Munakata
Miare Art Festival 2023
Documentation Book

目次
06

CONTENTS

い

06 Foreword

08 会場

作

辺

08 Venue Area Map

・作品

Artists and Exhibits

10 作

10 Artist biography

12 戸室太一

12 Taichi Tomuro

16 石原稔久 × iima

16 Toshihisa Ishihara × iima

22 浦川大志22 Taishi Urakawa

26 中林丈治

26 Takeharu Nakabayashi

30 ザイ・クーニン

30 Zai Kuning

34 橋本次郎

34 Jiro Hashimoto

38 吉田重信

38 Shigenobu Yoshida

42 渋田薫42 Kaoru Shibuta

ーク
48
50

ッ

を
ン

・作品 イ ント
イトーク
宗像大社 宝ッりア48 Shigenobu Yoshida
Light and Rainbow Workshops

ン

50 Bamboo Lantern Workshop
Photo Contest
Can Badges Workshop

ッ

ンテスト
会

51 Art Brut Exhibitions

アート

51

Workshops, Related Exhibitions, Events

52

アートが ま る

52 Preview Video

53

ン ート

53 Preview Concert

56場

56 Afterword

とが

宗像大社

津宮

神

宗像
神湊

場
宗像大社

道
の道むなかた

前な
むなかた

宮

場
Dates: Sunday, October1–Sunday, October 15, 2023
Venues: Munakata Taisha Hetsu-miya (Shimpokan Museum, shrine path, Prayer Hall),
Munakata YURIX (Burial Mounds Plaza), Uminomichi Munakatakan,
Konominato Tongu
Free entry

る。

To the sea’s swell of creation

に

に

り

り
て
い

に

れる。

を
り

The forest and the sea, the wellspring of life,
gradually return to each other.

。
に

れ
れ

いて

りを

る

い

に

い

We want to look again at the concept of miare,a Shinto word meaning rebirthand which has fresh resonance for ecological issues
related to forests and the sea today.

い。

みあ れ
を
い

代

ている
に

02

Munakata Miare Art Festival 2023

みみRain falls in the forest, pooling on the ground,
becomes pure water,then over the course of decades or centuries,
flows into the sea.

い

を

。
いてい 。

The gods of miare praise
the fresh creative power of younger generations
that connects with the values and knowledgeof their predecessors.
A rich future awaits us with the sea.

Munakata Miare Art Festival 2023

03

04

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 202305

あいForeword

に
い

の

が

の

を育

きた宗像。

宗像大社の

の大

は

の
の

な

が

のなか

を

が

ー

れか
な

を

が

を

れ

を

む。
地

地

が

のなか

を

の

を

れか

Munakata Miare Art Festival 2023

なが

かな
家の

な

た

き

。

さ

の

が

き

像の

を

た

神

が し

きた

神宮の

間をか

宮の
を

す

。
つ

きた

した

の

を
れ

のなか

なか

た

をは

た

ま
れ

さし

。

し
ま

の
。

つ

を
が

展

を

を

神社

れ
の

社
がつなが

は

の

す

。

の

つ
を

を

な

。

の

。

され

が

た

を
れ

家が

つ

の

か

は
を

が

の

神

き。
の

神

。

し

を

の
の

06

つ

場所

れ

て

を
は

ま

Bonds of life
riding on the wings of
Munakata’s imagination

のを
た

む

の場所を
つ

。

れ

大きな

。

な
ー

を

し

を

を
さ

され を され
が
の

。
。

を

さ

In Japan, there exists a belief that humans are one with natureand sublime entities reside in places where various powers
accumulate, including that of people. Munakata has cultivated a culture of worship within this worldview. Held every autumn from October 1 to October 3, the Miare Festival brings
people together to welcome the gods, show their gratitude,
and deepen friendships. In this contemporary art festival held
during the season of the Miare rite, the artists honed in closely on the spirituality that resides in the soil, creating art that
expressed the present and the future, and thus offering newexperiences and discoveries to visitors.
We live in an age that demands rapid change. Things areassessed in terms of productivity and the development oftechnology, knowledge, and systemization, and value is ascertained according to economic indices. This impossible
speed engenders many things, both good and bad. Thoughimmersed in the world, we wants to think carefully about the
future of local regionality and culture without resorting to

global comparisons, and to examine happiness through art.
We want to study the ideas of the Japanese that have continued to exist regardless of social change over history. All
while learning from the mechanisms for growth like Ise Grand
Shrine’s shikinen sengu* in which people connect and work
together over the course of time.
The sea that has watched distant routes and the future.
The shrines that gently enclose us. An ancient burial site that
embodied people’s wishes and prayers. Through the newforms of expression by artists in these places, each and every
visitor of all ages could find an entirely new part of themself.
These encounters may well bestow upon us the vast wings ofimagination with which we will fly far away.

*Shikinen sengu is a renewal process that increases the power for thegods to regenerate. Japanese culture encompasses such systems for
self-change and development through change.

