Workshop Reports March 2007 - February 2011

Art-tastic Adventure
The National Art Center,Tokyo
Workshop Reports
March, 2007 - February, 2011

Artist workshops at The National Art Center, Tokyo
The central concept of artist workshops at The National Art Center, Tokyo (NACT) is to offer
opportunities to participate in, experience, discover, and engage with art with fresh perspectives.
This series of workshops emerged as a program distinctly suited to the mission of the NACT,
which positions introducing new trends in art as one of its crucial missions. Workshops are
conducted by a wide range of artists who are active in fields such as fine art, fashion design,and product design. These diverse contemporary creators share a will to break free fromexisting values with a flexible standpoint and an unwavering spirit of exploration, dedicating
themselves to unique creative expression. What are these artists’ concerns, what are they
trying to communicate, and in what ways? By interacting directly with artists, participants gain
opportunities to engage with art from new perspectives, and find ways to enjoy art on their own
terms.
In every workshop, the main focus is the participants. The aim is to offer them valuable
opportunities to hear what artists have to say and thereby gain unique insights and discover new
ideas. Meanwhile, by making things, moving about, engaging with nature, or walking around thecity, participants enjoy art through various experiences while spending time with artists. Looking
at things from different viewpoints than usual, engaging in self-reflection, and experiencing thejoys of expression and creative thinking enable people to discover the power of art in new ways.
There need not be objectives determined in advance, nor any sense of compulsion to complete
a work of art. The aim of artist workshops is to let people open new doors within themselves byparticipating in art.
This publication documents 29 workshops planned and implemented by the NACT Officeof Education and Public Programs over the four years from March 2007 to February 2011. Allof these workshops involved new discoveries and surprises far beyond our expectations. Not
only children’s vibrant creative expression, but also adults’ active and serious participation
made a lingering impression. Within the NACT Office of Education and Public Programs, interns
and student support staffs also played a vital role. We hope that this publication will heighten
understanding of the NACT’s workshop activities and convey some of what participants
experienced in workshops. Finally, we would like to thank the artists whose cooperation withplanning, through extensive dialogue, and implementation made these workshops possible.
The National Art Center, Tokyo3

Acknowledgments
Artists’ workshops at The National Art Center, Tokyo are made possible by the support
and cooperation of the workshop leaders and many others. All of us at NACT would like toexpress our most heartfelt gratitude. We are also deeply grateful to many other individuals
whose names could not be listed here. (In no particular order, honorifics omitted)

Instructor
Miho Akioka

Kenji Shiratori

Sayaka Akiyama

Touko Takahashi

Katsumi Asaba

Kazufumi Nagai

Shigeo Anzai

Shobun Nakashima

Ryoko Ishii

Ryo Hamada

Takefumi Ichikawa

paramodel

Chie Ito

Yoshiki Hishinuma

Hisako Inoue

Shigeki Fujishiro

Minoru Ohira

Shin Matsunaga

Hiroshi Okutani

Yoko Matsumoto

Mio Kaneda

mafuyuTatsuya Kusuhara

Nomvuselelo Mavundla

Hiromichi Konno

Akira Minagawa

Chisato Saito

Shigeki Miyamoto

Kashiwa Sato

Elliot Mkhize

Hiraki Sawa

Shingo Murai

Hisakazu Shimizu

Yoshikazu Yamagata

5

Contents
Artist Workshops at The National Art Center, Tokyo3

14 What Is Design?? Let’s Try to Design a Chair!

38

Acknowledgements

5

15 Spelling Roppongi: Putting a Stroll in a “Letter”

40

Workshop List

8
Workshops 2009

Workshops 2007

1

Program: “Tell me, Kashiwa-san!” (lecture and workshop)

2

16 Make Your Own Mobile!

Make Your Own Symbol Mark!
12

Program held in conjunction with Skin + Bones:

Parallel Practices in Fashion and Architecture , Bones edition event3

14

Program held in conjunction with Skin + Bones:

4

16

Workshop for University Students:

Program held in conjunction with Artist File 2009:19 Let’s Do Art Exercises: Experiencing Great Works and Masterpieces

46
48

20 Challenge!: Abstract Painting – Personal Impressions and Overflowing Colors

18

21 Capturing the World Beyond the Lens: Taking Abstract Pictures with a Digital Camera

52”Design Workshop for High School Students”

20

Workshops 2010

My House, My Clothes: Let’s Make a Wearable House

22

22 Using Plarail to Play with paramodel54

23 Making Your Own Character with a Doll Artist

56

Make a Symbol Mark for Your School! Make Your Own Symbol Mark!

24 Making Animation with an UmbrellaWorkshops 20087

I Feel a Little Like a Great Painter Today: Painting with Hiroshi Okutani at NACT

24

8Sniffing Walk: Searching for Smells in NACT

26

9

A Human-sized Project: Making a Balloon as Big as You
Program held in conjunction with Artist File 2008:

The NACT Annual Show of Contemporary Art

28

10 Let’s Make an Imaginary Space!
The NACT Annual Show of Contemporary Art

Program held in conjunction with Artist File 2010:

The NACT Annual Show of Contemporary Art

58

25 Small Things Made of Colored Wire

60

26 What Is Wood? Looking, Listening, Touching!

62

27 Appreciating Art with Your Body: The World of Man Ray

64

28 Capturing the Whispering Wind and Fluctuating Light with a Camera

Program held in conjunction with Artist File 2008:11

18 Various Shapes Emerging from Stone50

Program held in conjunction with ANZAï: Personal Photo Archives 1970-2006

6

44

Program held in conjunction with The Light: Yoko Matsumoto / Rika Noguchi

Talking about Art – Things You Feel, Things You Want to Ask

5

Program held in conjunction with Artist File 2009:

The NACT Annual Show of Contemporary Art

Making a 3D Cloth (Skin)

Parallel Practices in Fashion and Architecture , Skin edition event

17 Miniature Insects World: Making a Bug’s-eye WorldThe NACT Annual Show of Contemporary Art

Play Your Body!

42

Program held in conjunction with SHADOWS:
30

Works from the National Museums of Art

66

A Futuristic Life Made by minä perhonen
Program: “minä perhonen and Design” (lecture and workshop)

32

12 Art Appreciation Workshop: Playing with Words at the Emily Exhibition
Program held in conjunction with Utopia: the Genius of Emily Kame Kngwarreye

13 Discovering Things We Ought to Love! Fun Designs!

34
36

Workshops 201129 Collect Your Own Lines!

68

Workshop List
Title of Workshops / Related Program

Instructor / Job Title

Date

TargetParticipants

Place

1

Make Your Own Symbol Mark!

Kashiwa Sato

Program: “Tell me, Kashiwa-san!” (lecture and workshop)

Art director / Creative director

3/24/2007

Elementary school students

18 people

Annex, 3F multipurpose room

2

Play Your Body!

Tatsuya Kusuhara

Program held in conjunction with Skin + Bones: Parallel Practices in Fashion and Architecture, Bones edition event

Choreographer / Dancer

7/29/2007

Elementary school students (3-6 grade)

11 people

Annex, 3F multipurpose room, 3F Auditorium,
Special Exhibition Gallery 2E and elsewhere

3

Making a 3D Cloth (Skin)

Yoshiki Hishinuma

Program held in conjunction with Skin + Bones: Parallel Practices in Fashion and Architecture, Skin edition event

Fashion designer / Textile designer

8/4/2007

Anyone22 people

Annex, 3F multipurpose room

4

Workshop for University Students: Talking about Art– Things You Feel, Things You Want to Ask

Shigeo Anzai

9/23,30/2007

University students

9/23 18 people,
9/30 33 people

Annex, 3F multipurpose room

5

Make a Symbol Mark for Your School! Make Your Own Symbol Mark!

Shobun Nakashima, Shin Matsunaga,
Katsumi Asaba, Kazufumi Nagai

10/20,21/2007

High school students

10/20 36 people,
10/21 38 people

Annex, 3F multipurpose room

”Design Workshop for High School Students”

Art documentarian

Art director

6

My House, My Clothes: Let’s Make a Wearable House

Yoshikazu Yamagata, mafuyu

12/1/2007

Elementary school students (3-6 grade)

23 people

Annex, 3F multipurpose room, 1F lobby, B1F
SFT Gallery

7

I Feel a Little Like a Great Painter Today: Painting with Hiroshi Okutani at NACT

Hiroshi Okutani

1/27/2008

Elementary school students (4 grade) Junior high school students (3 grade)

12 people

Annex, 3F multipurpose room, Special
Exhibition Gallery 2E and elsewhere

8

Sniffing Walk: Searching for Smells in NACT

Hisako Inoue

2/16/2008

4 years old and over

29 people

Annex, 3F multipurpose room, several spots in
The National Art Center, Tokyo

9

A Human-sized Project: Making a Balloon as Big as You

Takefumi Ichikawa

Program held in conjunction with Artist File 2008: The NACT Annual Show of Contemporary Art

Artist3/15,16/2008

Anyone3/15 19 people,
3/16 27 people

3F Auditorium, Lecture room A,B,C,
Bamboo Grove

10

Let’s Make an Imaginary Space!

Hiraki Sawa

Program held in conjunction with Artist File 2008: The NACT Annual Show of Contemporary Art

Artist4/12/2008

Elementary school students (2 grade) Junior high school students (3 grade)

11 people

Annex, 3F multipurpose room and elsewhere

11

A Futuristic Life Made by minä perhonen

Akira Minagawa

5/18/2008

Anyone20 people

Annex, 3F multipurpose room

12

Art Appreciation Workshop: Playing with Words at the Emily Exhibition

Kenji Shiratori

7/6/2008

Anyone22 people

Special Exhibition Gallery 2E, 3F Auditorium

Program: “minä perhonen and Design” (lecture and workshop)
Program held in conjunction with Utopia: the Genius of Emily Kame Kngwarreye

Fashion designer, Knit artist
Painter
ArtistDesigner

13

Discovering Things We Ought to Love! Fun Designs!

Hisakazu Shimizu

8/24/2008

Elementary school students and over, parents

8 pairs 21 people

Annex, 3F multipurpose room and elsewhere

14

What Is Design?? Let’s Try to Design a Chair!

Hiromichi Konno

9/28/2008

Elementary school students

29 people

Annex, 3F multipurpose room and elsewhere

15

Spelling Roppongi: Putting a Stroll in a “Letter”

Sayaka Akiyama

12/21/2008

Elementary school students and over

20 people

Annex, 3F multipurpose room and elsewhere

Make Your Own Mobile!

Shigeki Fujishiro

2/14/2009

Junior high school students and over

22 people

Annex, 3F multipurpose room

17

Miniature Insects World: Making a Bug’s-eye World

Minoru Ohira

Program held in conjunction with Artist File 2009: The NACT Annual Show of Contemporary Art

Artist3/8/2009

Elementary school students

17 people

Annex, 3F multipurpose room,
Special Exhibition Gallery 2E

18

Various Shapes Emerging from Stone

Shingo Murai

4/5/2009

Elementary school students (4 grade) and over

18 people

Annex, 3F multipurpose room and elsewhere

Let’s Do Art Exercises: Experiencing Great Works and Masterpieces

Touko Takahashi

8/22/2009

Elementary school students

13 people

Annex, 3F multipurpose room

Challenge!: Abstract Painting – Personal Impressions and Overflowing Colors

Yoko Matsumoto

9/12/2009

Anyone21 people

Annex, 3F multipurpose room

16

19
20

Program held in conjunction with Artist File 2009: The NACT Annual Show of Contemporary Art

Program held in conjunction with The Light: Yoko Matsumoto / Rika Noguchi

Product designer
Product designer
ArtistProduct designer

Sculptor
ArtistPainter

21

Capturing the World Beyond the Lens: Taking Abstract Pictures with a Digital Camera

Ryo Hamada

12/19/2009

Elementary school students (4 grade) and over

18 people

Annex, 3F multipurpose room and elsewhere

22

Using Plarail to Play with paramodel

paramodel

1/10/2010

Anyone34 people

3F Auditorium and elsewhere

Making Your Own Character with a Doll Artist

Ryoko Ishii

2/27/2010

Anyone22 people

Annex, 3F multipurpose room and elsewhere

Making Animation with an Umbrella

Chisato Saito

3/20/2010

Junior high school students and over

15 people

Annex, 3F multipurpose room

23
24

Program held in conjunction with Artist File 2010: The NACT Annual Show of Contemporary Art

ArtistArtistDoll artist
Artist25

Small Things Made of Colored Wire

Elliot Mkhize, Nomvuselelo Mavundla

4/24/2010

Anyone24 people (total for 2 Sessions)

B1F Lounge area

26

What Is Wood? Looking, Listening, Touching!

Shigeki Miyamoto

6/5/2010

Elementary school students

23 people

Annex, 3F multipurpose room and elsewhere

27

Appreciating Art with Your Body: The World of Man Ray

Chie Ito

8/29/2010

Elementary school students

16 people

Annex, 3F multipurpose room,
Special Exhibition Gallery 1E

Capturing the Whispering Wind and Fluctuating Light with a Camera

Miho Akioka

10/2/2010

Elementary school students (4 grade) and over

20 people

Annex, 3F multipurpose room and elsewhere

Mio Kaneda

2/19/2011

Anyone24 people

Annex, 3F multipurpose room

28
29

8

Program held in conjunction with ANZAÏ: Personal Photo Archives 1970-2006

Program held in conjunction with SHADOWS: Works from the National Museums of Art

Collect Your Own Lines!

Wire artist

Model maker

Dancer / Choreographer
ArtistPainterWorkshops9Workshop Reports
March, 2007 - February, 2011

Legent
The explanation of each workshops were written by the following
persons. We wrote in initials at the end of the “Summary”.
Akane Torii (AT)
Hanako Nishino (HN)
Yayoi Motohashi (YM)
Natsumi Yoshizawa (NY)1

Workshops 2007

Program content and timing

1

ARTIST WORKSHOP

45 min.

2
75 min.

●①

Make Your Own Symbol Mark!
Program: “Tell me, Kashiwa-san!” (lecture and workshop)• Date and time: March 24 (Sat.), 2007, 10:00-13:00• Participants: 18• Target: Elementary school students• Entry fee: Free
• Place: Annex, 3F multipurpose room

12

OutlineWorking with Kashiwa Sato, who designed The National Art Center, Tokyo’slogo, participants created their own “personal logos” and thought about
designs and marks in the world around them.

●
②

●
③

●
④

●
⑤

3
40 min.

Talk by instructor
Logos are all around us, on everything from candy packages,
clothing and games to the subway station and the post
office. One of Sato’s most important tasks as an art director
is designing logos, and his portfolio includes the logo of The
National Art Center, Tokyo. After introducing themselves,giving their names and favorite colors, participants listened toa talk by Sato about the meanings and roles of logos.①②

Production
Participants imagined themselves as art directors andcreated their own personal logos. In doing so they derived
hints from their names, characteristics, favorite things,
things they are currently engaged with, and so forth. Even aseemingly simple element, the name, can be written various
ways, in kanji, hiragana, katakana, or the Roman alphabet,
and they wrote down various ideas on paper. To know
oneself, it is important to think deeply about oneself, but it
is very difficult to face oneself head-on. Participants usedcolored pencils, watercolors, and felt-tip pens to give shape
to aspects of themselves they identified. There were various
creative avenues, including combining several elements
representing the self and focusing exclusively on a single
feature. The group started over and redid their logos again
and again in order to condense their own defining qualities
into a single small mark.③④⑤

Presentation
According to Sato, for this task it is vital to take time tothink about oneself and identify one’s own distinctive
characteristics. Each person’s name and favorite things wererepresented with colors and shapes, and a large number oflogos were created.

