Mar. 2020
Agency for Cultural Affairs, 2020 Agency for Cultural Affairs Overseas Study Program for Artists (1-year program) (Buenos Aires, Argentina)

Mar. 2013
Pola Art Foundation Grant for Young Artists Abroad (Berlin, Germany), Pola Art Foundation, Pola Art Foundation Grant for Young Artists Abroad (Berlin, Germany)

Mar. 2009
Documentary Japan, Winner of the 1st Zakoenji Documentary Festival

Aug. 2008
Gunma Prefectural Museum of Art, Selected for the Gunma Youth Biennale 2008

Apr. 2008
ART AWARD TOKYO, ART AWARD TOKYO: The Shihoko Iida Prize

Doctoral dissertation "Art and film “Essayfilm theory”"　　　　　　　　　　　　　　　
Hikaru Suzuki
Feb. 2026, [Reviewed]
This thesis aims to deepen the examination of “essay films,” where art and moving images intersect, and to expand this field. Given that research on this methodology from the artists' perspective has not yet advanced significantly within Japan as an artistic practice theory, we will first unravel the history and evolution of this genre in Western countries, researching and clarifying its origins and what constitutes works employing this method. Subsequently, research will progress chronologically on the formation of a distinct essay film culture in Japan. Finally, by actually creating my own work, I will discuss essay film theory from the perspective of “art practice theory.”
Specifically, I will first examine the objective characteristics of the essay as literature, discussing its essence and form by tracing the writings of Adorno and Lukács. From there, I will explore its relationship to essay film alongside Alexander Kluge. Next, I clarify the origins of essay film. Focusing on four filmmakers, I examine its evolution from the 1950s to the present. Against the backdrop of essay film as discussed in Western countries, I consider the validity of this approach.
I divide the era into periods starting from the advent of the internet and discuss changes in the formation of essay film thereafter. Simultaneously, I examine the boundaries between concurrent movements and essay film, analyzing each movement, and shift the focus from the West to Asia. I touch on the dawn of Japanese artists beginning to use video as a medium, then focus on tracing the evolution of Japanese artists' activities by decade thereafter.
Building on the above, I develop my own essay film theory. I set the Great East Japan Earthquake as the first term, then introduce my encounter with essay film in Germany. I proceed to present screenings of works by artists whose essay films I independently curated. Here, I include essay film theories articulated by others. Finally, I will introduce the attempt made in the essay film work ‘FUKUSHIMA BERLIN Background 2011-2025’, produced alongside this thesis, and conclude by focusing on documentary and essay film.

Survey thesis, “An Examination of the Development of Essay Films in the Western and Non-Western Worlds.”
Hikaru Suzuki
Bulletin of the Graduate School of Film and New Media Studies, Tokyo University of the Arts ., Oct. 2024, [Reviewed]
The purpose of this paper is to deepen our discussion of “essay film” and to expand the scope of this field. Given the fact that research on this method has not yet progressed much in Japan, we will begin by unraveling the history and transition of this genre in Western countries, and research and clarify the origins and what works use this method in the relevant works. This genre is considered a hybrid genre that straddles the line between documentary and fiction, and one might marvel at its ability to kill two birds with one stone, but in fact there are pitfalls in the postmodernist way of thinking. However, there are actually pitfalls in postmodernist thinking, and when we attempt to give form to something, we run the risk of it disintegrating into pieces without taking form due to its immature form. Finally, we will study the possibility of using this method to give form to a work of art from the perspective of “artistic practice theory” by actually producing our own work.
In the first chapter, we will explore the originality of the essay as literature and what kind of character it has objectively. It discusses the composition of the essay, its similarity to painting in composition, the end and contours of composition, its relationship to rhetoric, its self-reflexivity, and its relationship to lyric poetry.
In Chapter 2, the origins of the essay film will be clarified. It also deepens the discussion of its formation from a technical perspective, discussing the classical works of the documentary and avant-garde to the formation of the essay film. From there, we focus on four artists and examine their transition from the 1950s to the present.
Chapter 3 explores the history of the development of essay films unique to Japan, rather than assuming that they are contextualized against the backdrop of essay films as discussed in Western countries.
In Chapter 4, based on Chapters 1-3, we discuss essay films made at the intersection of these two, focusing on their relationship with diary films and the methods of cinéma vérité, which I further studied in graduate school.
In Chapter V, based on the above, I discuss the original attempts of my work.