Munakata Miare Art Festival 2023

07

沖沖
ノノ
島島

Okinoshima
Okinoshima

地地島島

Jinoshima
Jinoshima

織幡神社
織幡神社

Orihata
Orihata
ShrineShrine宗像大社中津宮
宗像大社中津宮Munakata
Munakata
TaishaTaishaNakatsu-miya
Nakatsu-miya
ShrineShrine

大大
島島

鐘崎漁港
鐘崎漁港

KanezakiKanezakifishingfishing
portport

OshimaOshima

岬地区
岬地区
湯川山
コミュニティ
コミュニティ
センター
センター湯川山

神湊港
神湊港

Konominato
Konominato
PortPort

さつき松原
さつき松原

Yugawa-Yama
Yugawa-Yama
MisakiMisaki
District
District
Community
Community
CenterCenterSatsukiSatsukiMatsubara
Matsubara
Promenade
Promenade2023
みあれアートマッ
みあれアートマップ
プ2023
Miare
MiareArt
ArtMap
Map2023
2023

古代に想いを馳せて。
古代に想いを馳せて。
会会
場を彩るアート作品
場を彩るアート作品
巡り
巡り
宗像
宗がまるごとアートの季像 がまるごとアートの季節に。
節に。
2 022032年
3は年海は洋ゴミをテーマとした作
海 洋ゴミをテーマとした作
品、品、
海 女をテーマとした巨
海 女をテーマとした巨
大な作
大な作
品、
品、
音 の鳴るアート作
音 の鳴るアート作
品などが品などが会 場を彩り、会 場を彩り、街を巡りながら楽しんでいただけました。
街を巡りながら楽しんでいただけました。

AApackedpackedlineuplineupofof
artartagainstagainsta backdrop
a backdrop
ofof
ancient
ancient
spirituality
spirituality
Munakata
Munakata
is in
is artin artseason.
season.
EnjoyedEnjoyedthethewide
wide
varietyvarietyof artof art
on on
offer
offer
at theat thedifferent
different
locationslocationsof theof thefestival,
festival,
from
from
works
works
exploring
exploringthetheproject
projectabout
about
marinemarinedebrisdebristo a
tohugea huge
work
work
with
with
thethetheme
themeof Amaof Amadiversdiversandanda sounda soundart.art.

孔大寺山
孔大寺山

Kodaishi-Yama
Kodaishi-Yama

07 07

宗像大社
頓宮
宗像大社
頓宮

Munakata
Munakata
TaishaTaishaTongu
Tongu

道の駅むなかた
道の駅むなかたRoadside
Roadside
StationStationMunakata
Munakata

07 07

海の道むなかた館
海の道むなかた館

Uminomichi
Uminomichi
Munakatakan
Munakatakan
MuseumMuseum金山
金山

Kanayama
Kanayama

01 01
02 02
03 03
宗像大社辺津宮
宗像大社辺津宮Munakata
Munakata
TaishaTaisha
04 04
05 05
06 06
宗像大社神宝館
Hetsu-miya
Hetsu-miya
ShrineShrine 宗像大社神宝館
07 07
Munakata
Munakata
TaishaTaishaShimpokan
Shimpokan
MuseumMuseum城山
城山

Jo-yama
Jo-yama

03 03
07 07

凡例
凡例
KeyKey

JR赤間駅
JR赤間駅

JR教育大前駅
JR教育大前駅

JR Kyoikudai-mae
JR Akama
JR Akama
StationStation JR Kyoikudai-mae
StationStation

番号は各作家の作品が展示された場所を示します。
番号は各作家の作品が展示された場所を示します。
TheThenumbers
numbers
indicate
indicate
where
where
eacheachartist's
artist'swork
work
waswasexhibited.
exhibited.
01 01
戸室太一
戸室太一

05 05
ザイ
ザイ
・クーニン
・クーニン

02 02
石原稔久
石原稔久
× iima× iima

06 06
橋本次郎
橋本次郎

03 03
浦川大志
浦川大志

07 07
吉田重信
吉田重信

04 04
中林丈治
中林丈治

08 08
渋田薫
渋田薫

TaichiTaichiTomuroTomuroToshihisa
Toshihisa
Ishihara
Ishihara
x iimax iimaTaishiTaishiUrakawa
Urakawa

Takeharu
Takeharu
Nakabayashi
Nakabayashi

08

Munakata Miare Art Festival 2023

Zai Kuning
Zai Kuning

Jiro Jiro
Hashimoto
Hashimoto

Shigenobu
Shigenobu
YoshidaYoshida

Kaoru
Kaoru
Shibuta
Shibuta

JR東郷駅
JR東郷駅

JR Togo
JR TogoStationStation

宗像ユリ
宗像ユリ
ックス
ックス

Munakata
Munakata
YURIX
YURIX
07 07
08 08

Munakata Miare Art Festival 2023

09

作
Biography

作
Jun’ya Yamaide
コンは作家を示します。

Open Call Selection
Judge

Yamaide Art Office Inc.