Instructor Profile
Art director / Creative director

Kashiwa Sato
Born 1965 in Tokyo. Worked for Hakuhodo Inc. and thenestablished his own creative studio, SAMURAI in 2000. Sato ishighly acclaimed for comprehensive creation based on evolving
perspectives and powerful visual development, such as creative
direction and global brand strategy for UNIQLO, design of The
National Art Center, Tokyo logo, branding for Imabari Towel and
Meiji Gakuin University, and more.

SummaryChildren had never heard the phrase “art director” before. Whatkind of a job is it? One important part of it is designing the logos
we see all around us every day. In this workshop, children gained
an understanding of the significance of design through logos, andexperienced its joys first-hand. This time, the theme was “Makeyour own personal logo!” What kind of person am I? What are
my characteristics? These questions served as creative starting
points, but it was surprisingly difficult for people to identify theirown defining qualities. And it was equally difficult to express
these in shapes and colors. Using their heads and hands, trial anderror, the group turned these defining qualities into a single logo.
It seems that this experience enabled them to get to know thevarious meanings and creative ingenuity concealed in the logos
that we take for granted. It was also an opportunity to the joys
and challenges of turning ideas expressed in words into colors
and shapes. That is what design is all about. (HN)

Materials provided
Sketch book, colored pencils, watercolors, colored pens, etc.

Workshops 200

13

2

Workshops 2007

1

ARTIST WORKSHOP

Self-introductions by participants and staff
First of all, participants and staff introduced themselves in
the annex multipurpose room on the 3rd floor. After that,everyone relocated to the auditorium.

10 min.

2
40 min.

3●③

Play Your Body!

45 min.

Program held in conjunction with Skin + Bones:
Parallel Practices in Fashion and Architecture , Bones edition event• Date and time: July 29 (Sun.), 2007, 11:00-16:30• Participants: 11• Target: Elementary school students (3-6 grade)• Entry fee: 500 yen• Place: Annex, 3F multipurpose room, 3F Auditorium, Special
Exhibition Gallery 2E and elsewhere

OutlineParticipants work with dancer Tatsuya Kusuhara to sharpen their bodily
senses while viewing the exhibition, and use their imaginations to create
new forms of physical expression.

Instructor appears, warmup
Children entering the auditorium saw a huge piece of cloth
floating and fluttering in the dim interior. Then suddenly
music started, and instructor Kusuhara appeared, dancing
while enveloped in the cloth! Everyone entered the cloth’sinterior and heard an explanation of the workshop. They
then started warming up, using the entire large auditorium.
Activities to limber up the body included imitating
Kusuhara’s movements and playing tag.①②

Blind walk
People got in pairs, one with his or her eyes covered so they
could see nothing. They were led by the other’s hand to…
a lawn?! On it they walked barefoot, their feet touchingstones and plants. Without the sense of sight, their othersenses became more highly attuned.③

Lunch break (50 min.)4
5
90 min.

Viewing Skin + Bones exhibition
In the gallery, Kusuhara first spoke about the structuresof buildings. After that, people split into groups of 3-4
people and viewed the exhibition, taking “shapes they findinteresting” as a keyword.④

Tatsuya Kusuhara
Graduated from Tamagawa University, Department of Theater.
Established APE in 2002. He creates works with the theme“delivering happiness to many people,” and stages performances
both in Japan and abroad. In recent years he has simultaneously
pursued creative and educational activities, and actively
conducted workshops with participants ranging from infants toadults, outreach to schools and so forth.

Summary
Skin + Bones: Parallel Practices in Fashion and Architecture (June
6 - August 13, 2007) introduced features common to fashion
and architecture, in terms of concept, form, composition, and soforth. In the workshops held in conjunction with this exhibition,
vision was cut off so as to heighten the other senses, then in thissensitized state, participants searched for “interesting forms” while
viewing the exhibits in the galleries. Then they expressed the works
they had seen with their bodies, and increased their familiarity
with the body from a variety of angles. Also, in order to explore
the relationships between surface and structure that can be seen
in fashion and architecture, they covered their bodies with a huge
cloth, like a skin covering a skeleton, and examined changes in the
structure’s morphology. It was a day of discovering the joy of new
creation, making use of the imagination and the body’s capacity forphysical expression. (AT)Feedback from participants• The thing I enjoyed the most was being blindfolded and•

Body movement• After returning to the multipurpose room, the group once
again moved their bodies to warm up. They split into pairs
and moved in accordance with Kusuhara’s instructions,such as “touch your shoulders to one another’s” and “Next,
touch shoulders and heels!”⑤
Each participant spoke about one work they thought wasinteresting when they viewed the exhibition. Then, in groups,
they selected one work and expressed its form using theirbodies. Other groups gave them advice on how to reproduce
the work more accurately. Did it look different when drapedwith a cloth? All kinds of opinions emerged.⑥⑦
Using a huge cloth, 7m square, all the participants
experienced the fun of creating a space with fabric.
Participants draped in cloth posed one after another. They
noticed differences between body movements inside thecloth and how they appear from the outside.⑧⑨
Finally, parents also got inside the cloth and experienced
the space their children had created.

•●②

Choreographer / Dancer

The group returned to the annex 3F multipurpose room,
took a break and ate the boxed lunches they had brought.

40 min.

●①

Instructor Profile

Program content and timing

touching the lawn and leaves. Because my eyes had been
covered, I did not understand what was around me and it wascompletely different from being able to see it. There were lotsof interesting things in the NACT too! (Girl, 10)
The houses and clothes in the NACT show were really unusual.
Imitating these things with our bodies was the most fun forme. I really enjoyed this experience which was really different
from usual. (Boy, 9)Materials provided
Cloth (7m×7m), flashlight, bandana or large handkerchief, etc.
Materials brought by participants: lunch, drinks, towel for wiping
sweat, change of clothes

•

•

●
④

14

●
⑤

●
⑥

●
⑦

●
⑧

●
⑨

Workshops 200

15

3

Workshops 2007

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

15 min.

2
30 min.

3●⑤

Making a 3D Cloth (Skin)
Program held in conjunction with Skin + Bones:
Parallel Practices in Fashion and Architecture , Skin edition event• Date and time: August 4 (Sat.), 2007, 13:30-16:30• Participants: 22• Target: Anyone• Entry fee: 2,500 yen• Place: Annex, 3F multipurpose room

OutlineUsing special material that shrinks when immersed in boiling water, jointly
developed by Yoshiki Hishinuma and the manufacturer, participants produce
one-of-a-kind original T-shirts.

Introduction of instructor’s activities
Hishinuma spoke about the work he produced and thesources of his ideas. People were surprised that theinspiration for Hishinuma’s highly original designs actuallycame from everyday life.

Description of workshop content, scheduleand materials
Hishinuma explained the special fabric he co-developedwith a manufacturer, which when immersed in boilingwater, partly melts and the fiber shrinks.

T-shirt production•Experiment with small cloth

Participants wrapped the forms they had brought in thespecial fabric. When the fabric wrapped in a mold is placedin boiling water, the fabric is formed into the shape of the
100 min. mold. However, once molded the form cannot be changed,so caution is necessary!①
Finally, time to make the real thing!
Participants cut the fabric using patterns preparedby Hishinuma, and sewed it into T-shirts with sewing
machines. They applied molds and pieces of wood, etc.
that they brought to the stitched fabric. After soaking it inboiling water, they took it out, washed it off and removed
the mold, and it was complete.②③④⑤•

4
30 min.

Fashion designer / Textile designer

Yoshiki Hishinuma
Artist featured in the Skin + Bones exhibition. Born in 1958, he
graduated from Bunka Fashion College and worked at Miyake
Design Studio before becoming independent. In 1992 his Pariscollection debuted under the brand name YOSHIKI HISHINUMA.
In 1996 he received Mainichi Fashion Grand Prix. Has also worked
on ballet costumes for the Netherlands Dance Theater and Paris
Opera. Launch a new organic-only brand in 2010.

Summary
Hishinuma is an internationally active designer who constantly
pursues new possibilities in fashion. He was also one of theartists featured in Skin + Bones: Parallel Practices in Fashion andArchitecture (June 6 -August 13, 2007), and the most prominent
feature of the workshop he led was the use of special fabric he wasinvolved in developing. Conventional fabric is like skin coveringskeleton and muscle covering skin, but the cloth itself has nosupporting (structural) function. However, this new fabric can itself
create a self-sustaining structure so it becomes a support as well as
a surface. Participants heard fascinating things they would normallynever know about, such as the origins of Hishinuma’s fashion
design activities in creation of new fabric, and the secrets of how
he derives inspiration from materials when producing his works.
Impressed by Hishinuma’s freedom of thought and inquiring mind,
they were excited to collaborate with him and create an original
work that turned the forms they brought with them into clothingwith this state-of-the-art fabric. (YM)

Feedback from participants

Presentation of works
While everyone used the same patterns to make theirT-shirts, each of the resulting works was brimming withoriginality. Participants spoke in front of everyone about
their ideas and what they focused on when making theirworks.

• This was a fascinating experience I could not have had••

anywhere else (and Mr. Hishinuma shared this fabric which isprobably actually a trade secret of his office!) (Woman, 40s)
I heard about lots of new things and learned so much. It wasvery impressive that Mr. Hishinuma draws inspiration fromforms in the natural world and everyday life when creating his
innovative designs. (Woman, 30s)
It was fun to handle this amazing material. It was difficult toimagine the finished product while I was working, but I felt
like it would be fun even if things went wrong. Mr. Hishinuma’s
clothing designs drawing ideas from various sources were very
exciting. (Woman, 50s)

Materials provided

16

●
①

●
②

●
③

●
④

Special fabric developed by Hishinuma and a manufacturer,
thread, needles, rubber bands, electromagnetic ranges, cooking
pan, sewing machine, bowl etc.
Materials brought by participants: Forms they wanted to turn into
T-shirt designs

Workshops 200

17

4

Workshops 2007

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

60 min.

2
50 min.

Workshop for University Students: Talking About Art– Things You Feel, Things You Want to Ask
Program held in conjunction with ANZAï: Personal Photo Archives 1970-2006• Date and time: September 23 (Sun.), 30 (Sun.), 2007, 14:00-16:30• Participants: 51 (23nd: 18, 30th: 33)• Target: University students• Entry fee: Free
• Place: Annex, 3F multipurpose room

OutlineStudents engage in dialogues with Shigeo Anzai, who has viewed anddocumented contemporary art on site for many years, about views of art
and life.

3
15 min.

Art documentarian

Talk session“What photos in the exhibition seized your interest?” “Whatwould you like to hear about today?” “What are you up toat your university?” When the workshop began, first Anzai
asked the students a series of questions. He also spoke in
his distinctive manner about himself, the reasons he began
taking pictures, anecdotes about famous artists and more,
and the students were drawn in by his storytelling skill.
From the beginning there was an intense atmosphere as thetalk about art and artists progressed.

Q&A, presentations about impressions ofworkshop participants
One hour after the talk began, Anzai began taking questions
from the students. These diverse questions included thosedelving more deeply into the experiences Anzai had talked
about, requests for advice on selecting courses and so forth.
Anzai answered each one of them earnestly. After that,each participant made a presentation looking back on thatday’s talk.

Message from Anzai to university
students, group photo

Shigeo Anzai
Born in 1939 in Kanagawa. From 1970 to the present day, he has
documented contemporary art on-site, taking numerous artists’portraits and photographs of works. His photographs capturingcontemporary work in real time are highly acclaimed both inJapan and abroad, including for their historical value as art
documentation.

Summary
Speaking about ANZAï: Personal Photo Archives 1970-2006(September 5 - October 22, 2007), Anzai said he “would like totalk directly with students and create opportunities for them tothink about their own futures.” Based on this idea, we held a
dialogue-based workshop that was a bit different from most of
those we organize. It consisted of about two hours of intense
back-and-forth regarding the exhibition, Anzai’s experiences,
anecdotes about artists, and even advice for students about their
future paths. The workshop was held twice and both times there
were lively exchanges of opinions among university students.
It was a great opportunity for interaction among students in avariety of fields. (NY)During the approximately two-hour talk, Anzai had many
messages to convey to the students. “It is important for you
to know what you are trying to do, what you most want
to do.” "It is important to keep going, this way results will
gradually accumulate and something new, interesting andunprecedented will emerge.” “I started photographing
contemporary art when I was 30 years old, but all the things
I did before that remained useful to me. None of it was a
waste.”The students heard and absorbed these messages, andended the intense, content-rich talk-based workshop bytaking a group photo with art documentarian Shigeo Anzai.

Feedback from participants• It was a precious opportunity to hear the ideas and stories of people of my own generation (and/or people doing the same kind of thing I do) as well as, of course,
those of Mr. Anzai. (Man, 20s)
• I greatly enjoyed the opportunity to have a friendly talk with Mr. Anzai. I was moved by his unique personality and the photos shaped by it. I laughed so muchduring this workshop! (Woman, 20s)
• Unlike workshops where the instructor or leader simply has a message to convey, this was a two-way back-and-forth with Mr. Anzai responding personally to eachquestion he received. (Woman, 20s)
• I was impressed with the statement that “people who make things ought to take it as far as they can, so far it might be considered abnormal.” This was very inspirational for me. (Woman, 20s)
• I was glad to hear about things I don’t usually hear from teachers at school, from a creator’s perspective. Also, there were participants from various schools, and it
was interesting to hear insights from people in fields other than that of art, which I’m accustomed to. (Woman, 20s)
• I was able to hear various stories told by Mr. Anzai himself, and this was a good stimulus for me. The simple dialogue format made it possible for us to understandone another well. I thought it would change my impressions on the work. (Man, 20s)
• When hearing each individual’s impressions of the exhibition, I discovered that some people thought of things that never occurred to me.
• It felt like we got glimpses of how Mr. Anzai relates to his subject when shooting, which was very interesting. (Man, 20s)
• During this workshop we heard about Mr. Anzai’s approach to life, and I am sure it will help me find my own way forward. (Man, 20s)
• This workshop was a wonderful event where I could hear the thoughts of many different people I had never encountered before. (Woman, 20s)
• It was nice to hear from both instructor and students, because I am studying in correspondence course, and I ordinarily have no chance to speak with students inother fields or with artists. (Woman, 40s)
• It was very interesting to hear all these different stories, and Mr. Anzai’s opened up new perspectives for me. There was a wide variety of students, a lot of very
interesting people, and I thought I’d like to become friends with them. (Man, 20s)

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1

ARTIST WORKSHOP

2●③

Make a Symbol Mark for Your School! Make Your Own Symbol Mark!
“Design Workshop for High School Students”• Date and time: October 20 (Sat.), 21 (Sun.), 2007, 13:30-17:30• Participants: 74 (20th: 36, 21st: 38)• Target: High school students• Entry fee: Free
• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

3

Shobun Nakashima

Talk by instructors

Art director

Logos are all around us, and people called art directors
are in charge of creating logos for all sorts of companies,
products, events and so forth. First, the art directors acting
as instructors gave students a lecture on the process of
producing logos. The most important thing is to analyze
the target efficiently, then make something unique that willconnect with this audience.①

Born in 1944. Graduated from Tama Art University, and worked
at J. Walter Thompson and elsewhere before establishing Wave
Creation Inc. in 1981.

