This material was published in conjunction with the exhibition of the same title. The exhibition realized the concept of the ‘UN Application Project’ which Tsubaki developed after the terrorist attacks of 9/11 that year. The concept demands the United Nations as a peacekeeping army, by questioning the current meaning of peace and maintaining it. Tsubaki, as an artist/educator, insists that people need to state their opinions clearly in order to maintain peace, and turned the gallery space into a visual experience, emphasizing the importance of communication. For the preparation of the exhibition, the artist organised ‘Tsubaki-gumi,’ a group of young collaborators whose information is available towards the end of the exhibition catalogue. The exhibited works range from actual weapons and data of their impact, war operation games, used military equipments such as uniforms and tents, to excerpts from various people’s warnings on violence and our everyday life. Detailed explanations on the exhibited works are given by Tsukasa Mori, curator of this exhibition.
There is an essay contributed by the artist’s friend who is also an educator, Kumakura, on the philosophy on education that they share.
White cubes are known as current standard for museums, designed to provide a neutral spaces that can accommodate anything. Sohei Imamura, the architect who modified the ‘white cubes’ for this exhibition (in response to the curator’s intent to confront with ‘white cubes’) tells us about his concept, ‘meta-white-cube,’ a critique of a space which can accommodate anything, origin of which goes back to the dawn of universal expositions in the 19th century. Imamura, who considered the Crystal Palace (The Great Exhibition, 1851, London,) and New York’s World Trade Centre as two representatives of such a space, proposed to set a model of the Crystal Palace and images of the World Trade Centre within ‘white cubes.’ Bringing in spaces that can accommodate anything into such a space created ‘meta-white-cube.’
An elaborate biographical information and history of Tsubaki’s creative activities are written by the artist himself.

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artist monograph, 


Chapter headings

(Episode 1: Biography) - Noboru TSUBAKI, 椿昇

(Iraq; the true nature of its war) - Noi SAWARAGI, 椹木野衣

(Aesthetics Peculiar C: An experimentation on 'classroom' possibility) - Takaaki KUMAKURA

(Episode 2: Creative Activities) - Noboru TSUBAKI, 椿昇

(Episode 3: UN Boy) - Tsukasa MORI, 森司

(Critique on 'Spaces that can acommodate anything') - Sohei IMAMURA, 今村創平

Noboru Tsubaki: UN BOY
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Noboru Tsubaki: UN BOY