社

Jun’ya Yamaide, art director and member of selection jury for the festival’s open
call, has written a short message to each of the four selected artists. Details canbe found on each artist’s introduction page.

ー
Taichi Tomuro

Taishi Urakawa

Zai Kuning

Shigenobu Yoshida

家 東Architect / Tokyo

作家
Artist / Fukuoka

家ンーContemporary artist / Singapore

家Contemporary artist / Fukushima

大

島

ノ

Born in 1964, Zai Kuning is a leading Singaporean artist known
for his wide-ranging practice across different fields, including
sculpture, installation, performance, painting, music, and film.

Born in 1961 in Tokyo, Taichi Tomuro graduated from Waseda
University, Department of Science and Engineering, School ofArchitecture. Following stints working for Renzo Piano Building
Workshop Japan, Álvaro Siza Arquitecto, and Taniguchi and Associates, he founded his own architecture studio in 2006.

Born in 1994 in Munakata, Fukuoka Prefecture, Taishi Urakawa’spractice explores the theme of contemporary landscape painting through the digital elements seen on social media andsmartphones.

Born in 1958 in Fukushima Prefecture, Shigenobu Yoshida’s
practice explores light. Shuttling back and forth between thescientific and metaphysical aspects of optics, his work captures the essence of light and the relationship between humans and nature.

Toshihisa Ishihara × iima

Takeharu Nakabayashi

Jiro Hashimoto

Kaoru Shibuta

家ニ
Ceramist × Music group / Fukuoka

家 神 川
Sculptor / Kanagawa

家Musician / Hyogo

家川Contemporary artist / Kagawa

大

地
地
大

大
島
The ceramic artist Toshihisa Ishihara has teamed up with iima,
a music group comprising vocalist Maki Nagayama and guitarist Takayuki Ishii, exclusively for the festival. This pairing will
conjure up a special experience of the ordinary transformed
into the extraordinary by the sounds of bells resonating around
Munakata Taisha Hetsu-miya.

10

Born in 1974 in Kanagawa, Takeharu Nakabayashi has createdwork for such venues as the Palace Hotel Tokyo, Mandarin Oriental Pudong, Shanghai, and the Ritz-Carlton hotels in Kyoto,
Xi’an, and Fukuoka. A graduate of Musashino Art University, hisprizes include the Miyoshi Iida Prize and the Encouragement
Award at the 17th Kajima Sculpture Competition.

In addition to compositions and sound-based artworks, Jiro
Hashimoto creates field recordings of symbolic sounds inspiredby the culture, history, and terroir of specific locations, enablingaudiences to hear the soundscape of those places.

Kaoru Shibuta was raised in the great outdoors of Hokkaido.
His work synesthetically translates sound into painting. He has
exhibited at such venues as the Espronceda Institute of Art &Culture and Centre d’Art Santa Mònica in Barcelona.

11

Exhibits

戸室太一

Taichi Tomuro

Taichi Tomuro

Thousand Skies, Thousand Seas,
Thousand Histories
2023
ンのCorrugated plastic, mirrors,
other secondary materials
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

大12

Munakata Miare Art Festival 2023

As an architect, Taichi Tomuro works on projects of all sizes.
This installation saw him harness his architect’s perspective in
combination with that of art and science to create a work embedded with a mysterious real and virtual world. It particularly
spurred the intellectual curiosity of children.
Featuring a tube-like sculpture with integrated mirrors thatrevealed various vistas, the work was inspired by Tomuro’s childhood experience of making a periscope. Peeping into the tubes,
visitors saw the sky, pond, trees, and figures who shouldn’t
be there. “We need moments when we stop and look anew
at things,” Tomuro has said. Even the landscapes and actions
we take for granted might not always seem like that. Wind,
light, sky, greenery, people: these extracted landscapes woven
new stories.
Despite the irregular nature of the design, the tubular sculpture felt balanced overall, with its vivid red color becoming a
fresh landmark in the shrine. This work prompted us to rethinkcommon sense, and was complete when people peeped insideor surrounded and became one with it. As a symbol cultivating
dialogue and the exchange of ideas, we hope it finds a home in
the future somewhere with children.

Munakata Miare Art Festival 2023

13

Exhibits

を

る

戸室太一

Taichi Tomuro

Considering the Whole from the Partial
The way we see objects, things, and places, and their meanings allchange according to the viewer and with time. In our complex present where the future is uncertain, this tendency is increasing andaccelerating. At the same time, that prompts us to see things froma wider perspective, to take an overview. Tomuro’s proposed work
reminds me of the Indian fable of the blind men and an elephant,
in which several blind people touch different parts of an elephantand share their impressions.
Jun’ya Yamaide, art director