Production based on theme
Day 1: Make Your School’s Logo
Day 2: Make Your Own Logo
The themes were presented by instructors each day. First,
the participants analyzed the subject, either themselvesor their schools. What is most important and unique
about them? After analyzing the image of the subject,they expressed it with shape and color, looking for their
distinctive modes of expression.②③④

Art director

Art director

Finished logos
School logo

OutlineWorkshop for learning the basics of design led by art directors active on thefront lines of the field. Thinking about logos, participants design logos forthemselves and their schools.

Katsumi Asaba

Born in 1940. After time at Kuwasawa Design School andelsewhere, founded Katsumi Asaba Design Studio in 1975.
Art director

Kazufumi Nagai

Born in 1961. Graduated from Tama Art University, and worked
for Hakuhodo Inc., then established HAKUHODO DESIGN in 2003.

Summary

Presentation of works
Each person’s work was shown on a projector, andinstructors reviewed them and made comments.⑤

Shin Matsunaga

Born in 1940. Graduated from Tokyo University of the Arts andworked at Shiseido Creative Division, then established Shin
Matsunaga Design Inc. in 1971.

In this workshop, participants thought about the meanings oflogos, which we take for granted in our surroundings and are
deeply imprinted on our memories, and took on the challenge of
producing their own. In doing so it was first of all important toobserve and analyze the targets - themselves and their schools from various angles. Based on an understanding of the featuresand character of the target, they expressed one feature or a
combination of them with images or text, and also expressed
them with abstract or representational shapes and color. Even if
the analysis produced results similar to those of other people, it
was important to pursue a unique look when designing the logo.
In designing a logo, they realized through first-hand experiencethat design is a process not only carried out with the hands, but
by engaging with things thoroughly, thinking, and using creativity
and ingenuity to convey a message to people. (HN)

Feedback from participants• It was a very valuable experience for me to hear the opinions
and ideas of designers I admire, and to have them instruct me.
• I learned a lot by engaging with the concepts and philosophyof logos.
• It was quite different from what I usually study at school, so
Own logo

•
●
①

●
②

•
•
•
•

it was a lot of fun. I was surprised at the flexibility of my own
mind.
It was interesting to create my own personal logo and think
about what kind of person I am. I gained a vivid sense of all thedifferent factors that go into this process: shape, color usage,idea and so forth.
It was a fresh experience to see works by of people my age
from other schools.
I am pleased that my logo was praised as interesting, and I
think that this will encourage me in the future.
I learned hands-on about the difficulty of making works andcommunicating with people.
It is still difficult to understand how to make things as simple
as possible and get your message across, and I thought I
wanted to study much more.

Materials provided
●
④

20

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⑤

Sketch books, pencils, Copic markers, etc.

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ARTIST WORKSHOP

Introduction of instructor’s activities
We have heard of fashion designers, but what do they
actually do? And what is a knit artist? Children listened
intently to the instructors’ explanations of their activities.

20 min.

2
20 min.

3●⑤

Viewing MY TOWN IN MY HOME exhibitedin SFT Gallery
The participants viewed the collaborative work by
instructors Yamagata and mafuyu. The children were very
surprised and excited about the unexpected idea of “clothing
shaped like houses.”①

My House, My Clothes:
Let’s Make a Wearable House4

The children heard a lecture from Yamagata about a fashion
designer’s process, from concept to design, planning, actual
production and fashion show concept.

Design production
Time to start working as a designer! Participants thought up
their ideal designs for clothes shaped like houses. For theirfirst task, they drew pictures with great excitement.②③

40 min.

•••••Outline Thinking of themselves as fashion designers, participants created“wearable homes” using cardboard as a support. At the end, they held afashion show and showcased the work they had produced in front of many
visitors.

Lunch break (40 min.)5

Fashion designer

Yoshikazu Yamagata
Graduated from University of the Arts London, Central SaintMartins in 2005. After working as an assistant to John Galliano,established Writtenafterwards Inc. with Kentaro Tamai in 2007,
becoming the company’s representative director in 2009.
Knit artist

mafuyuGraduated in 2002 from Joshibi University of Art and Design,majoring in Oil Painting and Printing. Active as an artist, primarily
showing in solo exhibitions. Also presents works in other media
formats such as the magazine Soen .

What is fashion designer?

15 min.

Date and time: December 1 (Sat.), 2007, 10:30-16:30
Participants: 23
Target: Elementary school students (3-6 grade)
Entry fee: 1,000 yen
Place: Annex, 3F multipurpose room, 1F lobby, B1F SFT Gallery

Instructor Profile

Program content and timing

Actual production of “wearable houses”
using cardboard

Based on the designs they had drawn, they used cardboard
to make wearable houses.
First they cut pieces of cardboard. They needed to
165 min.
coordinate the position of the head, neck, and arms anddetermine how to create openings for them.
They applied paint with large brushes and pasted usedclothing and toys on their works, giving them richpersonality.④•

Summary
Fashion designer and knit artist. These sound like cool, creative
jobs, but what is their work actually like? The instructors for thisworkshop were Yamagata and mafuyu, whose work was exhibitedin the SFT Gallery as MY TOWN IN MY HOME: Yoshikazu
Yamagata and mafuyu (October 17 - December 24, 2007), and thehighly imaginative theme was “making clothing in the shape ofhouses.” Through this activity, participants learned about whatfashion designers do and actually went through the process frominspiration, to creation, to presentation. It was both interestingand difficult to expand on an image drawn from daily life, express
it in a design drawing, and make it into a completed work. The
results were full of bold ideas and innovative color use, all ofthem rich in unique character. Finally, they presented their works
in front of a large audience in the form of a fashion show. This
was an exceptional and thrilling experience for the participating
children. (YM)

Materials provided
Cardboard, drawing paper, used clothing, yarn, poster paint,colored pens, colored pencils, packing tape, bonding agent,
news paper, scissors, cutter etc.
Materials brought by participants: Unwanted toys and clothes

•

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①

●
②

6
10 min.

7
15 min.
●
③

22

●
④

Preparations and practice for fashion show
The last step was a fashion show. When asked what theyshould do during the fashion show, Yamagata and mafuyu
explained how to make an appearance and how to walkon stage. Participants practiced, and the anticipation
mounted.⑤

Fashion show
The show was held in the entrance lobby of the NACT.
Children wearing their own designs walked on the stage
proudly with musical accompaniment in front of a sizableaudience. The audience applauded enthusiastically.⑥●⑥

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Workshops 2008

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

Viewing Journey exhibition
Participants viewed Journey: Encounter and Dialogues with
Foreign Cultures , in which Okutani’s works were exhibited,and heard a talk in front of the works.①

15 min.

2
10 min.

3
15 min.

●①

I Feel a Little Like a Great Painter Today:
Painting with Hiroshi Okutani at NACT
• Date and time: January 27 (Sun.), 2008, 13:00-16:30
Outline• Participants: 12
Western-style painter Hiroshi Okutani was invited to serve as workshop• Target: Elementary school students (4 grade) Junior high school students (3 grade)
instructor, and participants drew pictures of The National Art Center, Tokyo• Entry fee: 500 yen• Place: Annex, 3F multipurpose room, Special Exhibition Gallery 2E and elsewhere and the surrounding environment.

4

Relocation to Annex 3F multipurpose room
The group left the gallery and went back to the multipurpose
room, while looking closely at the NACT building. It was
sunny that day. The glass curtain wall with sunshine coming
through it was very beautiful.②

25 min.

Hiroshi Okutani
Artist featured in the Journey exhibition, Person of Cultural
Merit, member of the Japan Art Academy. Born in Kochi in 1934.
Completed the oil painting course at Tokyo University of the Arts.
Okutani belongs to the Dokuritsu Bijutsu Kyokai (Associationof Independent Artists), has won many awards including the
Minister of Education Award for Fine Arts, and since 1996 has
been a member of the Japan Art Academy. In 2007 he was nameda Person of Cultural Merit. His vigorous creative career has lasted
more than 50 years, and he remains active as one of Japan’s mostprominent Western-style painters.

Summary
Talk by instructor
While presenting a slide show of his work, Okutani spoke
about what he focused on when creating it. Specifically,
there were three things the group was instructed to focus
on in creating their own works that day: “Drawing things
freely the way you experience them,” “not hesitating tochange colors and shapes according to their feelings,” and“emphasizing shapes and colors that made a particularly
strong impression.”

On a sunny winter Sunday, a workshop was conducted by
Okutani, whose works were on view in Journey (December 15,
2007 - January 28, 2008), an exhibition marking one year since
The National Art Center, Tokyo opened. From the window of
the multipurpose room where the workshop was held, various
buildings such as The National Art Center, Tokyo; Tokyo Tower; andthe National Graduate Institute for Policy Studies. Okutani said,“Let’s draw the scenery seen from here freely,” and in response
the children used their creativity and ingenuity to create highly
original works, using colored paper or emphasizing colors andshapes that made an impression on them. (NY)

Production

Looking at the view from the 3rd floor of the annex,
participants looked for places they wanted to draw, andafter deciding, selected drawing paper and started working.
Everyone worked on their pictures intently while choosing
120 min. drawing materials and methods that would enable them toexpress themselves.③

5

Painter

Feedback from participants• Until now, I had only ever drawn things the way they look from•Presentation of works
Participants presented their finished works in front of thewhole group. Okutani made comments on each piece, suchas “you made good use of paper color” and “the contrast
between the curved glass and the wall lattice pattern iswonderful.” Many great works full of unique personality
were created. The children’s paintings were exhibited in the
Journey shop space in Special Exhibition Gallery 2E the next
day and enjoyed by visitors.④⑤•••

outside, but today I tried to depict an internal landscape showing
my thoughts and feelings about the scene. In the future, I want to
try to draw things the way I think and feel about them. (Girl, 13)
I used both watercolors and colored pencils. One choice I madewas to make the trees sky-blue. I was happy I could create aworld different from reality, for example by showing a rainbow
reflected in the glass. (Girl, 10)
I depicted the trees and fallen leaves using the technique of oil
pastels repelling paint. I used the color of the paper to represent
the late afternoon light. Today was a really fun day. (Boy, 10)
I drew a “crooked picture,” and it was a lot of fun. Mr. Okutani
told us lots of useful things, and we had a great time. (Girl, 12)
It was difficult to draw the NACT, but I think I did a good job. I
want to continue making art from now on. (Girl, 11)Materials provided

24

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③

●
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●
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White drawing paper, colored drawing paper, watercolor, coloredpens, oil pastel, colored pencils, pencils, origami, etc.

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8Workshops 2008

ARTIST WORKSHOP

1

After arriving, participants were divided
into groups based on odor preference.

2

Talk by instructor

40 min.

3●⑤

Sniffing Walk:
Searching for Smells in NACT
Outline Participants explored the galleries, cafés, restaurant, usually off-lim• Date and time: February 16 (Sat.), 2008, 13:00-17:30• Participants: 29
its areas, control room, etc. of The National Art Center, Tokyo, with “scent”• Target: Age 4 years old and overas a keyword. They replaced the smells they found with colors and shapes• Entry fee: 500 yen
and made “scent map.”
Place:
Annex,
3F
multipurposeroom,
several
spots
in
The
National
Art
Center,Tokyo•

The group warmed up using their noses. They sniffed fivebottles, whose contents they could not see, decided whichsmells they liked the best, and then took their seats. People
whose odor preferences were the same were grouped
together.①

The instructor spoke about her own work and about thedepth of our sense of smell. She then revealed the contentsof the bottles used in the warmup section. Pencil shavings,
coffee, Kakkontou… These are generally familiar smells, butpeople said with surprise that without being able to see thecontents, they smelled different.

Exploring the NACT

With the Sniff Leader, who wears a yellow T-shirt, thegroups set off with “Scent Books” containing instructions
for going around the NACT!
Prior to exhibition, works are temporarily placed in an
120 min.
organizing room in a usually off-limits space on thebasement floor. How do sculptures smell? Participants
recorded the odors they had discovered in their Scent
Books using colors and shapes.②
In the museum shop also on the basement floor, theylooked for products with smells they liked or disliked.
The lockers have odors as well. No two are alike. People
expressed many different opinions about what might
have been inside them before.③
Participants ate sweets served at the cafe on the second
floor. They sniffed the aromas and deciding which ones
to eat. How did they taste?
They interviewed the staffs at the information counter
about what smells they liked.
In the Media Arts Festival gallery, the groups searched
for “works that seemed like they would have anodor.” For example, someone said that a video with apredominantly light blue color seemed like it should smell
like a swimming pool.

•

•

•

•

4
●
②

ArtistHisako Inoue
Born in 1974. Completed the graduate program in printmaking
at Joshibi University of Art and Design in 1999. In 2005, went to
New York for a year on the Agency for Cultural Affairs Programof Overseas Study for Upcoming Artists. Has been highly active
both at home and abroad since returning to Japan. Inouecreates installations that stimulate the five senses, characterizedby pleasant spaces that stimulate memory and encouraging
recollection by visitors primarily using the effects of scents.

Summary
In addition to galleries, restaurant, museum shop, art libraryand public spaces, participants also visited off-limits areas of
the NACT that they normally could not visit, such as the control
room and organizing room. In addition, by interviewing various
people who work at the NACT, they gained the opportunity tounderstand a wide range of functions and roles of The National
Art Center, Tokyo. Sniffing different scents made people’s noses
more sensitive, and they experienced and enjoying scents invarious ways, smelling or imagining odors coming from works
of art, enjoying the scent of food and so forth, as well as using
their imaginations to express invisible odors in visible form using
colors, shapes, etc. Through this workshop focusing on the senseof smell, which we usually use without being consciously awareof it, participants came to appreciate our rich and multi-layered
olfactory sense. (AT)

•

•

●
①

Instructor Profile

Program content and timing

60 min.

5

Return to multipurpose room, working on“Scent Map”
Odors discovered in the NACT were represented by colorand shape, and people wrote their impressions on preparedspeech balloons. They pasted these on a huge map of the
NACT interior.④

Presentation

Feedback from participants• I greatly enjoyed this workshop, where I learned that memory•••and smell are connected directly and can affect the way weappreciate art. (Man, 30s)
Everyone knows about experiencing museums with our eyes,
but doing so with my nose was a fresh experience and I noticed
things I had never consciously recognized before. (Man, 40s)
I think that using imaginations based on odors is a uniqueidea. I think that this was a good project to enrich children’s
imaginations. (Woman, 30s)
It was great that it enabled children to enjoy the NACT. Unlike
those in foreign countries, Japanese art facilities have a “childunfriendly image,” and it seems difficult to visit with children.
Here they had a nice opportunity to enjoy the NACT while
playing happily. (Woman, 30s)

Materials provided“Scent book,” A1-size NACT map, watercolors, colored pens,colored pencils, three types of aromatic deodorizer (lemon,
grapefruit, orange), five bottles of scent (pencil shavings, coffee,cookies, kakkontou (a kind of Chinese medicine), cinnamon
powder), etc.

Each group made presentations on the odors they had
discovered and those they imagined. Even in the sameplaces, people experienced odors in different ways.⑤

30 min.

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26

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9Workshops 2008

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

Introduction of workshop content andprocedure

15 min.

2
50 min.

3●⑥

A Human-sized Project: Making a Balloon
Program held in conjunction with Artist File 2008:
as Big as You
The NACT Annual Show of Contemporary Art• Date and time: March 15 (Sat.), 16 (Sun.), 2008, 13:30-16:00• Participants: 46 (15th: 19, 16th: 27)• Target: Anyone• Entry fee: Free
• Place: 3F Auditorium, Lecture Rooms A,B, and C, Bamboo Grove

Outline Takefumi Ichikawa, who creates “floating sculpture,” was invited as
instructor, and participants created balloons the same sizes as themselves,
placed titles on them and exhibited them. Finally, they toured the works with
Ichikawa, and talked about the enthusiastic emotions they put into their works.