Master's Thesis "Cinema Verite Today - Ms. A's Movie "Anrakuto" -"　　　　　　　　　　　　　　　
Feb. 2011
There is a production method called “cinéma vérité,” in which the filmmaker is actively involved with the subject and the process of filmmaking is documented. Jean Rouch, a French anthropologist and film director, invented this method in the late 1960s, and it greatly influenced the “Nouvelle Vague,” a new wave of film movement that took place in the same period. Thinking from there, he explored cinéma vérité as a production method in the modern age. By overlapping this theme with his own attempt at a film, “Anrakujima,” he responded to the question, "What is a cinéma-vérité work of our time? The discussion took the form of a response to the question, "What is a cinéma vérité work of art today?

Experimental Film Culture Vol. 7 in Japan: Pole Pole Alternative—Contribution to the Catalog　　　　　　　　　　　　　　　
Hikaru Suzuki; Shohei Ishikawa; Satoshi Nishizawa; Kento Nakamoto
Apr. 2026
The author was responsible for writing the program notes for two works by Hiroyuki Oki, a special feature on Hyun Woo-min, Deniz Simsek’s *detours while speaking of monsters* (Turkey), Oleksii Radynskyi’s *Special Operation* (Ukraine), and Hikaru Suzuki’s *Garden* (16 min).

Documentary and Visual Art Expression —On Visual Literacy Education in Society and Creating Opportunities for Training Documentary Filmmakers—　　　　　　　　　　　　　　　
Hikaru Suzuki
Teikyo Heisei University Bulletin Volume 37, Mar. 2026
This paper focuses not on mainstream, high-profile films, but on diverse “documentary films” and“documentary works as art” that carry smaller voices. Specifically, it examines works screened in arthouse theaters and independent screenings, as well as those highly acclaimed at film festivals yet never shown in such venues, questioning their modes of expression. It also raises the issue of the scarcity of spaces for developing these works. To think about art through the method of documentary, it traces the ideas of American political scientist Nancy Fraser on the counter-public sphere andphilosopher Hannah Arendt's thinking, arguing for the importance of art from the perspectiveof publicness. Finally, using examples of practical social action reports describing the methodsimplemented to solve problems, we discuss the significance of screening works in progress and thevalue of alternative approaches to creating unpackaged works from the perspective of art practicetheory.

Experimental film culture vol.6 in Japan ～Pole Pole alternative～ in catalog　　　　　　　　　　　　　　　
Non-profit film screening group; “Experimental Film Culture in Japan”; Naeem Mohaiemen; Hitoshi Takeuchi; Umin Xuan; Hiirahi Isaka; Yasunori Ikeda; Yvonne Rainer; Theater Company PuP.; Shinjiro Maeda; Hikaru Suzuki; Tamagawa Ishikawa; Satoshi Nishizawa
Mar. 2025

Experimental film culture vol.5 in Japan - Pole Pole Pole Alternative - Catalogue Contribution　　　　　　　　　　　　　　　
Co-author Non-profit film screening organization; “Experimental film culture”; Yusuke Sasaki; Daan Komlien; Satoshi Nishizawa; Hikaru Suzuki; Tomoya Nishikawa; John Cassavetes; Toshiko Takashi
Jun. 2023

Yamagata International Documentary Film Festival 2021 Catalogue Contribution_Works
Oct. 2021
Japan Program
BETWEEN YESTERDAY & TOMORROW Omnibus 2011/2016/2021
64min./FHD-digital/STERO/16:9/2021
Planning: Shinjiro Maeda
Directors: Yasunori Ikeda, Hiroyuki Ohki, Hikaru Suzuki, Toshiko Yu
https://www.yidff.jp/2021/cat057/21c059-2.html

Rough Cut
Fukushima Keisou Nikki
Fukushima Keisou Nikki
-Director: Hikaru Suzuki (Japan)
A daily record of his visits to Odaka, Naraha Machi, Futaba Machi, and Iwaki, all located near the Fukushima Daiichi Nuclear Power Plant. While capturing the climate, topography, and atmosphere of the towns, the director's own personal situation is also intermingled in the images.
https://www.yidff.jp/2021/cat065/21c073-1.html#t1, Yamagata International Documentary Film Festival

Yamagata International Documentary Film Festival 2017 Catalogue Contribution_Works Published
Oct. 2017
BETWEEN YESTERDAY & TOMORROW Omnibus 2011/2016
-Japan / 2017 / Japanese / Color / Blu-ray / 43 min