14

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 2023

15

Exhibits

石原稔久×iima

Toshihisa Ishihara × iima

Toshihisa Ishihara × iima

Rindo: Way of Bell2023

China clay
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

地

大

沖ノ島

大

16

Munakata Miare Art Festival 2023

At any time in Japan, from the smallest community to large
cities, people have lived side by side with the gods. In Japan,
where it is believed that gods and noble things dwell in theplaces where people gather, shrines have always held a strong
place in our hearts.
Copper and iron bells were made more than a thousand
years ago and dedicated to Okinoshima. The people at thattime could perceive the presence of the gods and would ringbells at places where deities gathered, praying and reflecting
upon themselves.
The ceramic artist Toshihisa Ishihara and musician iima came
together in a one-off collaboration especially for the festival,
making earthenware bells with children, which became ways toexperience creativity and joy shared with the gods.
Ishihara went back to the roots of ceramic that is firingin the open without a kiln, and made more than a hundred
bells with children. The ring-shaped installation with rocks andearthenware bells expressed the sea, people, and time, andconveyed the history of Munakata since ancient times to thepeople who came and went. Watched over by adults, the children immersed themselves in nature and the circle, each discovering their own style of play.

Munakata Miare Art Festival 2023

17

Exhibits

大

古代
てみ

石原稔久×iima

Toshihisa Ishihara × iima

Bells were made not with an electric or gas kiln, but through the primitive methodof field firing. The bells made by the children were manifold in terms of size andshape, enriched in expression by contact with fire, and resulting in truly uniqueartworks. Participants enjoyed the various sounds they produced, from bells thatreverberated in the distance to bells that lingered or rung lightly.

をLet’s make an ancientbell from clayに

2023.8.27.sun.
原Instructor: Toshihisa Ishihara
宗像
Munakata YURIX Art Room

を
ア

る

ア

に
想に

を

に

れる

れ
ある
会

れる

18

Munakata Miare Art Festival 2023

れい

Munakata Miare Art Festival 2023

19

Exhibits

石原稔久×iima

Toshihisa Ishihara × iima

をLet’s dedicate the soundwith iima
2023.10.7.sat.
宗像大社 津宮Munakata Taisha Hetsu-miya Seimei-den

み
て

て
て

を

て
を
The musician iima spoke with the priests
many times and attended ceremonies at theshrine. They create a new song, “The Wayof the Ringing Bell,” and dedicated it to
the gods with the audience at the concert.
All the participants rung the earthenware
bells during the performance, and the singer’s beautiful, unconstrained voice reachedthe heavens. The enthusiastic applause
showed the participants’ joy at the event.

20

Munakata Miare Art Festival 2023

りにみ

Munakata Miare Art Festival 2023

21

浦川大志

Exhibits

Taishi Urakawa

Taishi Urakawa

るMultiple Laws of Perspective:
Moving Viewpoints and Paintings2023
ミィ
Mixed media
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

地
大

大
沖ノ島

沖ノ島
沖ノ島
地

大

22

Munakata Miare Art Festival 2023

Taishi Urakawa pursues a wide-ranging practice as a landscapepainter who makes use of digital elements from smartphones.
Born and raised in Munakata, Urakawa was involved duringhigh school in the local campaign for the area’s registration as a
UNESCO World Heritage Site, and came to know the profoundculture that exists here.
To make a work in the grounds of Munakata Taisha andShimpokan Museum, Urakawa focused on how Munakata Taisha
consists of three shrines, the unique environment of Okinoshima,
and the way people feel detached from the island. A place ofboth belief and trade, Okinoshima is not especially distant but,as a sacred island, cannot be easily reached. Urakawa painted
the deep feelings people in Munakata have toward these invisible connections.
As opposed to a museum or gallery, exhibiting a painting
outdoors comes with many constraints, not least having to deal
with trees and the elements. Urakawa’s work crystalized in several locations as three pieces that harmonized, despite theirdifferences, with the sacred environment of Munakata Taisha.
In the digital age, landscape painting attempts to capture
how the individual relates to the world. From what perspective
should we look at such a painting? “You don’t have to understand a thing,” says Urakawa. “I just hope some people lookback in ten or twenty years’ time and remember the work, realizing that this was the point of it.” His worldview is not singular
but rather captures the world widely through multiple laws ofperspective. This is akin to the nohgaku performing arts, whichhas pursued a vision of humankind that transcends time, andteaches us that a society that quickly finds answers and solutions is not always right.

Munakata Miare Art Festival 2023

23

Exhibits

浦川大志

Taishi Urakawa

宗像大社 神Munakata Taisha Shimpokan Museum
の
が
た
な をテー
した
な
作品を展示。
しなが
き
む
な
が れ は
が
を しま
れ 。
This sculptural work about landscape exploredthe theme of Okinoshima, an island home toeighty thousand national treasures. As the viewer moved around and peeped inside, various
landscapes appeared and disappeared, and aboundless world unfolded.