20 min.

Production•

Measure height with string
It was a new experience to measure one’s height with astring instead of a tape measure.
Mark balloon with height.①
Fill with helium and tie it off at the mark. Cut off extra
film.②••

Display•

Select exhibition site
Participants attached their balloons to chairs in theauditorium and nearby corridors, lecture rooms, etc. or
bamboo plants in the bamboo grove. While mounting them
they paid close attention to detail.③④
Name work and mount a caption
People wrote their names, abstract words like “truth,”“growth,” and “escape,” poetic phrases like “spaceshipof Princess Kaguya,” and even humorous things such as“Newscaster Girl.” These interesting titles gave a sense of
the participants’ character.⑤•

4
60 min.

ArtistTakefumi Ichikawa
Artist featured in Artist File 2008 exhibition. Born in 1971,
completed the graduate program in sculpture at Tama Art
University with a focus on multimedia. Has created many
ephemeral works in which form and location are not fixed, andwhich change over time. In the Artist File 2008 exhibition, he
presented a “floating” installation incorporating helium balloons
molded with a special transparent film.

SummaryThis workshop was related to the work by Ichikawa featured in
Artist File 2008 (March 5 - May 6, 2008). The length was the
only difference among the transparent tubular balloons madeby participants. The balloons did not resemble the participants,
but each person’s life-sized balloon felt like their own alter ego
for some reason. Participants felt strong attachments to theirballoons, invested them with their own meanings and usedimagination and ingenuity in displaying them. One important
point of this workshop was the tour at the end, in which thegroup toured the NACT and viewed participants’ balloons with
Ichikawa. Ichikawa enthusiastically asked the group about themeanings of their work and their intentions in how they exhibited
them. Through this dialogue, participants realized that not only
the creation of works, but also the meanings assigned to themand the way they are exhibited are important elements in art. This
workshop did not require advance reservations and people were
free to drop by and participate. People from around Japan joinedin, ranging from children to people in their 60s. (YM)

Viewing tour
The group took a tour and explained their own works. It
was an exciting and enjoyable tour where people had fun
dialogues with Ichikawa and heard the surprising ideas ofother participants.⑥

Feedback from participants• I sensed the artistic spirit lurking within each person, and I had••

a great time. Hearing the titles other participants gave theirworks, I thought “Wow, I see!” (Man, 40s)
I had a great time and felt like I had returned to my childhood.
I got so enthusiastically involved in it that I forgot about thetime. I also admired other participants’ good sense of where to
install their works. The site becomes a part of the work. I felt
like I could regain my humanity and sense of freedom that I
had forgotten because of I’m so busy. (Woman, 40s)
I came to Tokyo from Nara, and I was happy that I had thisexperience that I was not expecting. (Man, 10s)

Materials provided
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①

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③

28

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②

●
⑤

Special film, helium, vinyl string, fishing line, tape, caption cards,
pens etc.

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Workshops 2008

1

ARTIST WORKSHOP

Introduction of workshop content, andprocedure①

15 min.

2

45 min.

3●③

Let’s Make an Imaginary Space!
Program held in conjunction with Artist File 2008:
The NACT Annual Show of Contemporary Art• Date and time: April 12 (Sat.), 2008, 13:00-16:30• Participants: 11• Target: Elementary school students (2 grade)- Junior high school
student (3 grade)• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

Outline Children were divided into groups and collaborated on producing
fantastic cities. They used everyday objects to make music to accompany
animated films of these places and presented the finished product as avideo work.

90 min.

4
45 min.

Viewing work in Artist File 2008 exhibition
Participants experienced Sawa’s work Hako , which creates
an amazing space with videos on six screens placed on thefloor of the dark gallery. Crashing waves, the pendulums ofwall-mounted clocks, etc.: each was a familiar scene, but in
Sawa’s hands they were transformed into an unusual space.
Children were very excited to engage with fascinating
contemporary art.

Production
Children were divided into three groups, and in each of
three spaces partitioned off with styrene boards, theycreated fantastic spaces. They suspended CDs from strings
or made angels flying through the air. Some made large
bridges, and others made new creature-objects resembling
dinosaurs. Everyone was inspired to create what they
thought was necessary for that space, and the result was
three totally different places.②③④

Video projection / Presentation of works
Tomoyuki Washio, who collaborates with Sawa, converted
the objects in the three imaginary places into animatedfootage using a personal computer and a DJ mixer. Another
Sawa collaborator, sound artist Dale Berning, recorded
soundtracks the children made with beads, marbles andother everyday items, and presented them. Sawa further
modified the children’s presentations at a later date, andmailed DVDs of them to the participants.⑤

ArtistHiraki Sawa
Artist featured in Artist File 2008 exhibition. Born in Kanazawa
City in 1977. Completed studies at University College London
Slade School of Fine Art. Sawa has shown works in numerous
exhibitions both in Japan and abroad, including many fantastical
video works. Lives and works in London.

Summary
The workshop by Sawa, whose video work was featured in theArtist File 2008 exhibition (March 5 -May 6, 2008), incorporated
high-tech equipment and technical staff, and gave a picture of
Sawa’s working process. At first the children seemed a bit shy
about creating something with people they had never met before,
but as they were making imaginative vehicles, animals and soforth and positioning them in the spaces, they overcame thishesitancy and created fascinating imaginary places like nothing
seen before. The instructors then turned these into animations
with movement and temporality, and improvised music thechildren made with everyday objects was added, resulting in aworld like that of Sawa’s works. The experience promised to be
an inspiration to the children that would change the way they
engaged with video art in the future. (YM)

Feedback from participants• I think I did a good job of making a train. Making the sound at••

the end was a little difficult, but I tried my best. It was lots offun. (Boy, 9)There were lots of amazing sounds. It was fun to makesomething like a stage set (assembling things and making
things fly through the air and so on). (Girl, 9)At first I wondered what kind of space we were supposed tocreate, but as time went on and we were making and placing
things freely, I felt like I understood what it was all about. (Boy,11)

Materials provided
Styrene board, drawing paper, colored pens, used clothing,magazines, toys, string, straw, bamboo strips, paper cups, yarn,
cotton, video cameras, projectors, computers, DJ mixers, etc.

30

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⑤

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Workshops 2008

1

ARTIST WORKSHOP

Introduction of instructor’s activities,
workshop content, and procedure①

30 min.

2●④

A Futuristic Life Made by minä perhonen
Program: “minä perhonen and Design” (lecture and workshop)

30 min.

OutlineParticipants used their imaginations to envision future lifestyles andrepresented them on single sheets of paper using minä perhonen fabric.

Akira Minagawa
Born in Tokyo in 1967. After graduating from Bunka Fashion
College, established the brand minä in 1995. In 2000, opened a
directly managed shop in Shirokanedai, Tokyo. Has also presented
collections in Paris since 2004. Winner of the Mainichi Fashion
Grandprix 2006.

•

Selecting fabricFirst, people selected fabric from among Minagawa’s
colorful and original designs. There was an extensive
lineup of minä perhonen fabrics past and present. Observe
135 min. each piece carefully. What would stripes or polka dots bechanged into?②
Cut fabric and arrange it on drawing paper
Minagawa spoke about the fabric production process andrelated anecdotes about it, and people felt closer to fabricand their imaginations were stimulated. Some people
combined pieces of fabric with pictures they had drawn orphotographs from their lives. Even more than two hours
after starting, people continued to work with uninterrupted
concentration.③④

3

Designer

Production•• Date and time: May 18 (Sun.), 2008, 13:30-17:00• Participants: 20• Target: Anyone• Entry fee: 2,000 yen• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

Presentation
Each person thought about their dreams and goals, andtalked about the ideal “lifestyles of the future” expressed
through minä perhonen’s fabric. Minagawa said “I
was impressed that ‘nature’ was a key word for many
participants.”⑤

Summary
Minagawa, whose work appeared in the SFT Gallery exhibition
minä perhonen: Today’s Archives (April 23 – June 30, 2008), wasinvited to give a lecture in the morning (attended by 250 people)
and conduct a workshop in the afternoon. While the morning
lecture attendees were all adults, the afternoon workshop was
more diverse, with participants ranging from five-year-old children
to adults. Pieces of minä perhonen fabric were carefully preserved
according to Minagawa’s philosophy of “no waste.” Using thisfabric from the past 10 years, highly sought after as rare vintage
items, people expressed the “lifestyles of the future.” Beautifully
patterned fabrics with vivid colors reflecting, minä perhonen’s
unique worldview strongly stimulated the group’s imaginations.
It was impressive that participants expressed bright futures filledwith hope, inspired by the unique designs of the exactingly woven
fabrics. With warm advice from Minagawa, they all thought
deeply and creatively about an ideal future that incorporated theideas embodied in the fabric. (YM)

Feedback from participants• When I heard “designing future lifestyles with minä perhonen,”

•

•
•
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②

•

I wondered what on earth it would be like and looked forward
to it. The presentation session at the end was great. I heard
ideas and opinions from people I would not normally get toknow in my daily life. It was interesting that everyone madedifferent things from the same materials. (Woman, 30s)
It was fun. I enjoyed making things. I wonder why I enjoy it somuch. (Boy, 5) / My kid was so self-assertive, I wanted to makeit a collaboration but I was overruled! I was surprised at how
this activity brought out this aspect of his personality. It was
great to speak with Mr. Minagawa and I thought that I would
be happy if I could wear his clothing designs.
I usually have little opportunity for self-reflection, and I wasvery happy to have this wonderful chance to think and express
myself using these amazing fabrics. People’s ideas about the
future were unforgettable. (Woman, 30s)
I was surprised by the other participants’ unexpected ideas. I
enjoyed it and I would like to participate again if I have anotherchance. (Man, 50s)
When I saw Mr. Minagawa’s fabrics, I imagined all kinds ofthings and I wanted to incorporate them into my work. It
was the first time in a long time that I had done anything likethinking about my future and expressing it through crafts, and I
got deeply and happily absorbed in the activity. (Woman, 20s)

Materials provided
minä perhonen fabric, drawing paper, colored pencils, coloredpens, glue, bonding agent, scissors, etc.

●
③

32

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⑤

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Workshops 2008

1

ARTIST WORKSHOPTalk by instructor• The instructor spoke about starting to visit art museums

30 min.

•2
60 min.
●④

Art Appreciation Workshop: Playing with Words
Program held in conjunction with Utopia:
at the Emily Exhibition
The Genius of Emily Kame Kngwarreye• Date and time: July 6 (Sun.), 2008, 15:00-17:00• Participants: 22• Target: Anyone• Entry fee: Free (exhibition ticket required)• Place: Special Exhibition Gallery 2E, 3F Auditorium

OutlinePeople both with and without visual impairment enjoyed the Utopia:
The Genius of Emily Kame Kngwarreye exhibition through verbal
communication.

3
30 min.

34

Instructor Profile

Program content and timing

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②

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and engage in verbal communication about art,
incorporating his own experiences. “Sometimes evenpeople who have no problems with their vision do notsee. But there are lots of new things you will notice if
you really look at the work.” This workshop involved
communication among the group about their impressions
and thoughts.①
Participants were divided into small groups, and introduced
themselves before going to look at the works. There werepeople with visual disabilities in every group.

Viewing Utopia: The Genius of Emily Kame
Kngwarreye
People consulted within their group and decided whichworks to view. Participants moved through the exhibition,
standing in front of the works and talking freely about
what they felt, realized, and imagined through them. At
the entrance to the gallery, in front of a large picture of theartist, the groups talked about what kind of person she was.
Some said she looked like she had strong force of will.
Many of her works are abstract. When viewing Creationof the World , a flowing group of blue and green dots
made some people imagine the ocean floor. Hearing thesecomments, people wondered about what kind of seaweed
was depicted and laughter was heard. A visually impaired
participant asked a question in front of a picture containing
many lines: “If the lines in this painting were a wind, howstrong would the wind be?” In response, other participants
related how they experienced the painting as if it were
wind. In a group viewing a work titled After the Rain , heavyon green and brown, there was a comment, “I’m surprised
to see such colors after a rain.” When a visually impaired
participant was asked what color the title evoked, theanswer was “green.” Why? “Because on rainy days you
can smell the plants. It also makes me think of brown likethe soil.” This group then talked excitedly about the images
that colors evoked.②③④

Review

Kenji Shiratori
Lives in Mito, Ibaraki Prefecture, and works as a totally blindmassage therapist. Through "appreciation of communication
through words", in various places, pursues activities aimed
at enabling both those with sight and those without to enjoy
works of art together by “appreciating art through verbal
communication.”

SummaryThis workshop, held in conjunction with Utopia: The Genius ofEmily Kame Kngwarreye (May 28 -July 28), was not a programwith a speaker and listeners, but rather put everyone on equal
footing and had them communicate about the works. Because it
aimed to deepen art appreciation through verbal communication,
people could participate regardless of visual impairment.
Speaking freely, the groups appreciated not only visible aspectsof the works but also their atmosphere, their concerns, and what
they imagined. Appreciating the works through dialogue among
various people regardless of age, gender, and vision impairment,
people encountered things they would not have noticed alone,and experienced a broadening of the way they engage with art
and the world it envisions. (AT)Feedback from participants• I greatly enjoyed meeting new people. The time passed quickly.
••••

It was interesting to express myself and talk about intangible,
intuitive things in words. (Woman, 40s)
It was good not just hearing a one-sided explanation, but being
able to appreciate art by speaking. (Woman, visually impaired)
I could imagine a lot about Emily, her work, and the landscapeof Australia by speaking with other participants, and I wanted
to come and experience the painting again. (Woman, visually
impaired)
It was fun to hear various opinions and impressions from otherpeople. I was surprised that it is possible to appreciate paintings
with people who are unable to see them. (Woman, 50s)
I experienced things in a way I usually couldn’t at an art
museum. The experience of getting to know visually impaired
people was also valuable, and I thought it was great thatmembers of the general public visiting the museum saw thisworkshop in progress. (Woman, 30s)

After viewing the show, the groups returned to theauditorium and communicated their thoughts andimpressions. When all the groups had come back, theypresented what they had felt and experienced. There was
feedback such as “I was able to think more deeply by telling
people what interested me,” “I felt my imagination expand
when I delved down into impressions of each work one by
one,” and so forth.⑤

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1

ARTIST WORKSHOP

Introduction of instructor’s activities,
workshop content, and procedure

30 min.

2

Shimizu, who has designed products including Canon
digital cameras, presented a slideshow conveying his close
observation of and deep love for industrial products that we
see all the time but do not notice, such as fittings for joining
electric wires, blackboard erasers, metal clasps on sausages,
jumprope handles and so forth.①

Step outside, and we’re sure to find interesting industrial
design! The group set off to explore. They walked aroundthe back streets of Roppongi 7-chome near The National Art
Center, Tokyo, and photographed interesting things while
walking. They returned to the NACT and each person chose
one photo.②③

Lunch break (60 min.)●⑤

Discovering Things We Ought to Love!
Fun Designs!
Outline Participants explored the interior and surroundings of The National Art
Center, Tokyo and photographed “objects” (designs) that attracted their interest withdigital cameras. Each person picked out one of them, created a text summarizing the“story” they associate with that object and presented it to the group.

Product designer

Hisakazu Shimizu
Born in Nagasaki in 1964 and graduated from Kuwasawa Design
School. At Canon Inc., has led the design of many products
including the Canon IXY DIGITAL series, while also carrying out
independent design activities as SABO STUDIO. Major works
include Chew Chew Shade (Nagasaki Prefectural Museum of Art),Ii Naosuke (Galerie Downtown), and Watermelon Clock (Galerie
Vivid, Netherlands).

