Born in Kiryu-shi, Gunma Prefecture. With her early photo trilogy, Ishiuchi captured the smell, mood, and atmosphere of a city, and following a later series of photographs titled 1・9・4・7, in which she depicted the hands and feet of women who were also born in the year of her birth, explored in a series of photographs scars on the human body. She received the 4th Kimura Ihei Award in 1979. In 2005, she represented Japan at the Venice Biennale with mother's 2000-2005: traces of the future. In 2008, she released the series ひろしま/hiroshima, which was shown at her solo exhibition at Hiroshima City Museum of Contemporary Art, as well as published as a book. In 2009, she received the 50th Mainichi Art Award. In 2012, the series, Silken Dreams, was featured in her solo exhibition held at the Marugame Genichiro-Inokuma Museum of Contemporary Art. In 2013, she took part in an exhibition titled Transformed Visions at Tate Modern by the Mexican publisher RM. In 2014, she received the Hasselblad Award Fromひろしま/hiroshima was published by Kyuryudo.

Noriyuki Haraguchi was born in Yokosuka, Kanagawa in 1946. He graduated from Nihon University College of Art, Department of Fine Arts. Haraguchi began his career as an artist in the late 1960s, and in 1977 made an impact in the Western art world by exhibiting a giant steel pool filled with oil waste at “Documenta 6,” a quadrennial international art festival in Kassel where he was the first Japanese to be selected. This was followed by his participation in the 10th Biennale de Paris; his first solo exhibition overseas was in 1978 at the Galerie Alfred Schmela in Dusseldorf. He gained an international reputation through large scale exhibitions such as “NORIYUKI HARAGUCHI,” his solo exhibition at the Städtische Galerie im Lenbachhaus in 2001, and “Das Schwarze Quadrat, Hommage en Malewitsch,” a hommage to Malevich in 2007. His recent activities include a first ever large-scale retrospective, “Noriyuki Haraguchi: Society and Matter,” which included the presentation of his new work at the BankART1929’s Studio NYK in Yokohama in 2009, evidence of his major influence and presence in the domestic art domain. In 2012, he was included in MOMA’s “Tokyo 1995-1970: A New Avant-garde” exhibition. “Oil Pool” he created for ART BASE MOMOSHIMA, is the one of the only two exist in the world as a sight-specific work.

Yukinori Yanagi was born in Fukuoka in 1959. He studied and obtained an M.F.A. at Yale University. He was the first Japanese artist to be awarded the a? prize at Aperto, in the 45th Venice Bienniale, in 1993. He resided and worked in New York from 1990, when his works were shown in solo exhibitions at Anthony d’Offay (London), Peter Blum (New York) , as well as at numerous international exhibitions such as the “Sao Paulo Biennale” (Brazil, 1996), and “Biennale de Lyon” (France, 1997). At the “Whitney Biennial 2000”, Yanagi was one of the first non-American artists selected for the exhibition. In 1992, his solo exhibition was held at Benesse House Museum (formerly The Naoshima Contemporary Art Museum). It was here that he was captivated by the beauty of the islands in the Seto Inland Sea, and later, in 1995, he encountered the abandoned copper refinery in Inujima, an island close to Okayama, for which he soon proposed an art project to reclaim the refinery titled “Inujima Project”. “Inujima Project” was finally achieved as The Inujima Seirensho Art Museum and opened to public in 2008. This industrial heritage site represents Japanese modernization in the Meiji Period and the messages of Yukio Mishima in the Showa Period, integrating them within the museum with the latest environmentally-conscious technology. Yanagi’s artworks are in a number of museum collections, such as MOMA, New York and London’s Tate Modern. His humorous and simultaneously provocative works have always been controversial, and his activities go well beyond the field of “art”. Since 2007, he has been the director of “Hiroshima Art Project”, a project that has seen the rebirth of unused spaces and facilities in Hiroshima city.

"Operation Crossroads" was the name of the first two of twenty-three nuclear weapons tests the United States conducted at Bikini Atoll between 1946 and 1958. Both tests involved the detonation of a weapon with a yield equivalent to twenty-three million tons of TNT–the same as the atom bomb dropped on Nagasaki. More than seven hundred cameras, and approximately five hundred camera operators surrounded the test site.Nearly half the world’s supply of film was at Bikini for the tests, making these explosions the most thoroughly photographed moment in history.
 "Conner found a cataclysmic beauty in the declassified National Archives footage of the first underwater atomic bomb test “Baker Day”, which was conducted on Bikini Atoll on July 25, 1946. Twenty-three shots of the same explosion—at differing speeds and distances, from air, sea, and land—combine with a mesmerizing dual score by Patrick Gleeson and Terry Riley to make of the destruction a kind of Cubist cosmic sublime." – Josh Siegel, Associate Curator, Department of Film, The Museum of Modern Art.