24

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 2023

25

Exhibits

中林丈治

Takeharu Nakabayashi

Takeharu Nakabayashi

大島
大

ノ
大島
大
大

る

い

Visible Forms, Invisible Forms:
abstract dusts

In his practice, Takeharu Nakabayashi mainly uses metal to create
sculptures. He exhibited three pieces on the path to Takamiya.
The works were made from the debris that had washed up on
Oshima, after people used and thrown them away, and they
had then found their way into the sea.
Overflowing Civilization expressed vast overflowing piles ofmarine debris, tangled up with a tugboat and clinging desperately to a sacred tree, and seeming to encapsulate the difficultyof moving forward.
Tricycle in Memory was an enlarged version of a trike abandoned by the shore at Oshima. Rusty and in a state of disrepair, the metal seemed to be quietly trying to return to nature,and yet the inside remained a vivid silver. It revived a memoryof riding a prized tricycle when a child and told us that such
beautiful recollections stay fresh in the mind even if things rust.
Circle arranged spherical buoys that had washed up on the
shore in the titular shape. Though bringing to mind the useof cutting-edge technology in ancient times and sacred ornaments, they were covered in the very contemporary material
that is latex.
The three works illuminated various historical eras, from ancient times to the twentieth century and the present, and how
people have lived and worked with the sea.

ミ
テMarine debris, latex, etc.
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

2023

26

Munakata Miare Art Festival 2023

~Circleれる~Overflowing civilization

Munakata Miare Art Festival 2023

27

Exhibits

中林丈治

Takeharu Nakabayashi~Tricycle in memory

中

る

ノ

Seeing by Hiding
Known for his solid sculptures, Nakabayashi astonishes here witha liquid installation, a very different kind of work entirely. Does
the act of wrapping something reveal the meaning of an object?
Or does it create a unique form? Or is Nakabayashi exploring thetheme of extinguishing things, similar to a mask? With this new
endeavor, we probably won’t know what it is until it’s made.
Jun’ya Yamaide, art director

28

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 2023

29

ーExhibits

ザ イ・クー ニ ン

Zai Kuning

Zai Kuning

Ama’s floating dream
2023
宗像の
な
Seashells in Munakata, bamboo strip, lifebuoy, etc.
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

大

大

地

地

地
大

30

Munakata Miare Art Festival 2023

Among the trees of Munakata Taisha appeared bamboo creels
and randomly arrayed gold-colored shells of sazae sea snails
and abalone.
Zai Kuning stayed in Munakata from September, listening to
the local ama divers and fishers—the people with the deepest
connection to the sea—and conducting research on the areaand developing the plan for his work out of his impressions of
Munakata. With a focus on how ama and fishers have lived inharmony with the sea for over a thousand years, and on theirwishes for the sea to remain healthy and capable of yielding
catches, Zai worked in partnership with these local people, using shells to express their dreams.
Despite benefiting from the blessings of the vast oceans, weare causing grave problems that threaten the richness of theworld’s seas. Ama divers sense this danger on a daily basis.
They maintain the sea and cultivate an environment that is easy
for creatures to inhabit, and then through what they catch fromthis bountiful source, they support the lives of many people.
Imbued with the desire for young people to understand what
it means to live connected to life, and to love nature and live
modestly yet happily, Zai’s poetic acts will surely continue toresonate endlessly.

Munakata Miare Art Festival 2023

31

Exhibits

漁 た32

Munakata Miare Art Festival 2023

ーニンの作品のの作は鐘崎漁港のし。

ザ イ・クー ニ ン

Zai Kuning

Zai Kuning’s project was made in collaboration withthe ama divers and fishers of Kanezaki Port.
Yukari Uozumi

Hirofumi Yoshida

Shinichi Nadabe

Seiji Ishibashi

Hirokazu Kitano

Midori Ishibashi

Harukazu Kitano

Yuji Honda

Munakata Miare Art Festival 2023

33

Exhibits

橋本次郎

Jiro Hashimoto

Jiro Hashimoto

みあれ
Miare of Sound
2023
宗像の
ン
ー
Soundscape of Munakata
宗像大社 津宮
Around Munakata Taisha Hetsu-miya

地
大

地
大島

地
大
地
地

大

34

Munakata Miare Art Festival 2023

作品は
た

か
ます

Jiro Hashimoto uses sound to create a landscape for the viewer.
He has presented various soundscapes of various locations at
art festivals and exhibitions.
At Munakata, he took inspiration from the rituals held at
the shrine, the signs of people who live in the area, the living
creatures, the clear water that flows through the forest, andthe sounds of waves and the breeze at Oshima to create a work
evoking the miare of the local gods. This was exhibited as a“sound place” mainly at the long steps leading up to the Takamiya
Saijo ceremony site at Munakata Taisha Hetsu-miya.
Sounds flowing from early morning to dusk lightly nuzzled
up to passersby: those pausing to catch their breath, or thosedescending the steps, radiant after worshipping at the shrine.
The sounds that conveyed a sense of the beliefs and poetic vistas of Munakata danced in the breeze and intermingled withthe sound of rain, changing expression and transforming thelandscape.
A soundscape has a timeless allure. Unlike stone, earth,glass, or metal, it doesn’t leave a tangible form behind, butever since long ago, when material civilization began, it has bestowed upon our minds the richness of creativity and the imagination, and been an important part of how culture is shaped.
And even today, it reveals the bounties that await if we listen.