Outdoor exploration

60 min.

• Date and time: August 24 (Sun.), 2008, 10:00-14:30• Participants: 21 (8 parent/guardian and child groups)• Target: Elementary school students and over, parents• Entry fee: 500 yen per group• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

3

Production
Participants thought of stories based on their pictures,
which had been printed during the break.④

SummaryThis workshop led by Hisakazu Shimizu, whose exhibition Aisubeki
Monotachi (Lovable Things) (July 2 -September 1, 2008) was onview in the SFT Gallery, aimed to let people rediscover humble but
marvelous works of industrial design that are all around us but gooverlooked. Shimizu made the group realize that every industrial
product fulfills an important function and there is a great idea
behind it. It seemed likely that after exploring the quiet area on
the backstreets of lively Roppongi, finding things that caught theirinterest and devising stories about them, the participants would
turn a warm gaze toward the everyday things around them. This
was a workshop where people adopted a different perspectivefrom usual on these “things” and got a chance to discover newworlds concealed in them. (YM)

60 min.

4

Feedback from participants
Viewing exhibition in SFT Gallery

30 min.

5

The group viewed the Shimizu Hisakazu exhibition Aisubeki
Monotachi (Lovable Things) at the SFT gallery on B1 floor.
(Meanwhile, the staffs combined the photographs and theaccompanying story and printed out booklets for all)⑤• It was exciting to realize that there are well-thought-out func-•
Presentation
Everyone made presentations of their works, which wereshown via projector.⑥•

tions and stories behind designs that I take for granted andhad not really noticed. I took part with my younger brother, andit was an opportunity for both of us to discover new aspects
that we usually do not see and come up with interesting ideas.
(Woman, 20s)
Something like this workshop is a rare opportunity, and it was
fun to see my surroundings from a different point of view. (Man,10s)
It was lots of fun. It was hard to narrow it down to just one
photo, though. I was very happy to get the printed-out photo. I
want to pay closer attention to the industrial products aroundmy house. (Boy, 8 and his parents, 40s)

30 min.

Materials provided
Paper, eyelet hole punchers, eyelets, string, scanners, printers,
computers, projectors, etc.
Materials brought by participants: Digital cameras
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ARTIST WORKSHOP

5 min.

2
25 min.

3
45 min.

●④What is Design??
Let’s Try to Design a Chair!
•
•
•
•
•

Date and time: September 28 (Sun.), 2008, 13:00-17:00
Participants: 29
Target: Elementary school students
Entry fee: 500 yen
Place: Annex, 3F multipurpose room and elsewhere

OutlineWith internationally active designer Hiromichi Konno, participants
experienced designing furniture while thinking about the feelings of people
who are to use it.

4
40 min.

5
80 min.

●
①

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②

6
30 min.

●③38

Instructor Profile

Program content and timing
Explanation of program outline
The workshop started in the multipurpose room, where
various kinds of chairs are lined up. The participating
elementary school students picked out their favorite chairs,
sat down in them, and listened to Konno’s talk.①

Introduction of instructor’s activities
Konno talked about his product design career thus far andthe ideas that underlie his design: “Designers think deeply
about the people who will be using their products. Thatmeans the goal of design is making people happy.”

Viewing chairs in the NACTThe group looked at designer chairs exhibited in the
NACT, actually tried sitting in them, and assessed their
comfort. Konno described the designers of the chairs, themanufacturing process, what kinds of materials were used
to make them and so forth in an easily understandable
manner. After viewing the chairs, Konno presented theparticipants with the design challenge for the day in the
2nd-floor corridor, which is lined with concrete columns:“Design chairs for your family, if they were going to sit inthis center space with all the columns.”②

Designing chairs
When they returned to the annex, the group first produced
design drawings of their chairs. They thought of their families,
and drew chair designs on paper covering the entire floor,
thinking hard how they would like to use them.③

Product designer

Hiromichi Konno
Graduated from Chiba Institute of Technology. After serving as
assistant designer at Ross Lovegrove, launched an independent
career in London, and has been based in Tokyo since 2008. Work
includes product designs for European brands such as Fritz Hansen
and Georg Jensen, and Konno is highly acclaimed for productsthat combine beautiful form and functionality.

Summary“The goal of design is making people happy.” Konno’s words
provided a starting point for elementary school students who
took on the challenge of designing chairs for their families inthis workshop. The children listened to Konno, viewed various
chairs, and learned that each one was designed carefully withconsideration for the people who would use it. For their own
families, they designed chairs with thoughts of their happiness,and used paper clay and cloth to produce miniature models
brimming with creativity. (NY)

Feedback from participants• Today I had to think really hard, but it was fun. (Boy, 6)• I had a really good time even though it was difficult to make amodel. (Girl, 8)• It was great that we could learn all kinds of things about
design and tour the NACT. (Girl, 9)• I was happy that I could draw pictures using my imagination,•and that my model came out the way I hoped. I want to try it
again. It was also fun to sit in chairs with interesting designs.
(Boy, 9)It was really difficult to attach a side table, but luckily I wasable to attach it using wire. But it was difficult to balancebecause it kept collapsing. (Girl, 12)

Production of miniature chairsOnce their design drawings were completed, theparticipants made small models of their chairs using paper
clay, wire, pieces of wood, fabric and other materials. Whenmaking models, they understood the difficulty of designinga chair because things did not go the way they wantedor the chairs did not stand properly. They got advice from
Konno, corrected the forms and improved the strength, andcompleted their one-of-a-kind miniature chairs!④

Materials provided
Paper clay, styrofoam, wood scraps, paper tubes, colored
cardboard, cardboard rolls, colored drawing paper, wire, braid,
mirrored tape, yarn, fabric, cotton, colored pens, pencils, coloredpencils, 24 types of chairs, photographic panels showing chair
manufacturing process and designs, etc.

Presentation of works
The group placed their completed miniature chairs on apresentation table, which represented the column-filledlobby of The National Art Center, Tokyo, and presented
them to all the other participants. There were many great
designs that emerged from thought about their families,
including chairs intended for the whole family to see
scenery, chairs where a mother and baby could sit together,and so on. Miniature chairs designed by children were
exhibited in The National Art Center, Tokyo 1st-floor lobby
for a week and enjoyed by visitors.⑤●⑤

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ARTIST WORKSHOP

1Grouping

2

Introduction of the instructor’s activities
and explanation of the day’s workshop
contents

20 min.

3
15 min.
●④Spelling Roppongi: Putting a Stroll
in a “Letter”• Date and time: December 21(Sun.), 2008, 10:30-16:00• Participants: 20• Target: Elementary school students and over (elementary school
students were accompanied by their parents)• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere

OutlineAfter fieldwork to explore the city, the participants produced “letters” invarious expressions, by incorporating materials that they gathered andthings they noticed during the fieldwork.

4
5
6

90 min.

●②

7
30 min.

8
9
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40

After completing registration, the participants drew anenvelope and were divided into groups, according to theenclosed picture of the post card of The National Art Center,
Tokyo.

“Try to encounter a variety of things and events byobserving aspects of the city that you have usually missed,from a different perspective,” Akiyama said.①

Planning to explore the town
After deciding a group leader, participants looked at a
map and talked about where they wanted to explore in
Roppongi. Because it would be a day-long workshop, theyalso thought about where they would have lunch.

ArtistSayaka Akiyama
Born in Hyogo in 1971, currently residing in Kanagawa. While
visiting various domestic and foreign lands, she has been
expressing the thoughts, events, and encounters by sewing her
walks into colorful seams.

Summary
The day of the workshop turned out to be sunny and warm,
a wonderful day for walking. Before going for a walk, theparticipants listened to Akiyama, who has visited various
domestic and foreign places and has been creating works
expressing thoughts, events and encounters she had, give advice
about paying conscious attention to different things. All of theparticipants could make unexpected discoveries about aspects ofthe town that they normally would overlook by observing them in
different perspectives from usual. The workshop was completed
when the letters full of memories arrived to someone after awhile. (AT)

Stroll through the city

One group headed for lush green Aoyama Park, and anotherenjoyed gourmet food in the Azabu Juban area, where there
are old restaurants. A group strolling around the back road of
Roppongi enjoyed the old townscapes that remained in the
140 min. city, finding a mosaic painting on the wall of an apartmentbuilding, interacting with a cat nestling in a back alley. There
are various discoveries in a town and on streets that you passby casually.②

20 min.

●①

Instructor Profile

Program content and timing

Review of the walkAs each group came back from their walk, they took a rest
over tea. They then announced their group name and madea presentation about where they went and what they found,showing things they collected on the way.③

Production
The participants produced “letters” that incorporate what
they noticed and things they collected during the walk, withthe person they intended to share their experience with inmind. In addition to collected leaves and tree nuts, shop
flyers, and old magazines, even containers that had lunch
were included as materials of their letters.④

Feedback from participants• I always thought I paid close attention to things around me.
•••

However, I had different pleasure out of the discoveries that I
made after taking time. Particularly so this time because there
were others. (Woman, 20s)
It was a very pleasant event to walk around Roppongi’s townscape, thinking about various things. I started to think that I
should change my point of view a little when I take a walk in
my daily life. (Woman, 50s)
I was excited about my first experience in this, as if I had forgotten my age, and I got something to talk about when I wenthome. Although I did not know anything about how to make awork, I could complete the task thanks to advice from others. I
am full of satisfaction. (Woman, 70s)
This was my first time to participate in this kind of workshop.
Instead of just strolling through town, by producing the work, I
was able to pay more attention to things while walking and toremember what I saw today. I really had fun. (Woman, 20s)

Materials provided
Colored paper, Japanese paper, cloth, watercolor, colored pencils,
oil pastels, colored pens, etc.

Presentation of works
Each group gave a presentation, showing their work andtalking about what they noticed and remembered during
the walk. All the participants listened eagerly to eachpresentation that was made from their own perspective.⑤

Exhibition (January 7 - 12, 2009)
The works produced at the workshop were exhibited at the
SFT Gallery of the NACT.

Shipment
The works full of memories of exploration were shipped
after the exhibition was over.

●⑤

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1

ARTIST WORKSHOP

Introduction of the instructor’s activities
Fujishiro showed his own product and explained the pointsof designing a product, such as being aware of its user andwhere it is installed.①

20 min.

2

Description of procedures●⑤

Make Your Own Mobile!
OutlineWe invited Shigeki Fujishiro, a product designer, as a instructor and mademobiles that shake in the air, using wire and vinyl tape.

3

Mobile production

4

Presentation

Before getting started, the participants imagined what
their mobiles would look like. They made shapes by folding
and extending thick wires with pliers. They found it rather
difficult to make a single string of wire into a 3D shape.
170 min. They received tips from Fujishiro. Distinctive shapes werecreated out of a single white wire. They then connected
those shapes together by using fishing gut, adjusting thebalance.②③④

30 min.

Product designer

Shigeki Fujishiro
Born in Tokyo in 1974. After graduating from Wako University,
School of Economics, he graduated from the Kuwasawa
Design School, nighttime program. In 1998, he joined the IDEE
Corporation, designing its standard items and custom-madefurniture. After leaving the company in 2005, he founded shigeki
fujishiro design and has been conducting a wide range of activities
ranging from accessories to furniture design.

Materials for making mobiles are wire and vinyl tape. First,
Fujishiro gave a demonstration making a simple form.

20 min.

• Date and time: February 14(Sat.), 2009, 13:00-17:00• Participants: 22• Target: Junior high school students and over
• Entry fee: 500 yen• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

The participants hung their mobiles from the ceiling andappreciated them. Mobiles that were joined together bytransparent strings looked like colorful ‘lines’ floating in
the air when looked at from a distance. Works representing
each individual’s tastes decorated the ceiling.⑤

Summary
As an instructor, we invited Shigeki Fujishiro, who exhibited his
mobiles at the FRAMES exhibition (January 14 – March 16, 2009)
held at SFT Gallery. The mobiles exhibited by Fujishiro weremodeled three-dimensionally by combining thin trees. The way
the mobiles, connected to one another by transparent threads,
shook according to the movement of the air and looked likevibrant lines coloring the air. The materials Fujishiro suggested forthis workshop were wire and vinyl tape. The participants worked
on design while thinking about the places where their mobiles
was going to be set up and the person they wanted to give theirmobiles to. They then exercised their creativity and made uniquemobiles by using simple materials. (AT)Feedback from participants• I enjoyed not only making something with my hands, but also•••

talking with a professional designer and other people I hadn’t
met before. I think I could return home with a lot of souvenirs,
in addition to the mobile. (Woman, 10s)
Mixed with young people, I feel like I remembered the youth.
(Man, 70s)
It was a very good experience where I was concentrating for 3
straight hours, making something with materials that I normally
do not use. When I saw the final presentation of the works, I
was touched by the variety of shapes that only with wire andvinyl tape. (Woman, 30s)
It was a very fulfilling time for me as it was a long-forgotten
experience of “making something without thinking about otherthings.” Linking all the shapes together with strings was rather
hard, but it even added to my joy when it was completed. It
was fun to see so many different works created out of the samematerial. I realized once again how important it was to cherish
creative ideas. I was able to return to the point that “making
things” is fun. (Woman, 20s)

Materials provided

42

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Wire, colored vinyl tape, fishing gut, pliers, scissors, etc.

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ARTIST WORKSHOP

25 min.

●④

Miniature Insects World: Making a
Program held in conjunction with Artist File 2009:
Bug’s-eye World The
NACT Annual Show of Contemporary Art
•
•
•
•
•

44

Date and time: March 8(Sun.), 2009, 13:30-16:30
Participants: 17
Target: Elementary school students
Entry fee: 300 yen
Place: Annex, 3F multipurpose room, Special Exhibition Gallery 2E

Instructor Profile

Program content and timing

OutlineBy using the waste materials they brought themselves, the participants
imagined the world as viewed from the point of insects, and produced three
dimensional works.

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Appreciation of Ohira’s works displayed at
the Artist File 2009 exhibition
The participants looked at Ohira’s works very carefully inthe special exhibition gallery. Seeing gigantic works inunusual shapes, they had a lot of comments and questions,such as “It seems as if I have gotten smaller,” and “How
did you bring this in?"①②2

Description of the procedures andproduction

3

Presentation

The children showed to one another what they broughtfrom their houses and thought about how to make theworld from insects’ perspectives. They brought in various
110 min.
things, including boxes of snacks and medicines, egg packs,
ribbons, CDs, etc.
When they had difficulty figuring out how they could use
their materials, Ohira would give them tips. He would
talk to them like, “What kinds of insects are there aroundthe flowers?” or “What if I combine various materials?”
and watch what they do. One made a bed for an insect
by attaching a cloth to an egg pack, and others used acontainer for a snack and a pet bottle and made a room
where an insect lives. They worked very hard building a
distinctive world.③④⑤

30 min.

Things usually thrown away were transformed into unique
works by the hands of children, such as a world out of a box
where insects live, a shape of a vehicle, and a house. They
created works filled with a lot of ingenuity and imagination.

ArtistMinoru OhiraAn artist participated in the Artist File 2009 exhibition. Born in
Niigata in 1950. After studying sculpture at Kanazawa Collegeof Art, and at the graduate program of Tokyo University of theArts, he studied at Mexico National Esmeralda Art School in thelate 1970s. He moved to the United States in 1982, and eversince then, he has been based in Pasadena, California, producing
sculptural works out of wood and stones.

