated.

TONO is collaborating with the artist and museum on a special performance during the festival.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: Museum Hours 

Admission: Museum Admission

Singaporean artist Ho Tzu Nyen’s multichannel video-installation Hotel Aporia (2019) transforms a series of galleries at the Museo Amparo into a ryokan or Japanese Inn. Filling the fictitious World War II “Hotel Aporia” with conversations from figures across time–the inn-keeper at the Kiraku-Tei where the project was first staged, World War II kamikaze pilots, philosophers of the Kyoto School, the late filmmakers Ryuichi Yokoyama and Yasujiro Ozu, and the artist and his team of collaborators, Ho brings together a multiplicity of voices to explore a historical moment in Japanese history when nationalism and cultural production intersected to serve imperial interests. In threading historic characters with contemporary figures, Ho offers a perspective on history that is always present in an ever-evolving process of recycling and transformation.

Ho first imagined this work for the 2019 Aichi Triennale as a site-specific response to a traditional inn that was built in Toyota City, Aichi Prefecture, during the Taisho period. While it was frequented by those in the silk business before World War II and by Toyota’s automobile industry afterward, it hosted the last banquet for the Kusanagi Unit, a squadron of kamikaze pilots from the Nagoya Navy Air Corps, before their fatal mission to Okinawa. Following the war, their families gathered at the inn for a final celebration of mourning. The installation brings together images from documentary films of that period, as well as scenes from Ozu and Yokoyama. As part of propaganda missions, Ozu was drafted into the Japanese Imperial Army and sent to Singapore to make films, while Yokoyama was sent to Indonesia. While Ozu never finished his film and scenes from his 1949 work Late Spring are included here, Yokoyama created Fuku-chan’s Submarine (1944), in which the character Fuku-chan, who appears in the installation, is sent to war on a submarine.

In addition to stitching these visual sources together, Ho obfuscates the characters’ faces and blows artificial wind throughout the galleries, creating a historical collage and a sensation of whirring through time. It becomes easier to imagine characters throughout history and even contemporary faces filling the frames–an artistic move which collapses the past and the present into one. While Ho presents catastrophic moments in a specific imperial history, he does not allow us to leave the history in the past; he illuminates how the present is entangled with these traces. As we walk further into the work and traverse the four chapters–“The Waves,” “The Wind,” “The Void,” and “The Children”–we also learn about the East Asian perspective on emptiness not as a lack but rather as pure possibility.

Time: 6 pm 

Admission: Free

A special evening with Mexican artist Avantgardo, TONO director Sam Ozer and Neuenationalgalerie Berlin Director Klaus Bisenbach.