Munakata Miare Art Festival 2023

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Exhibits

に

い

橋本次郎

Jiro Hashimoto

The Invisible Yet Precious
A sound engineer I know once told me that if we concentrate on
listening, we can experience a place in far more profound ways
than by seeing. This new work by an artist known for his fieldrecordings–based practice is a soundscape of Munakata. It will
surely offer a very special experience, an encounter with the mystery of this place.
Jun’ya Yamaide, art director

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吉田重信

Exhibits

Shigenobu Yoshida

Shigenobu Yoshida

宗像場
Munakata YURIX Burial Mounds Plaza

宗像大社 宮 神湊
Munakata Taisha Tongu (Konominato)

みあれ
The Light, Wind,and Rainbow of Miare
2023
宗像大社 津宮
宗像大社 宮 神湊
宗像
場の道むなかたAround Munakata Taisha Hetsu-miya
Munakata Taisha Tongu (Konominato)
Munakata YURIX Burial Mounds Plaza
Uminomichi Munakatakan

宗像大社 津宮
Around Munakata Taisha Hetsu-miya

大
大

ノ

地

地

ノ

沖ノ島
大
地

Shigenobu Yoshida’s work explores light. Linking three locations (Munakata Taisha Hetsu-miya shrine, Konominato harbor,
and Munakata YURIX), this massive installation unfolded acrosssome ten kilometers as three “light gates,” simple yet technically sophisticated structures. At the shrine and harbor, the gatesrose 3.3 meters above the ground, and were constructed without digging holes in the ground, forming beautifully soaring
images at a World Heritage Site.
Japan has discovered beauty in the plain and unostentatious.
Yoshida is the heir to the spiritual culture. His light gates expressed the connections between nature, humans, and the gods,
and magnificently evoked faraway Okinoshima. The rays of lightvisible from distant space illuminated the area like guideposts.
After sunset, the area was faintly lit up, providing a beacon for
the recharged gods.
Regardless of day or night, the light art expressed a sense of
the invisible and the cosmos: something each and every one ofus has in our minds.

Light gate
Wood, luminous paint, stone38

Munakata Miare Art Festival 2023

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39

Exhibits

吉田重信

Shigenobu Yoshida

Hikari-no-michi: Path of light
像作品
Video
の道むなかたUminomichi Munakatakan

大地

At Uminomichi Munakatakan, this video installation featured a rainbow reflecting on thesurface of water in the harbor that is a bridge
between the worldly and the sacred, and on
the trees of Munakata Taisha.

KO-KA: Rainbow flower
作品
Photography
宗像大社 神Munakata Taisha
Shimpokan Museum

Created with local water and light on
August 4, 2023, these three photographs
featured rainbows at Munakata, a place
where the natural world always shimmers.

40

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41

Exhibits

渋田薫

Kaoru Shibuta

Kaoru Shibuta

大島
沖ノ島

Dance Notation ofWind and Wave

大島

大

2023
ン
Acrylic and oil paints on canvas

大島

宗像
場
Munakata YURIX Burial Mounds Plaza

沖ノ島

大

大

42

Munakata Miare Art Festival 2023

Kaoru Shibuta stayed and worked on the island of Oshima, locatedtwenty-five minutes by ferry from the port of Munakata. He rendered the wind and waves that flowed from Okinoshima as dance
notation, which he exhibited in the natural surroundings of the burial mounds plaza. The island of Oshima is home to Nakatsu-miya,
one of the three Munakata Taisha shrines. It is dedicated to the deity
Tagitsuhime-no-Kami, one of the three female deities of Munakata.
At the peak of Mount Mitake too, there is evidence of ancient rituals.
Though a painter, Shibuta is interested in sounds and improvises
visualized renderings of their colors and shapes. In the early stages of the work he created for the festival, he envisioned a duet oflutes. Shibuta incorporated the waves and wind he found comingfrom Okinoshima during his research on Oshima, composing theseas sounds in his mind based on a sense of the rhythm of the spray,
and then channeling them onto the canvas. With his zestful art andsensibility so attuned to detail, he captured the micro and macro ofhumankind and nature.
The large painting that resulted was installed in the plaza at
Munakata YURIX beside a burial mound, the final resting place of oneof our ancient predecessors. In this location that offers a sense of thepeople from the distant past who carried out rituals dedicated to thegods, the work limned a gleaming vision of invisible life with a vibranttouch. People came closer or moved away to view the painting, theirhearts entranced by the music of the art. Past and present, the tiny andthe monumental. Viewers’ minds freely conjured up different vistas. In
addition to the innate power of the site, the work provided a very
contemporary interpretation of the long-nurtured Japanese connection with what cannot be seen, and ushered it toward the future.