Summary
Minoru Ohira uses wood and bark picked up in forests and deserts
as well as waste materials, and transforms them into organic
sculptures full of vital power. We invited him as an instructor andhis choice for materials was none other than waste materials.
What kind of expression can you create out of things that aredestined to be thrown away as garbage? What will the world
look like if you look at it from a different perspective fromyour own, something like a tiny being like an insect. Althoughthese questions might seem unrelated at first glance, they both
encourage you to shift your “viewpoint.” Imagine a sight that is
not actually visible, give “things” a new value different from theoriginal function of them, and turn it into a work—that is what
the participants experienced through this workshop.
It was impressive to see the abundant imagination of children
transform things that were supposed to be thrown away as
garbage because they had fulfilled their intended roles into
something new and vibrant. (YM)

Materials provided
Paper, pens, cloth, old clothes, wires, glue, tapes, scissors, cutters,
etc.
Materials brought by participants: Empty boxes, waste items

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Workshops 2009

1

ARTIST WORKSHOP

30 min.

2●③

Various Shapes Emerging from Stone
Program held in conjunction with Artist File 2009: The NACT Annual Show of Contemporary Art• Date and time: April 5(Sun.), 2009, 13:30-17:00• Participants: 18• Target: Elementary school students (4 grade) and over
• Entry fee: 1,000 yen• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

OutlineInviting Shingo Murai, who uses stone as material for his works, wecreated three-dimensional works by using stone fragments of different
shapes.

Appreciation of the Artist File 2009
exhibition
We looked at the works of Murai and listened to him talking
about his thoughts in the works and the attraction towards
facing stone.①

30 min.

Shingo Murai
Artist participated in the Artist File 2009 exhibition. Born in Oita
in 1952. Learned sculpture at Tama Art University and completed
graduate school. Murai has consistently produced works usingstones, and has established his unique style by pursuing thenature and the possibilities of shaping stones.

Production

Back to the annex multipurpose room, Murai taught theparticipants how to handle stones, and they started towork on their own production. Materials prepared for today
were thin plates of black granite and hundreds of stone
120 min. fragments that came out in the process of Murai’s work.
The participants glued the stone fragments by instant glue,and created three-dimensional works of their own design.
They changed shapes of stone by cracking the stone board
with vice pliers and pliers, or by breaking thick plates into
pieces by banging them with hammers. Then, they glued
these fragments together to form a three-dimensional work.
However, breaking stone into ideal form was not that easy.
They didn’t break into an intended shape or crumble by theirown weight. The participants struggled with them, but withtips from Murai, they gradually stacked them into a shapeand managed to create their own “form.”②③

3

Sculptor

Presentation of works
After about 2 hours, being focused on stone, works full of
personality were completed.
The participants presented their works one by one andreceived comments from Murai. “Wonderful works wereborn. I hope that learning more about stone triggered achange in the view of stone and sculpture.” The workshop
provided an opportunity to experience the appeal of stone
and the fun of making things, through struggling withstone.④

Summary
Shingo Murai, who participated in the Artist File 2009 exhibition(March 4- May 6, 2009), selected “stone” as material for thisworkshop. Stone is something hard, heavy and difficult todeal with, even for Murai, who has been working with it for along time. It is more so for those who do it for the first time.
Nonetheless, the participants faced stone, and managed toassemble stone fragments in different shapes into their own work,with enthusiastic advice from Murai. Also, a number of wonderfulworks were created, fusing together the charm of heavy stone andthe personality of the participants. “I was absorbed in stones.”“It was difficult, but fun.” The impressions from the participants
who finished the workshop showed their realization of the joy ofcreative activity through struggling with stone. (NY)

Feedback from participants• I experienced the feel of stone and the difficulty of creation, but••••

it was really fun. I set a goal very high, but stone was pretty
tough to deal with. I was truly impressed with what children
created, which made me feel that adults need to work harder.
(Man, 40s)
It was hard to create the form that I intended and I struggled.
But it was fun and it was a while since I focused on productionthat much. Hard, but fun!! (Woman, 40s)
It made me want to try to create something out of stone on
the street. Next time I make something, I will set myself free,instead of getting trapped in restrictions, and when I watch
someone else’s work, I will think about the thoughts andfeelings of the creator. (Boy, 11)
It was a difficult and interesting day. (Woman, 20s)
The stone is very hard and it was difficult to crack it. But I felt
good when I could make something nice. It was fun. (Boy, 9)Materials provided
Black granite, instant glue, vice pliers, hammers, gloves, plywood,
etc.
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Introduction of instructor’s activities
Touko Takahashi demonstrated “Rodin Gymnastics,” which
she invented herself, incorporating poses seen in Rodin’ssculpture.①

10 min.

2

Watch slideshow of artworks

60 min.

●④

Let’s Do Art Exercises:
Experiencing Great Works and Masterpieces• Date and time: August 22 (Sat.), 2009, 13:30-16:30• Participants: 13• Target: Elementary school students• Entry fee: 300 yen• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

OutlineAfter watching a slideshow of 11 pieces of artwork, the participants devised
body movements out of what they felt from the works, and then used theirbody to show them according to music.

3

When Takahashi showed The Scream by Munch and asked,“Why do you think this person is screaming?” one ofthe participants responded, “Because he realized he had
forgotten something.” As for Okubi-e (Japanese portrait
prints) by Sharaku, they recreated powerful expressions andhand movements. They got chances to realize many things
when they tried to express, by using their own body, theirreactions to watching art projected onto flat surfaces. The
children eagerly shared their opinions.②

Creation of gymnastic movements, andpractice

90 min.

4

The participants devised gymnastic movements thatincorporated some movements seen in the works they
watched, according to the “Radio Gymnastics” song. As for
Hercules the Archer , by Bourdelle, they adopted a pose topull the bow, putting the weight on one foot with the bodyleaning backward.③④

Presentation

10 min.

The participants showed to their parents the exercises
they created. As for The Thinker , by Rodin, after imitating
the sculpture of sitting in deep thought, they opened boththeir arms in the air and said, “I got it!” As for The Dance(second version) , by Matisse, they danced around, holding
one another’s hands. At the end of the dance, they breathedslowly as they gathered together and posed as Mona Lisa , by
Leonardo da Vinci, making a graceful smile as a finish. The
parents gave big applause to their creative dance. ⑤⑥⑦

ArtistTouko Takahashi
Born in Shizuoka in 1979. She produced “Sunday Art Series:
Magaimono Art Kits,” a series of kits to reproduce great art
works all over the world. She has been promoting a unique wayof appreciating art by means of our body. For example, she has
devised “Rodin Gymnastics,” a gymnastics workshop to imitate
Rodin’s sculptures and introduced it at the Shizuoka Prefectural
Museum of Art.

Summary
We invited Touko Takahashi, an artist who suggests art
appreciation using the body to this workshop. She began theworkshop having the participants spend an hour watching closely
the 11 works she selected, including The Scream by Munch, The
Gleaners by Millet, and The Thinker by Rodin, and paying extra
attention to movements seen in the works. By imitating thepostures in the works and trying to imagine movements prioror after the posture or thoughts of the characters in the works,
the children looked at the works in various ways and explore
aspects they had never been aware of, such as the backgrounds
and intentions of the artists. After appreciation, they createdgymnastic movements, incorporating movements seen in theworks, with the familiar music of the “Radio Gymnastics.” Thechildren, tapping into their creative power, came up with one
unique movement after another. It was a great opportunity toexperience the fun of creation, by using not only the sense ofsight, but also facing the works through paying attention to themwith their body. (AT)Feedback from participants• It was fun to see how I could change the way of looking at art.
I want to keep doing that from now on. (Girl, 7)• It was my first time to do this because I had never used my•body movements to watch paintings. At first, I had difficulty
bending my right arm, but as I practiced I was able to do it. I
was happy. I also want to try it again with other pictures if I geta chance. (Girl, 9)
The most fun thing for me was to work with The Scream by
Munch. It was fun to make the scream face and sound. Also,
the da Vinci pose was unique and fun. I am going to try the art
radio gymnastics at home. (Boy, 12)Materials provided
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Mirror sheets, projectors, personal computers, etc.
Materials brought by participants: Towels, drinks

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15 min.

2
15 min.

●③

Challenge!: Abstract Painting – Personal Impressions
Program held in conjunction with The Light:
and Overflowing Colors
Yoko Matsumoto / Rika Noguchi• Date and time: September 12 (Sat.), 2009, 13:00-16:00• Participants: 21• Target: Anyone• Entry fee: 300 yen• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

OutlineWe invited Yoko Matsumoto, who produces abstract painting, as an instructor, and the participants drew “abstract painting” as a theme, using various
drawing materials.

Appreciation of The Light exhibition
The participants watched the exhibition, The Light , in which
Yoko Matsumoto participated. While watching the paintings
drawn by unique techniques, they listened to Matsumoto
describes the thoughts she put into her works.①

Explanation by the instructor“You can’t produce abstract paintings out of nothing. You
can’t produce any unless you have some kind of image.
Abstract painters create images based on something that
actually exists.” Matsumoto talked about the history ofpainting, by introducing works of Kandinsky, Rothko,
Pollock and others.②

3

Production

4

Presentation

The participants tried to create “abstract painting,” byusing drawing materials, such as the prepared four-cut
size drawing paper, watercolor, colored pencils, coloredpens, etc. “Paint with colors freely, without thinking about
100 min. whether it is difficult or it is embarrassing if you draw sucha picture,” says Matsumoto.
They considered their own minds and drew on the paper.
There were participants who hadn’t drawn a picture for awhile. When they had trouble, Matsumoto gave them someadvice.③④

30 min.

In the two-hour production session, some people painted
multiple paintings, and others spent the whole time to
produce one painting. As the closing remark, Matsumotosaid, “It was great you could express yourself freely. Please
continue drawing in the future.”⑤

Painter

Yoko Matsumoto
The Light exhibition Artist. Born in Tokyo in 1936. Graduated from
Tokyo University of the Arts, Department of Painting. In 1960,
she started producing abstract paintings and met acrylic paint in
New York, where she stayed around the end of the 60’s. From the
1980s to the 1990s, she established her own abstract painting
style with pink as the main color. In recent years, she has beenworking on green oil paintings as well.

Summary
The participants to this workshop, the theme of which was“abstract painting,” included a wide range of age groups fromteens to those in their 70s. While some of them said they hadn’t
painted for decades, each of them painted freely to express their
feelings with colors, shapes and lines, after watching the works at
The Light exhibition (August 19 - October 19, 2009) and listening
to Matsumoto’s talk about abstract paintings. Abstract painting
is different from representational painting, in which the painterpaints tangible things true to nature. Although the participants
were a little puzzled at the beginning, they worked on theirpaintings in their own way. One drew a line with a thick brushon white paper, and another put layers of oil pastels of different
colors and scraped with finger nails to make expressions, andanother painted on rolled and wrinkled sheets of paper. They all
faced their own mind and expressed it with colors and shapesthat came up on paper, to create their own masterpieces. Throughthe production of “abstract paintings,” each of the participants
experienced the pleasure of painting freely again. (AT)Feedback from participants• I had a lot of fun drawing. I had always thought that abstract
•
•
•
•

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painting was difficult, but after actually doing it myself andtaking advice from Ms. Matsumoto, I felt it was something
more familiar. (Man, 50s)
I am very happy that I could spend time with an artist! I now
realize that it is okay to paint a landscape in our mind. It was agreat learning experience! (Woman, 40s)
It was a lot of fun to see paintings by various people, to workwith them as well . Also it is a good memory that I could talkwith Ms. Matsumoto. (Woman, 30s)
I was thrilled to have an opportunity to interact with Ms.
Matsumoto and to get her message. I appreciated her
personality and it was a good stimulus for me. (Woman, 30s)
I painted for the first time since I was an elementary school
student, and it was really fun. It was good learning because
there were many things I learned for the first time. I am goingto paint again. (Woman, 60s)

Materials provided
Drawing paper, watercolor, oil pastels, pencils, colored pencils,
colored pens, etc.
Materials brought by participants: Drawing materials theparticipants would like to use

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30 min.

2
40 min.

3●⑤

Capturing the World Beyond the Lens:
Taking Abstract Pictures with a Digital Camera• Dare and time: December 19 (Sat.), 2009, 13:30-16:30• Participants: 19• Target: Elementary school students (4 grade) and over
• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

Outline Using digital cameras, the participants took photographs as“expression” by using techniques such as camera shake, blurring,manipulating unique compositions, etc. in order to view the world fromdifferent perspectives.

Talk by instructor“Photograph” means “a picture of light,” said Ryo Hamada,describing the history of photographs and cameras to theparticipants. She then introduced her works. Cameras can
produce unusual images of the world when you blur focus
or shake the camera.①

Photo shooting
The participants searched for shooting points in and outsideof the NACT building. The subjects could be anything:landscapes, buildings, and people. They took photos freely,by getting closer to the target, capturing the scenery inthe distance, using techniques such as camera shake andblurring.②

Production
The participants selected photos to print out. Some used athumbtack to make white lines on the photo to add extra
effects.③④

45 min.

4
60 min.

ArtistRyo Hamada
Born in Tokyo. After studying painting at university, she started
to create mainly 2D photographic works with the theme ofdaily life and memory. In addition to solo exhibitions in Japan,
she has participated in a number of group exhibitions and also
participated in group exhibitions abroad, such as in France,
Germany, the U.S., and Serbia.

Summary
Whether being a regular user of cameras or being unfamiliar
with them, the participants took on a new challenge of using acamera as a means of “expression.” They used digital cameras
they brought in to take pictures, using techniques like camera
shake and blurring, as well as searching for a unique composition.
Even if you select the same target, the world projected will varydepending on the angle, distance, focus and the shutter speed.
In this workshop, we used the camera as a tool for expression,
instead of trying to capture precisely what’s in front of us such as
documentary and memorial photos. All the pictures taken by theparticipants were full of personality and helped realize the depthof the world expressed through the camera. (AT)

Presentation of works and appreciation
Each participant projected the photos of their choicethrough a projector while others watched them. “Whatkind of place do you think this is?”, “What does this look
like to you?”, “What do you imagine from this?” The way
each participant felt with each photo was distinct and theimaginary world seen through the works kept expanding.
At the end, they each picked their favorite work, put it in aphoto frame and brought it home.⑤

Feedback from participants• It was fun to try abstract expression using a digital camera.
•••

It was interesting to see how the appearance of the scenery,buildings, and things changed significantly when seen fromdifferent perspectives. I could learn many things from theunique works of others. (Woman, 50s)
It was interesting to realize how my photos became different
when I added an artistic perspective to the usual act of taking
pictures. I could also learn the history of the camera andphotographs. I experienced drawing with the camera by meansof photographing (drawing with light). (Woman, 40s)
The experience of “drawing a picture ”using a camera wasfresh for me because I had always thought that a photograph
was “taken”with the camera. (Man, 20s)
I appreciated the fact that we could practice and review. It
was also good to have an opportunity to present our works,
because people have their individual, distinct ideas of artwork.
(Woman, 30s)

Materials provided

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Photographic paper, thumbtacks, photo frames, printers, personal
computers, projectors, etc.
Materials brought by participants: Digital cameras

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ARTIST WORKSHOP

Introduction of instructor’s activities
The participants listened to the paramodel on their creative
activities by means of installation using plastic toys and so
on.①

15 min.

2
5 min.

3
30 min.

Using Plarail to Play with paramodel• Date and time: January 10(Sun.), 2010, 13: 30-16: 00• Participants: 34• Target: Anyone• Entry fee: Free
• Place: 3F Auditorium and elsewhere4
15 min.