Planning: Shinjiro Maeda
Directors: Hikaru Suzuki, Hiroyuki Ohki, Yasunori Ikeda, Toshiko Yu
Source: SOL CHORD, Yamagata International Documentary Film Festival

Contribution to the Image Forum Festival 2017 Catalog: Featured Works
Co-authored; Image Forum Festival
Sep. 2017

Camera Japan: In & Out of Japan Vol. 2 (Netherlands) – Catalog Contribution: Featured Works　　　　　　　　　　　　　　　
Co-authored by; Camera Japan: In; Out of Japan
Oct. 2015

Contribution to the Ebisu Film Festival Catalog: Featured Films
Feb. 2015

Yamagata International Documentary Film Festival 2011 Catalogue Contribution_Works
Oct. 2011
BETWEEN YESTERDAY & TOMORROW Omnibus Vol. 1 “APRIL 2011,” Omnibus Vol. 2 “MAY 2011
-Japan / 2011 / Japanese / Color / Blu-ray / 52 min (Vol. 1) + 52 min (Vol. 2)

Vol. 1 “April 2011” - Japan
Shinjiro Maeda, Hikaru Suzuki, Shigeo Arikawa, Aki Nakazawa, Noriyuki Kimura, Toshiko Takashi, Tamagawa Ishikawa, Shunsuke Matsushima, Noriko Umano, Tomomi Nishimura

Vol. 2 “May 2011”.
Taro Yasuno, Akio Okamoto, Kenichi Hagiwara, Arisa Wakami, Yasunori Ikeda, Tomoko Igarashi, TANJC, Yuuki Hayashi, Hiroshi Miyamoto, Hiroyuki Ohki

Courtesy of SOL CHORD solchord.tumblr.com

ーーーーーーーーーーーーーーーーーーーーーーーーーーー
The Shepherd’s Story / Shinjuku 2009 + Ogaki 2010
(Hitsujikai monogatari)
-JAPAN / 2011 / Japanese / Color / Blu-ray (HD) / 42 min

Directors: Maeda Shinjiro, Suzuki Hikaru
Photography, Sound: Ikeda Yasunori, Matsushima Shunsuke
Producer: H.584
Source: Maeda Shinjiro
Inoue Shinta is a flat-surface artist who has been working on “Project Shepherd” in and out of Japan since 1998. He’s a shepherd who wanders through cities that are defined by the words of taxi drivers and barbershop owners; pushing around his cart, tending to faceless and grazing 2-D sheep, one of which becomes lost and overhears various people talking about where they would like to live. While the film goes in search of a subtle form of communication, the scenery of Shinjuku and Ogaki takes shape according to a perfectly matched score created by the directors., Yamagata International Documentary Film Festival

First Za-Koenji Documentary Festival: Catalog Contribution—Featured Films
Mar. 2009

Co-author: Contribution to the Gunma Youth Biennale 2008 Catalog—Artwork Featured　　　　　　　　　　　　　　　
Aug. 2008

Contribution to the ART AWARD TOKYO 2008 Catalog_Featured Works　　　　　　　　　　　　　　　
Co-organized by the; ART AWARD; TOKYO Secretaria
May 2008

Blueray_Assistant Film Translation Supervisor, Too Late Blues, directed by John Cassavetes
Experimental Film Culture in Japan; TamagawaIshikawa; SatoshiNishizawa,HikaruSuzuki, Supervisor
Jun. 2025

Experimental film culture vol.6 in Japan ～Pole Pole alternative～ in catalog　　　　　　　　　　　　　　　
Non-profit film screening group; “Experimental Film Culture in Japan”; Naeem Mohaiemen; Hitoshi Takeuchi; Umin Xuan; Hiirahi Isaka; Yasunori Ikeda; Yvonne Rainer; Mei Shirao; Megumi Kamimura; Theater Company PuP.; Shinjiro Maeda; Hikaru Suzuki; Tamagawa Ishikawa; Satoshi Nishizawa, Joint work
Mar. 2025

Bulletin of the Graduate School of Film and New Media Studies, Tokyo University of the Arts .
Katsura, Eishi; Yamamura, Koji; Tsutsui, Takefumi; Oishi, Michiko; Matsuura, Noboru; Suzuki, Hikaru; Fish, Wang; Kato, Koji; Hirata, Ryoma; Takenaka, Saori; Mukadas, Mukitar; Kimura, Shin; Jingna; Shishikura; Shinobu, Joint work
Mar. 2025
9784865284669