Munakata Miare Art Festival 2023

43

Exhibits

い

を る

渋田薫

Kaoru Shibuta

Free Colors Create a Beautiful Future
When I first looked at Shibuta’s plan, it reminded me of a musicalscore. The colors seemed to have a will of their own, to be flying
all around and conveying a sense of joy and freedom. The Catalan
painter Joan Miró, who attempted to treat colors like musical notes,
once said the following: “More important than a work of art itself
is what it will sow.” All manner of possibilities are released out into
the world, blooming in the minds of each and every person who
receives them. I want to be there at that beautiful moment. Incidentally, the main sculptor for the Sagrada Família is Etsuro Sotoo,
who is also from Fukuoka.
Jun’ya Yamaide, art director

44

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46

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アー

WORKSHOP
ん、
ーク

んと一
ッ

は、作
した。
なが

い

したアート

。

る

と
の

に

しながら
が

と

と

しい。

の

た

に

ト

ト
Candle Night: Bird of light2023.10.1.sun.

に
り、

に

Instructor: Shigenobu Yoshidaの道むなかた 前 場
Uminomichi Munakatakan Square

大
ノ

を
ア
Let’s make a rainbow:
Niji wo Atsumeru / Niji no Kansatsu
2023.10.1.sun.

Instructor: Shigenobu Yoshida
宗像大社 神前In front of Munakata Taisha Shimpokan Museum

48

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 2023

49

RELATED EXH I BI TIONSWORKSHOP
ー

い

ップ

アート

Art Brut Exhibitions

Bamboo Lantern Workshop
2023.9.17.sun.
宗像大社
Munakata Taisha Seimei-den“Sumio Tahira” Exhibition

大宗像大社
Munakatataisha Prayer Hall

Sumio Tahira

大

ト

大

Munakata Taisha
National Treasure Photo Contest
2023.9.15.fri.–28.thu.
宗像大社神
Munakata Taisha Shimpokan Museum

大枠を超えた新しい出 会い。
人と人とを結 ぶ 、この場 所で 。
大

さ

大

さ
さ
山

宗像
宗像

山

さ

さ
松

さ
さ

ッ

り

会

Can Badges Workshop
2023.10.14.sat.–15.sun.
宗像大社 津宮Munakata Taisha Hetsu-miyaるー“Traveling Picture Gallery in Munakata Taisha” Exhibition
宗像大社
所 むなかたMunakata Taisha rest area Munakata Chayu

大

大

50

Munakata Miare Art Festival 2023

Munakata Miare Art Festival 2023

51

VIDEOCONC E RT EVENTート
をPreview Concert
Welcoming the gods,
connecting the sea and the future
Tsugaru shamisen × Japanese drum2023.9.15.fri. / 9.16.sat.
津
津

山
宮

し

Tsugaru Shamisen: Hiroshi Yamaguchi
Tsugaru Shamisen: Rinon Miyazawa
Japanese Drum: Zuiho Daiko
宗像ーー ニー ー

Fukuoka Bank FFG Hall
Munakata YURIX Harmony Hall宗 像の海の神 様へ 想いを馳 せて神 迎えの9月中旬 。

アート
Preview Video: Art is Born
2023

れる

みあれに寄 せて子どもたちの新しい芸 術 体 験のひとつとして宗 像 市の鳥「オオミズナギドリ」が津 軽 三 味 線 × 和 太 鼓のコンサートを沖ノ島で 生まれてから飛び 立 つまでの

福 岡 市と宗 像 市で開 催した。

短いアニメーション。

ニ ーン
Animation

日本 古 来の自然 観を受け継ぎ、世 界につなぐ

ニ ー
ン作家
さ
Sakumi Wada (animator)

大

飛 ぶのが 苦 手なオオミズナギドリは

津 軽 三 味 線 奏 者・山 口ひろし、

愛らしくもたくましく生きる。

その弟 子である中 学 生の宮 沢 莉 乃 音 、神 職が 録 音した“ 生 ”の鳴き声 、そして、障がい者 長 崎 打 楽 団・瑞 宝 太 鼓 。

津 軽 三 味 線と和 太 鼓の響きとともに生き生きと躍 動 的に。

激しく大きな手の動きと豊かな表 情 、
繊 細と情 熱で人を魅了する

は
た

か
ます

沖ノ島からアートが 生まれる瞬 間を津 軽 三 味 線の音 色 。

鉛 筆のタッチでやわらかく描いた鼓 動に響きわたり動く絵 本です。

希 望と活 力を与えるかのように鼓 舞する和 太 鼓の打 音 。
鍛 錬を積み重ねた2組のはじめての共 演は事 前 準 備ありきではないと物 語る。
日々、音 楽へ 向き合う姿勢と心の鍛 錬によってひとりひとりに奥 深く響きその先の風 景を想 起させてくれた。

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あとが きAfterword

神と自然と人を 結び
幸 せが 生まれるアートのはじまり。
豊かさの深度を経済目線で考えてきた近代の神話。その綻びがとは疎遠ながらも器用な海の人々と表現の楽しさを共感し合う