Outline
The participants created a giant picture using “Plarail,” toys with blue
plastic rails, with the help of paramodel.

Cooperated by TAKARA TOMY CORPORATION, MORI YU GALLERY

5Explanation of how to handle Plarail andof production space
The venue of the workshop is the auditorium where lecturesand other events are usually held. This day, the participants
would draw a big picture in the auditorium by using plastic
toy called “Plarail.”

Production
The theme was, “Draw plants of the universe!” Theparticipants connected the “seeds,” pre-planted byparamodel in the auditorium, using Plarails in order tocreate a picture. The picture gradually expanded, andeventually the “space plant” ventured out of the auditorium
into the bamboo grove outside. ②③④

Confirm progress
In the middle of the production, they moved to the upper
floor, overlooking the auditorium, so that they could
confirm the progress of the picture. Some said, “That part
is not connected yet,” and others said, “That pattern isinteresting—it looks like a plant.”

Production“Plants of the universe” grew further and it continued
to expand. There arose a unity among the participants asadults and children cooperated in connecting Plarail pieces.

30 min.

6
25 min.

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Instructor Profile

Program content and timing

Run a train on the top of the Plarail
A large original picture was completed on the floor of theauditorium, with part of it leading to the bamboo grove.
They wondered how long the connected rails turned out tobe. Then, they ran a toy train on the rail, so that everyone
could experience the growth of “the plant of the universe.”

Watch a video taken during the production
Finally, they watched a video taken from fixed locations.
The way the picture of Plarail expanded rapidly in theauditorium, where there were originally some chairs, andalso the way the picture was taken apart and put away,
were as if the vine of a blue plant was expanding andshrinking.
Nakano said, “I think it was great that the participants hada chance to realize how they could change the space byusing Plarail, which they normally consider as toys.” With
Plarail as “painting material”, the auditorium was turned
into a big “work.”

Artistparamodel
An art unit established in 2001 by Yasuhiko Hayashi (graduatedfrom Kyoto City University of Arts, Concept and Media Planning)and Yusuke Nakano (graduated from the graduate school of Kyoto
City University of Arts, Nihonga). Their theme of works is “paradisemodel” and they have been using various materials and expressive
methods such as installation using toys such as “Plarail” andminiature cars, as well as photographs, and paintings.
* “Plarail” is a registered trademark of TAKARA TOMY CO., LTD.

Summary
A workshop with paramodel turned out to be an art experience
fully utilizing the space of The National Art Center, Tokyo. The
participants began to connect pieces of Plarail with “seeds”
paramodel put on the floor. That day, in the auditorium that had
less chairs than usual and looked quite spacy, blue lines started tospread. Some rails went under chairs, others connected with rails
laid by others, expanding quickly to become a picture of blue lines
filling the entire floor in two hours. The auditorium was turned
into a unique artistic sphere. After making an art work out of theauditorium by using Plarail as materials, the participants nodded
to Nakano, when he said, “By using ordinary toys, you can create
a wonder world like this.” (NY)

Feedback from participants• I was wondering how the pieces I put randomly together would
•
•
•
•
•
•

look when seen from above. Therefore, it was a new experience
to realize it turned out to have a shape. It was also good togain some ideas from what others created. (Woman, 30s)
I was able to participate with my child and it was very
interesting. (Man, 30s)
I struggled to bring Plarail over the stairs, but when I managed
to reach outside I was happy. (Girl, 12)
As I had never used so many pieces of Plarail, I was impressedby the sheer size of it and there was a sense of accomplishment
as personalities of us all were united. Smile on the children’s
faces were very good. (Man, 40s)
I didn’t realize that we could use the Plarail this way, instead of
having trains go over it. (Boy, 8)
I enjoyed using hands, body and head(?). Everyone, fromchildren to adults, did. (Woman, 30s)
It was fun to participate in a creative activity. I found it
interesting that the rails were not connected after all. (Man, 40s)

Materials provided“Plarail” (plastic railway toy), chair, video, personal computer,projector, etc.

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Workshops 2010

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

20 min.

2

Talk by instructor
Ryoko Ishii introduced her works, full of imagination. They
include unique characters, such as two birds facing eachother that look like a ribbon, and a tea cup whose silhouetteis an ample female figure. The source of creation is everyday
things.
The participants could expand their imagination as they
were allowed to hold her works and ask her about how tocome up with images.①

Production• Idea sketch

The participants were given advice from Ishii saying, “Lookat things around you with a flexible mind. Don’t let rules
limit you, and make something freely,” and they started
190 min. production.②
Production using cloth and paper
Based on the character’s sketch that each participant cameup with, they made a doll of a size that can be held in hand.
One person sewed pieces of cloth together and stuffed itwith cotton. Another made a collage by using cardboard,colored paper, cloth and so on. Characters gradually tookform. Once they made shapes, the participants colored themwith acrylic paint.③•

Making Your Own Character with a
Doll Artist
Outline• Date and time: February 27 (Sat.), 2010, 13:30-17:30• Participants: 22
The participants had things around them inspire their imagination, to create• Target: Anyone (elementary school students and younger are accompanied by parents) a character, and made a doll of it, which would fit in a hand.
• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere3
30 min.

Doll artist

Ryoko Ishii
Born and living in Tokyo. In 2001, she graduated from Joshibi
University of Art and Design, department of art, western-style
painting. After graduation, she started making hand-sewn dolls.
She has been putting her works on books and magazines, holding
exhibitions at galleries and shops.

SummaryThis workshop was held under the theme “Let’s create new
characters from imagination out of the things around you, andenjoy forming something based on the idea that comes up in
your mind.” People of a wide range of ages, from children to
adults, participated in the workshop. As the source of inspiration,
they could use things they found in the NACT, things they were
wearing, or even something in their mind. After about 3 hoursof production, colorful works painted with acrylic paint werecompleted. They included characters full of personality, such as aprojector and a computer turned into humorous living creatures,and humanized chairs and buildings. (AT)Feedback from participants• I thought that I could make shapes when I used my hands,

Presentation
A number of characters full of originality were completed.
At the end of the workshop, Ishii said, “A variety of things
can be born when you use imagination to look around.
Please keep making things after you return home.”④

•

•
•
•

instead of my mind, which helped me have confidence. It was
fun to see myself end up with a shape different from what I firstimagined. I feel like I got to know more about myself. I think
making things myself helped me realize that. (Woman, 30s)
I applied for this workshop because I wanted my child toexperience it. Ms. Ishii praised whatever ideas my daughter
had or whatever methods she used, which made her very
happy. It was a nice event as a parent as there are not manyoccasions where kids can feel free to use their imagination andexpression. (Woman, 40s)
I was able to imagine (create) for the first time in a long time.
It was really fun and 4 hours passed in the blink of an eye. (Man,40s)
I usually make things following very rational processes, so thisexperience of making things in a pure way was very fresh. I
think it gave me a great opportunity to lead to some new ideas.
(Man, 30s)
I enjoyed production. At the presentation session, I could see
the works of others, and it was very interesting and I enjoyed it.
(Woman, 20s)

Materials provided

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Cotton cloth, cotton, cardboard, colored paper, acrylic paint, oilpens, tweezers, thread, needle, etc.
Materials brought by participants: Brushes, acrylic paint,watercolor, etc. (if the participants wanted to bring them)Workshops 2010

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ARTIST WORKSHOP

Participant self-introduction

10 min.

2

Talk by instructor

3●⑥

Making Animation with an Umbrella
Program held in conjunction with Artist File 2010: The NACT Annual Show of Contemporary Art

ArtistChisato Saito
Participated in the Artist File 2010 exhibition. Born in Tokyo in
1971. After studying printmaking at Joshibi University of Art
and Design and completing the graduate program, she has beeninterested in light and shadow and has been creating paintings,
photographs, moving images and installations, under the concept“the world is made of particles.”The participants listened to Chisato Saito explaining how
images appear to move in animation. Saito drew some
images she herself made.①

30 min.

• Date and time: March 20(Sat.), 2010, 13:30-16:30• Participants: 15• Target: Junior high school students and over
• Entry fee: 500 yen• Place: Annex, 3F multipurpose room

Instructor Profile

Program content and timing

Production•

Draw on black drawing paperFirst, the participants made sketches to form an idea about
what kind of work they wanted. Once they decided what
to make, they began to draw on black drawing paper cut
120 min. round. The trick is to draw an image that changes gradually,near thin slits made at the edges of the round paper.②
Check how the picture moves, while projecting the image
on a mirror
When they peered out of the slits on the paper and turned it,they could see the image move. They exchanged their works
and watched the works of others. There were different figures
moving around comically; a bud opening up little by little,
and a face changing its facial expressions.③④
Draw on umbrellas
This time, they drew on umbrellas. It was interesting tosee how an ordinary object like an umbrella can create
animation.⑤•

Summary
The idea of this workshop arose from Chisato Saito’s proposal;
Why don’t we make animation using things around us? She
contributed photographs and animation she created out of her
own hand-drawn pictures to the Artist File 2010 exhibition (March
3 - May 5, 2010). What she chose as “something around us”
was an umbrella to create animation. The participants had to
imagine what it would look like when the umbrella was rotated,in order to decide what to draw on it. It was a struggle to draw
on an umbrella because it would move. When their works
were completed, the participants exchanged them with others
and appreciated others’ works. It was a great opportunity toexperience animation production without using special materials
or complex techniques. (AT)Feedback from participants• Listening to Ms. Saito talking about her works before the•OutlineWe invited Chisato Saito, who makes hand-drawn animation works, as an
instructor and made animation using drawing paper and umbrellas.

4
20 min.

••Appreciation of works
Animation work on umbrellas with colorful pictures has
been completed! Animation created on big umbrellas asbases looks more dynamic than the ones on black piecesof paper. In the end, everyone exchanged works andappreciated the works by others.⑥•

workshop helped me get more serious about production. It was
nice to learn about the origin of animation. It was the first time
for a long time that I could focus on something. (Woman, 20s)
I was really excited to see that we could create art work byusing familiar objects like umbrellas. (Man, 20s)
It was my first time to draw pictures on an umbrella. I was
surprised at the fact that an animation could be made withan umbrella, and that familiar things could be turned into
something fun with a little ingenuity as well. (Woman, 20s)
It was interesting to listen to an artist because I don’t usually
have opportunities to learn how artists make their works. It wasa while since the last time I could be absorbed in production.
Since I don’t usually draw pictures, it was really fun. Alsointeresting to see works by others. (Woman, 20s)

Materials provided
Black umbrellas, black drawing paper, poster colors (pen-shaped,
various thickness), thumbtacks, mirrors, etc.

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ARTIST WORKSHOP

1
2
30 min.

Small Things Made of Colored Wire
• Date and time: April 24 (Sat.), 2010, [1] 13:00-14:30 [2] 15:00-16:30• Participants: 24 ([1] 13, [2] 11)
Outline• Target: Anyone
Two wire artists from South Africa, who have participated in an exhibition of• Entry fee: 300 yen• Place: B1F lounge area
the SFT gallery, demonstrated the production, and the participants produced• Collaboration: Embassy of the Republic of South Africa in Japan, accessories such as rings with the same material.
South Africa Ministry of International Trade and Industry

Instructor Profile

Program content and timing
Explanation on materials and production
method by the instructors

Wire artist

Elliot Mkhize

The instructors have developed a technique of wire-art
by adopting the Zulu traditional braiding technique thatwraps the leaves of Ilala Palm around the core of the grassand braids them one by one. They use thin, easy-to-handle,
beautiful, colored wire. The artists brought a telephone linefrom South Africa and once they open it wires of various
colors appear. They then wrap this around a wire and knit.

Elliot Mkhize was born in 1945, currently lives in Kwamasz near
Durban, the second largest city in South Africa. He uses Zulu’s
traditional braided knitting techniques, and produces works using
bright colored telephone lines as materials. A leading expert on
wire art in South Africa.

Production

Nomvuselelo Mavundla was born in 1978, skilled in designing andproducing baskets using wires. She gains inspiration from familiarthings and produces indoor decorations and fruit containers. She
represents a younger generation of wire art.

After learning the basic way of knitting wire, the participants
made accessories that you can actually wear, such as ringsand cell phone straps. They imagined the finished design,
and as they weaved it they changed colors and patterns.

Wire artist

Nomvuselelo Mavundla

Summary
The year 2010 was the 100th anniversary of the diplomatic
relations between Japan and South Africa. To commemorate it,“South Africa · Master Crafters”—a joint exhibition by crafters
from South Africa—was held at the SFT Gallery in The National
Art Center, Tokyo between April 21 - July 5, 2010. The exhibition,
participated in by four crafters called “Master Crafters,” respectedin South Africa, and one young crafter, introduced South
Africa’s traditional culture, passed down generations, as well as
innovative efforts to merge it into a contemporary sense of art.
In the occasion of this exhibition, two artists who work on wire
art came to Japan and held a workshop. Their work is based on
the traditional braiding technique of Zulu, South Africa’s largest
ethnic group. Their works featuring brilliant colors and boldgeometric patterns are actually made using the telephone wire ofa telephone company in South Africa. The participants learned theSouth African craft that maintains traditional techniques, while
using contemporary and familiar materials. They also experienced
creating original works by a simple technique, using unusualmaterials and devising color combinations. (HN)

Materials provided
Colored wire, wire, pliers, etc.

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Workshops 2010

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Workshops 2010

1

ARTIST WORKSHOP

60 min.

Talk by instructor•

About Miyamoto’s work
Chairs made by Shigeki Miyamoto, using various kinds oftrees. They are made to fit comfortably on your back. Not
only the material but also the people who use it are wellthought out.①
Talk about trees
Displayed there were various kinds of trees Miyamoto
gathered from all over the world, including trees withunusual colors.
The participants held in their hand ten different kinds oftrees prepared, one by one, and felt its feel and weight,
while listening to Miyamoto. They wondered, “What kind ofplace does this grow?” and, “How high is it?” The Campher
laurel and Lebanon cedar have distinct, strong smells. The
children also put trees in water to see how heavy they
are! As it turned out, Coctan, which is heavy, sank andSycamore, which is light, floated.②
Question time for Miyamoto
There were many questions, such as “What kind of trees doyou use in woodworking?”, “How many years does Sequoia
take to grow?” and, “How many kinds of wood are there in
Japan?”••●④

What Is Wood?
Looking, Listening, Touching!
• Date and time: June 5(Sat.), 2010, 13:30-16:30• Participants: 23• Target: Elementary school students• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

OutlineAn opportunity to touch trees and reflect on them from different perspectives. Listening to Shigeki Miyamoto, a furniture model maker, exploring theyard of the NACT, the participants produced their own works.

2
50 min.

3
50 min.

Walk through the yard and the inside of
the NACT building
As the participants familiarized themselves with trees
through different ways, such as by touching the bark oftrees, smelling leaves, and biting the fruit of a tree, they
asked Miyamoto questions like, “Mr. Miyamoto, what is
this tree nut?” and, "What is the name of this tree?" Whenthey moved back into the building, they checked the feel of
the wood used in the building. The hardness of the tree isdifferent between the floor and the wall. They learned thata proper tree is used for each place.③④

Production
While feeling the texture and the smell of the wood, theparticipants sanded the wood surface by using sandpaper ofdifferent roughness. To finish, they applied varnish to show
the beautiful wood grain.⑤

Model maker

Shigeki Miyamoto
Born in Tokyo in 1937, raised in Shizuoka. CEO of Gotanda
Seisakusho Corp., a furniture production company. He is oneof the few leading furniture modelers in Japan. In addition to
working on producing and restoring traditional furniture, he isinvolved in making prototypes out of the designs by architects anddesigners.