Bulletin of the Graduate School of Film and New Media Studies, Tokyo University of the Arts .
Eishi Katsura; Toni Hildebrand; Koji Yamamura Noboru; Matsuura Michiko Oishi Hikaru Suzuki Koji; Kato Eva; Piaskowska Regina Pessoa; ağıl Harmandar Mirai Sato Kento; Shimizu; Honami Yano, Joint work
Sayusya, Oct. 2024
4865284400

Co-author of "Katsurao AIR 2023 Catalogue" (Katsurao Village Residence Program), with work published and contributed by Katsurao AIR 2023　　　　　　　　　　　　　　　
Katsurao Collective https; katsurao-collective.com/katsurao-air, Joint work
Mar. 2024

Experimental film culture vol.5 in Japan ~Pole Pole Pole Alternative~ Catalog　　　　　　　　　　　　　　　
Co-author Non-profit Film Screening Organization, "Experimental Film Culture", Yusuke Sasaki, Dern Komlian, Satoshi Nishizawa, Hikaru Suzuki, Tomoya Nishikawa, John Cassavetes, Toshiko Takashi, Joint work
Jun. 2023

Experimental film culture vol.4 in Japan - Pole Pole Pole Alternative - Catalog　　　　　　　　　　　　　　　
Non-profit film screening organization; “Experimental film culture”; Alan Sekula; Noel Birch; Toshiko Yu; Reiji Saito; Lodz Film School; Yutaro Keino; Miko Rebeleza; Carolina Fusilier; Hikari Nagamura; Hikari Suzuki, Joint work
2022

Film Translation Supervisor: “Remote Intimacy” (19 min.) (Directed by Sylvia Schedelbauer)　　　　　　　　　　　　　　　
Apr. 2021

Film Translation Supervisor: The Future Perfect (65 min.) (Directed by Nele Vohlatz)　　　　　　　　　　　　　　　
Apr. 2021

Film Translation Supervisor: Film “Szenario” (89 min.) (Directed by Philip Wittmann)　　　　　　　　　　　　　　　
Apr. 2021

Experimental film culture vol.3 in Japan ~Pole Pole Pole Alternative~ Catalog　　　　　　　　　　　　　　　
Non-profit film screening organization; “Experimental film culture”; Philippe Wittmann; Karsten Krause; UTDT-HFBK; Hikaru Suzuki; Shingo Kanekawa; Maria Arche; Nele Wohlatz; Katsuya Okuma; Okamoto Taiga; Kohei Kobayashi; Shingo Takashima; Shu Nakagawa; Shu Kanegae; James Benning; Takayuki Yoshida; Takafumi Kato; Satoshi Nishizawa; Shun Ikezoe; Sylvia Söderbauer, Joint work
Experimental film non-profit film screening organization, “Experimental film culture”., 2021

DVD release film "Anraku Island"　　　　　　　　　　　　　　　
Hikaru Suzuki
SOLCHORD https://solchord.jp/4th.html https://solchord.stores.jp/, 2015

Screening and Talk Session: “Contemporary Art and Essay Film”
29 Nov. 2025, Tokyo University of the Arts Graduate School of Film and New Media RAM Association, [Invited]
Screening and Talk Session: “Contemporary Art and Essay Film” is an attempt to reexamine film not merely as a “work,” but as a “form for thinking (art form).”
For instance, it involves not merely recording the world through a camera, but embedding questions like “Why does it appear this way?” and “How should this event be narrated?” into the very fabric of the moving image itself. This is the expression known as “essay film.”
The new work by filmmaker Hikaru Suzuki, FUKUSHIMA BERLIN: Background 2011–2025, to be screened, is a moving image piece created while traveling between two locations—Fukushima and Berlin—after the Great East Japan Earthquake. This work is crafted not merely to document events, but as a form that narrates history and creates opportunities to retell it. Within the footage, human voices, silences, landscapes, and memories intertwine, giving rise to new questions.
Following the screening, emerging filmmakers participating in RAM will gather to discuss themes such as “What does it mean to think through film?” and “How does art engage with society?” While this may sound somewhat challenging, the discussions will center on the universally vital theme of “how we observe and pass on the narrative of our present era.”
Through this event, RAM Association explores the “new public space” created by film.
As an art form, the essay film is also a visual philosophy that seeks ‘freedom of thought’ amidst the remnants of knowledge systems and history. Yet it is never merely about difficult theories; it is a starting point for “seeing the world with your own eyes and thinking with your own words.”
And if you have even the slightest interest in “thinking” or “feeling,” please come to the venue. Within this time and space, you will surely experience the joy of thinking alongside the images.
■ Date & Venue
Date: Saturday, November 29, 2025, 2:00 PM–6:00 PM
Venue: Tokyo University of the Arts Graduate School of Film and New Media, Motomachi Chinatown Campus, 3F Multipurpose Studio
https://newmedia.geidai.ac.jp/post/85/
Admission: Free (Advance registration required)
Open to: All