Summary
The workshop began with Shigeki Miyamoto talking about theworld of wood, and he has been familiar with it as a craftsman,making and repairing furniture for the last decades. The children
learned about trees that cannot be cultivated anymore, trees thatare much higher than the buildings visible from windows, andtrees that have grown over the past 1000 years or so. ThroughMiyamoto’s lecture, the world of trees that they never knew by
only looking at them spread in their mind. They also went out into
the yard of the NACT to touch the trees there and walked inside
the NACT building while paying extra attention to the wood usedas material, gaining a different perspective. Normally, trees arefamiliar to us in our lives, but by dealing with them from various
angles in the workshops, the children became more interested intrees and gained new perspectives. Finally, Miyamoto closed theworkshop by saying, “Please remember what you learned abouttrees today and treasure them in the future.” (AT)Feedback from participants• I get to know about various kinds of trees by touching and••smelling them. The most enjoyable thing for me was touching
and feeling various types of trees with hands. The names of thetrees that I liked the best are Sequoia and Purpleheart! (Girl, 9)At first I enjoyed listening to Mr. Miyamoto’s lecture about
many things. Then, we went outside and ate acorns, touchedvarious leaves and trees. It was really fun. All the leaves had
different smells and some of them were smelly. The smell ofsome trees and leaves were similar. (Boy, 12)
Today, I enjoyed feeling different kinds of trees and grass.
Words can’t describe them. (Girl, 10)

Materials provided
10 types of trees (Toona calantus, Sycamore, Lebanon cedar,Camphor laurel, Yakusugi, Sequoia, Platanus, Purpleheart, Coctan,
Zelkova), sandpaper, varnish, etc.

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①

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②

●
③

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⑤

Workshops 2010

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Workshops 2010

Instructor Profile

Program content and timing

1

ARTIST WORKSHOP

15 min.

2

Introduction of instructor's activities
The participants sat on the floor, and watched aperformance of the Strange Kinoko Dance Company.
The children were drawn into the unique world of theperformance.

Self introduction
The participants, then, introduced themselves, talking about
themselves while showing a photo of themselves.

Dancer / Choreographer /Director of the Strange Kinoko Dance Company

Chie Ito
In 1990, organized the Strange Kinoko Dance Company. Ever
since, she has been responsible for the production, choreography
and composition of all the works. They perform in Japan andoverseas. They are also engaged in a wide range of activities
including movies, video works, TV commercials and choreography
to theater. Since 2005, Ito has worked as a part-time lecturer at
Obirin University.

Summary

5 min.

3
30 min.

●①

Appreciating Art with Your Body:
The World of Man Ray• Date and time: August 29(Sun.), 2010, 13:30-16:00• Participants: 16• Target: Elementary school students• Entry fee: 300 yen• Place: Annex, 3F multipurpose room, Special Exhibition Gallery 1E

4

●
③

6
15 min.

64

Appreciate the Man Ray exhibition• Divided into 4 groups, the participants went to the special
exhibition gallery and looked for works that fit the theme
given to each group. The themes were: “What if you aregoing to do your homework with someone?”, “What if
you want to play dodgeball with someone?”, “What if
you want to have a meal with someone?”, and “What if
you are going to clean up after school with someone?”
Each of the themes are something children are familiar
with in everyday life. They used their imagination to think
about what kind of person each one portrayed in Man
Ray’s works was.②

Participants appreciated Man Ray’s portrait works through thinking about
people in them. Later, they created a story by combining Ray’s works andtheir own and expressed the story through body movement.

40 min.

●④

Chie Ito’s warm-up exercises were somewhat unordinary.
“Rub your body,” “Rub your friends,” “Then, roll around,”“Walk on four legs,” “Next, three legs,” and so on. As
they did warm-ups, everyone naturally got friendly to one
another.①

45 min.

Outline5●②

Warming up and explanation of theworkshopCreation• Choose one piece from Man Ray’s portrait works that•each of the participants think is appropriate for the given
theme.③
Combine the chosen photo and the one each childbrought in, come up with a series of stories as agroup and create choreography. They imagined thecharacteristics and body movements of the person
portrayed in the portrait, and devised choreography
according to the given theme. For example, the“homework” team expanded the theme further andmade a story about “a day at school,” saying things like,“This person seems to be a social studies teacher!” or“Let’s throw a ball around during the break!”④

The instructor at this workshop where participants appreciatedworks through the movement of the body was Chie Ito, who isa dancer and choreographer who leads the contemporary danceworld with her unique choreography, including TV commercials.
Even warm-up exercises were unique. She had participants do
unusual moves like walking on three “legs” to break the ice sothat they could relax. Although the Man Ray exhibition ( July 14 September 13, 2010) was a rather difficult exhibition for children,
Ito made it fun by giving them themes like, “Who would you liketo go out for a meal with?”, themes that the children can identify
themselves with. After appreciating the works in a unique way,
they turned the experience into their own work of choreography. At
first they hesitated a little because it was with a few kids they did
not know that they combined Man Ray’s portrait works with theirown and came up with choreography to express their experience.
However, as they tried to create choreography with the help of Itoand members of the Strange Kinoko Dance Company, the children
started to develop stories and new actions proactively. In the
final presentation, they all showed outstanding movements. The
workshop turned out to be a wonderful opportunity to appreciate
art in an unusual way and to experience creating choreography as agroup. (YM)

Feedback from participants• I have seen exhibitions many times, but it was the first time I••

had a theme like this to watch works. I enjoyed it very much.
(Girl, 10)
It was fun to look at works by Man Ray with other kids and to
make poses after that. I’d also like to do it at home. (Girl, 7)
I had fun looking for photos and making poses after it. The
music made it easier to dance. (Girl, 9)Materials provided
Illustrations of Man Ray’s works, mirrors, speakers, white boards,
etc.
Materials brought by participants: Single favorite portrait photo of
one’s own

Presentation• Choreography shows individuality is completed through atrial and error process.
To help everyone see the order of movement, photos weredisplayed in order on the whiteboard like a musical score.
For example, the members of the “homework” group put
an art class, a math class and lunch time and moved theirbody accordingly. The other groups also presented a funchoreography based on their theme.⑤●⑤Workshops 2010

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Workshops 2010

1

ARTIST WORKSHOP

15 min.

2

Appreciation of Miho Akioka’s works
exhibited at the SHADOWS exhibition
Participants, accompanied by Akioka, appreciated her works
Nagare , Yodomi , and Soyogi produced based on threephotos taken of the same tree.①

Talk by instructor

3
60 min.

●⑤

Capturing the Whispering Wind and Fluctuating
Program held in conjunction with SHADOWS:
Light with a Camera
Works from the National Museums of Art
OutlineParticipants captured the landscape around themselves through digital
cameras and tried to create works focusing on shadow changes and air
fluctuations.

445 min.

5
35 min.

●
①

●
③

66

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②

ArtistMiho Akioka
Participated in SHADOWS: Works from the National Museumsof Art exhibition. Born in Hyogo, graduated from Osaka Kyoiku
University, Graduate School of Education Studies. She has been
taking photographs of ordinary trees and light filtering throughthe leaves. Her works are known to be on large pieces of Japanesetraditional paper printed by a special printer called NECO.
Professor of Osaka Kyoiku University.

Akioka says, “The scene in front of us is blurred or sharp,
depending on our consciousness. I am surprised by theeffects of my eyes.”

40 min.

• Date and time: October 2, (Sat.), 2010, 13:00-17:00• Participants: 20• Target: Elementary school students (4 grade) and over
• Entry fee: 500 yen• Place: Annex, 3F multipurpose room and elsewhere

Instructor Profile

Program content and timing

Walked around the inside and outside of
the NACT building and shoot the scenerythat attracted attention with a digital
cameraEverything, such as buildings, trees, flowers found on theroadside, people coming and going, can be subjects. The
scenery you are watching casually will reveal things you canbe interested in if you look at it carefully. By removing the
focus, it is also possible to capture a landscape different
from what is visible.②

Selection of photos and printing
Participants chose photos they liked from those they hadtaken, and then printed them on a different material thannormal photographic paper, such as Japanese traditional
paper, colored paper, or transparent OHP film. Even with thesame photos, different results were produced, depending on
the material.③

Presentation of the works
Even if you shoot the same place at the same time, such
as Japanese silver grass swaying in the wind, light coming
into the building, or the glass wall looked up at from thebottom, the scenery that can be captured varied dependingon who took them. The participants made presentations,talking about what they felt toward the subject when they
took the photo and what kind of a change appeared whenthose photos were printed.④
When OHP film is placed on pictures printed on Japanese
paper, the color becomes more vivid. A picture placed
against a clear window glass revealed a different image,combined with the sky behind the window. Finally, they
watched projection of all their works projected on atranslucent cloth through a projector.⑤

Summary
Miho Akioka’s photographic works of trees and sunlight throughtrees, printed on large-sized Japanese traditional paper and the like,delicately express the moment of a tree swayed by the wind and the
shaky rays of the sun. They can be termed as the unique expressionsof contemporary art that are not categorized by concepts such as
paintings, prints, or photographs. After appreciating her works at
the SHADOWS exhibition (September 8 -October 18, 2010), theparticipants took their cameras and explored inside and outsideof the NACT, taking photographs of the landscape that captured
their attention. The landscapes transferred from 3D to the digitalworld were then projected onto various kinds of paper. The works
produced by the participants, while enjoying differences in texture
due to paper quality, represented, in a vivid way, the light andshadow and the landscape they encountered.
“There are things that become visible for the first time when images
are viewed on things of different quality,” Akioka said. Usually,
photographs are taken to record things, but when you change theway of viewing and printing them, you can see them in a fresh way.
The workshop provided an opportunity to discover an unexpectedworld out of the scenery we were casually watching. (HN)

Feedback from participants• When I printed photos on OHP sheets, I could discover•••reflections of colors and penetration of lights that I had neverfelt. Seeing them on top of others, I could see them in 3D. It
was unexpected. (Woman, 20s)
Although I had had assumptions like “photos have to befocused,” and “photos have to be printed on proper paper,”I learned in this workshop to face photographs according towhat I want to express. (Woman, 40s)
I want to take more pictures in daily life. (Woman, 40s)
By creating my own work, I was able to enjoy exhibited works
better. I have discovered a new way to enjoy exhibitions.
(Woman, 40s)

Materials provided
PCs, projector, inkjet printer, card readers, various types of printing
paper (plain paper, colored paper, deckle-edged Japanese paper,
OHP film, etc.), nonwoven fabric etc.
Materials brought by participants: Digital camera●④

Workshops 2010

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Workshops 2011

1

ARTIST WORKSHOP

30 min.

Introduction of instructor’s activities andlecture on “lines”•

On Mio Kaneda’s works
Participants were drawn into Kaneda’s work, according toher, which express invisible things, such as feelings andmemories.①
On Relationship between various lines, and among lines,
colors and sounds
Participants learned about how pen pressure affects
expressions, lines drawn by fire and thread, coffee, fingers,etc., and the color effects of how adjacent colors resonate.
They also listened to Kaneda’s interesting stories about amusician who draws on staff notation and plays it in sound.

•2
30 min.

●②

Collect Your Own Lines!
• Date and Time: February 19(Sat.), 2011, 13:30-17:00• Participants: 24• Target: Anyone• Entry fee: 500 yen• Place: Annex, 3F multipurpose room

OutlineInviting Mio Kaneda, a painter with various drawing materials and techniques, we tried to pursue our own lines for drawing.

3
15 min.

4
30 min.

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①

●
③

5
35 min.

●④

68

Instructor Profile

Program content and timing
Painter

Mio Kaneda
Born in Tokyo in 1963. In 1988, graduated from the graduate
school of art of Tama Art University. In 2005, she became adomestic researcher of young artists for the Agency for Cultural
Affairs. She pursues her unique drawing method by means ofdrawing materials such as crayons and oil paints on paper andcanvas. Her works are full of vitality while having a mysterious
atmosphere.

Summary•

The instructor of this workshop was Mio Kaneda, who was one of
the contributors of the Artist File 2009 exhibition, and participants
faced “lines” inexhaustibly. “Lines” are the basic element ofdrawing. These are something we take for granted, but theparticipants became attracted to “line” as they listened to Kaneda
talking about how she has faced lines and also her deep insight
into relations between color and music. It was impressive to see
how the participants, feeling free after the preparatory exercise ofdrawing “lines” seen on the back of the eyelid, faced paper to try
to express their feelings and sensations with their own choice ofmaterials. They were all absorbed in coming up with their unique
way of drawing lines: one person broke the tip of a disposal
chopstick to use it as a pen, another used their finger, and anotherused three color pencils at the same time. The world of “lines”
introduced by Kaneda was a brilliant experience leading to a newperspective of painting. (YM)•

Feedback from participants

Production 1 -Warming up• Participants were asked to close their eyes and draw lines

they sensed through the back of their eyelids, using 2 oilpastels (90 seconds × 3 times)
It was meant to be preparatory exercise to set free theirmind, and those who had thought that they “were notcapable of drawing a picture” gained confidence thatthey “can draw!” It was so fun that they wanted to keep
drawing.②

Demonstration of various lines
Description of the material
Oil pastels, charcoal, colored pencils, Japanese ink,
disposable chopsticks, paintExpression of sensations
Kaneda demonstrated how to draw various lines bymeans of pen pressure, changes of strength, speed, andsuperimposing lines.③

Production 2• Task: Draw freely and draw lines that do not intersect• Key words for those who can’t decide what to draw

“Things that happened yesterday,” “things you remember
from long ago.” “things you are drawn to,” “weak,”“feeble,” “speed,” “tingling,” “vivid,” “dizzy,” “laughter,”“painful.”
In search of their own lines, participants drew variouslines.④

Presentation
Participants explained what kind of lines they wanted andwhat they drew.⑤• I had got absorbed in working. I discovered that I can express
myself even without techniques or knowledge. (Woman, 30s)
• I learned the meaning of drawing, and enjoyed practicing itvery much. (Woman, 50s)
• It was difficult to draw without given themes. Usually, I am••on the side of appreciating works of others, but it was fun
to experience how it felt to produce something myself. Ms.
Kaneda made it easier for me to understand. (Woman, 30s)
I like drawing illustrations and I actually draw quite often. It
turned out to be an opportunity to think about something as
simple as “lines.” (Woman, 10s)
It was not easy to free myself, and I found it difficult to draw as
I wanted. However, I received great stimulation by looking at
the works of other people. (Woman, 60s)

Materials provided
Drawing paper, oil pastels, charcoal, Japanese ink, nerisumi, (akind of Japanese ink), disposable chopsticks, acrylic paint, coloredpencils, fixative, etc.
Materials brought by participants: Towel, eye mask●⑤

Workshops 201169

Art-tastic Adventure
The National Art Center, Tokyo Workshop Reports March, 2007 - February, 2011
Edited by

The Section of Education & Public Programs, The National Art Center, Tokyo
Hanako Nishino (Section Manager and Curator)
Yayoi Motohashi (Curator)
Natsumi Yoshizawa (Educator)
Akane Torii (Educator)

English Reports
Edited by

Nayuko Watabe (Educator)

Translated by Christopher Stephens, Takayoshi Watanabe, Rachel Watanabe
Designed by

Takenori Oshima (cover)
Design Office Spike (text)

Printed by

Noto Printing Corporation

Published by

The National Art Center, Tokyo
7-22-2 Roppongi Minato-ku Tokyo 106-8558 Japan

Published in Japan, March, 31, 2019
© 2011, 2019 The National Art Center, Tokyo