■ Screening
『FUKUSHIMA BERLIN: Background 2011–2025』 (2025 / 100 min / Director: Hikaru Suzuki)

■ Talk Session
Theme: Contemporary Art and Essay Film—Between Visual Thinking and Narrative
Speakers:
● Hikaru Suzuki (Filmmaker / Full-time Lecturer, Teikyo Heisei University / Doctoral Candidate, Graduate School of Film and New Media, Tokyo University of the Arts)
● Yumin Xuan (Filmmaker / RAM Fellow)
● Kei Matsumoto (Filmmaker / RAM Trainee)
Moderator:
● Eiji Katsura (Professor, Graduate School of Film and New Media, Tokyo University of the Arts / RAM Producer)
■ Organizer & Support
Organizer: RAM Association, Graduate School of Film and New Media, Tokyo University of the Arts
Support: Agency for Cultural Affairs “University-Based Emerging Artist Development Project” (FY2025)
RAM Association was established as a non-degree program by the Graduate School of Film and New Media, Tokyo University of the Arts, providing a new platform for learning and creation that crosses art, society, and thought with film as its core.
In FY2025, with funding from the Agency for Cultural Affairs, it is developing activities aimed at nurturing young artists and promoting international artistic exchange.

■ Contact
● Contact: ram-office@fm.geidai.ac.jp (RAM Association Secretariat)
● Official Website: http://geidai-ram.jp/

■ Artist Profile
Hikaru Suzuki
Filmmaker
Born in 1984. Filmmaker/artist. Began presenting works in 2008. Currently enrolled in the Doctoral Program in Visual Media Studies at the Graduate School of Film and New Media, Tokyo University of the Arts. Researches essay films at the intersection of fine art and moving image. Since 2019, co-runs the film screening collective “Experimental Film Culture in Japan” (http://efcjp.info/) with Ishikawa Tamagawa and Nishizawa Satoshi.
Hikaru Suzuki
http://hikarusuzukifilm.work/

Woomin Hyun
Filmmaker
Born in Tokyo in 1985. Creates video works exploring the existence of people displaced from their birthplaces and the memory of migration, set against the backdrop of modern and contemporary history. Major works include to-la-ga (2010), OHAMANA (2015), Journey to an Unfinished Journey (2017), and Escape Island Chronicles (2019–2022). Works exhibited and screened at Seoul Independent Film Festival (South Korea), “Young Korean Artist 2021” (National Museum of Modern and Contemporary Art, Gwacheon, South Korea), Seoul Museum of Art, TOKAS, and others.

Graduated from the University of Tokyo Faculty of Letters, majoring in Aesthetics and Art Studies. Completed Master's program in Media and Film at Tokyo University of the Arts Graduate School of Film and New Media, and Doctoral program in Film and Media Studies at the same institution. Ph.D. (Film and Media Studies). 2025 RAM Association Fellow.
https://woominhyun.com/

Kei Matsumoto
Filmmaker
Born 1997
Graduated from Tama Art University
Completed Master's Program in Media and Film, Graduate School of Film and New Media, Tokyo University of the Arts
2025 RAM Association Researcher
Latest work: Short film Sanwa-do (2025), documenting the restoration process of a traditional earthen floor

© 2025 Tokyo University of the Arts, Graduate School of Film and New Media / RAM Association

Public Lecture: Film Curation Vol. 2 “The Vernacular of Life and Death”　　　　　　　　　　　　　　　
Koji Kato; Folkloris; Professor a; Musashino Ar; University] Hikaru Suzuki; Filmmaker, Lecturer in; he Faculty of Humanities; Social Sciences; at Teikyo; Heisei University; Noboru Matsuura; Media Studies; Guest Lecturer at the; Graduate School of Film; New Media; Tokyo University of; he; Ar
04 Nov. 2024, [Invited]

Otemon Gakuin University Faculty of Sociology Arts and Culture Project "Transformation of Landscape" after the film screening
Hiroki Harada (Artis; Hiroko Tasaka (Curator; Tokyo Metropolitan; Museum of Photography; Misora Nishihara; Otemon Gakuin; University sociology studen; Moderator; Yosaku Matsutani; Otemon Gakuin; University sociology professor; Hikaru Suzuki
Jan. 2024, [Invited]

Public Lecture: Film Curation "Essay Film and Vernacular" (Graduate School of Film and New Media, Tokyo University of the Arts (Doctoral Program, RAM Association), Musashino Art University Joint Research "Basic Research on the Utilization of Folk Materials at Art University")　　　　　　　　　　　　　　　
Lecturers; Professor Koji Kato; Curatorial Program in Liberal Arts; Culture; Musashino Art University; Noboru Matsuura; Guest Lecturer; Graduate School of Film; New Media; Tokyo University of the Arts; Hikaru Suzuki; Doctoral Program; Graduate School of Film; New Media; Tokyo University of; he
21 Oct. 2023, [Invited]

Yebisu Film Festival 2015 "See You on the Planet"　　　　　　　　　　　　　　　
Hiroko Tasaka; Curator; Tokyo Metropolitan; Museum of; Photography; Filmmaker; Hikaru Suzuki
2015 Yebisu Film Festival “See You on the Planet” Artist Symposium organized by Tokyo Metropolitan Museum of Photography, Feb. 2015, [Invited]

The 4th Series “ART at IAMAS(情報科学芸術大学院大学) / Creativity in Progress” Professor Shinjiro Maeda × Artist Hikaru Suzuki “FUKUSHIMA - BERLIN” - A diary film by Hikaru Suzuki　　　　　　　　　　　　　　　
IAMAS Professor; Shinjiro Maeda × Author; Hikaru Suzuki
4th Series "ART at IAMAS / Creativity in Progress, 19 Dec. 2012, [Invited]

Jul. 2026 - Present
Japan Society of Image Arts and Sciences（略称：JASIAS）　　　　　　　　　　　　　　　

Fukushima Keisounikki　　　　　　　　　　　　　　　
Hikaru Suzuki
23 Sep. 2023, Artistic activity

BETWEEN YESTERDAY AND TOMORROW　　　　　　　　　　　　　　　
Hikaru Suzuki
10 Oct. 2021, Artistic activity

A video letter project between Buenos Aires and Fukushima, Yokohama　　　　　　　　　　　　　　　
Franca Malfatti; Hikaru Suzuki
20 May 2020, Artistic activity

Michiko　　　　　　　　　　　　　　　
Hikaru Suzuki
23 Jul. 2018, Artistic activity

Garden　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Oct. 2016, Artistic activity

Fukushima Berlin　　　　　　　　　　　　　　　
Hikaru Suzuki
08 Mar. 2015, Artistic activity

Das Strahlen　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Mar. 2015, Artistic activity

FUKUSHIMA BERLIN 2　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Jan. 2015, Artistic activity

Mr.S & Doraemon　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Mar. 2012, Artistic activity

Anrakuto　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Mar. 2011, Artistic activity

GOD AND FATHER AND ME　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Mar. 2009, Artistic activity

Slaked lime　　　　　　　　　　　　　　　
Hikaru Suzuki
01 Apr. 2008, Artistic activity

Video Letter Exchange: Community of Images
Collaborative Cataloging Japan and the Japan America Society of Greater Philadelphia in partnership with Philadelphia Art Alliance at University of the Arts, Maryland Institute College of Art, Maryland Institute College of Art (MICA)
Jul. 2024 - Aug. 2024

On-set supervisor for the Fukushima location shoots (Namie Town, Naraha Town, and earthquake disaster sites) for the film *Preemptive Listening* (directed by Aura Satz). Drone photography (fivestar Inc.)
Jul. 2021

Berlinare 2018 Report in collaboration with the Goethe Institute　　　　　　　　　　　　　　　
Goethe Institute, Feb. 2018

Study Abroad for 2nd and 3rd year students of Aizu High School (about 400 students)　　　　　　　　　　　　　　　
Fukushima Prefectural Aizu High School, University of Aizu SGU, Oct. 2016