見えはじめた現代に、千年以上続く神々の「みあれ」の思想をことの素晴らしさを教えてくれた。

受け継いできた宗像の地域文化はある。現代と古代、それぞれひとつの大きなゴミから身近な海の底や遠い海外の汚染までを俯瞰しながらはじまったのが本芸術祭である。変容する時代を想像させる中林の作品。聴くという行為から目の前にはないとともに歩み、雄大な時間を紡いできた神秘的な場所を舞台に、風景を描かせてくれた橋本の作品。音楽と絵画を組み合わせて人と人とがつながり、未来への示唆を与える芸術家たちの多様

自由な想像力の可能性を伝える渋田の作品。境内という境界をな表現が集結した。

超えて地域と人とを大きく巻き込んだ吉田の作品。デジタルネ

彼らは初夏に入る頃に構想をはじめ、9 月末までという短い

イティブ世代のみずみずしく豊かな発想を境内にもたらしてく

期間の中で、宗像の大きな歴史を受け止め、様々な条件を乗りれた浦川の作品。芸術家にとって「みあれ」との出会いは新た越えながら作品を制作した。芸術家はその土地を解読できる深な創作意欲につながるひとときとなっただろう。作品に触れたさや、分析できる視点を持っていながらも、それをひっくり返

人は静かなよろこびだったり、驚きだったり、とびきりの笑顔して表現する力がある。アートに触れる子どもたちや参加するだったりと幸せな瞬間が生まれただろう。

人は、そこでの発見に刺激され、遊びと創造によって新しい物語に変えていく。
戸室の作品に集う人々は、それぞれの筒を覗き込んで見えるさだったり、高得点の獲得だったり、社会人としてどう役立っ

風景を楽しみ、突如鏡に映し出された人と顔を合わせ、はにかているかという点よりも、人と人とのつながりだったり、大切みながら「こんにちは」と会話がはじまった。

な人の笑顔が続くことだったり、何気ないけれども穏やかな

たくさん触れてもらって、作品が壊れても構わないという石日々が続くことだったりではないだろうか。自然と人のなかに

原の作品には、子どもたちが駆け寄り、座り込んで鈴を振り、神が宿るという、万物と向き合う風土のなかで、隣りにいる人

道のうえを走り回った。境内に響くはしゃぎ声は美術館では体と共に心地よい時間を過ごす喜び。本芸術祭において、アート験できない開放的な雰囲気となった。

がどのように人々に幸せな未来を描いていくのか。そして、子

自然の恵みに支えられてきた宗像において海の極端な変化に直面し、漁師や海人の方々と対話を重ねて作品を制作したザイの作品は、古くからの海人文化を紹介するだけでなく、アート

56

この芸術祭を通して、未来と幸せとは何かをこれからも考え、発信していきたい。私たち日本人にとっての幸せは、所得の高Munakata Miare Art Festival 2023

どもたちにその想いをどうつないでいくのか。そのような問いと実践は、いま、はじまったばかりである。

Connecting nature, people, and the gods
From art comes happinessOur modern myths have viewed abundance through an economic mindset. In these fractured contemporary times, Munakata
continues as the heir to the rite of Miare, ongoing for morethan a thousand years. This new art festival began by taking
an overview of both the ancient and the modern. In this mystical place that has witnessed eras come and go, where time
has unfolded so majestically, a remarkable range of art came
together to connect us and offer hints for the future.
The artists started planning their work in early summer andthen had only until the end of September to complete their efforts, inspired by Munakata’s immense history and overcoming various limitations. The artists could offer profound interpretations and analyses of Munakata, and also possessed theability to flip those assessments around and express things
in fresh ways. The children and grown-ups who came into
contact with the art were stimulated by what they discovered,their playful interactions and creativity further changing theart into new stories.
At Taichi Tomuro’s exhibit, people enjoyed the landscapes
they saw when they peeped into the tubes, were surprised tofind themselves looking at the faces of others reflected in the
mirrors, and tentatively began conversations.
With Toshihisa Ishihara’s work, people could touch theobjects directly and it didn’t matter even if they broke. Children rushed to get involved, ringing the bells and runningaround the path. The excited voices resounding around theshrine grounds conjured up an open and accessible atmosphere not conventionally experienced at an art museum.
Created through dialogue with fishers and ama pearl divers,
Zai Kuning’s work confronted the drastic changes wrought on
the sea that has always been supported by the blessings ofnature. Instead of merely introducing the ancient culture of
pearl diving, it taught us that art is something wonderful thatcan share the fun of creative expression with the distant yetadroit divers.
Takeharu Nakabayashi’s exhibit was a series of large piecesof trash that evoked the pollution at the bottom of the local
sea as well in oceans far away. Jiro Hashimoto’s work createda landscape we cannot see through the art of listening. Kaoru
Shibuta’s work conveyed the true potential of the imagination by combining music and painting. Shigenobu Yoshida’s
work transcended the boundaries that nominally separate theshrine from the local area to involve the whole community.
Taishi Urakawa’s contribution brought the fresh and rich ideasof digital natives into the shrine. For these artists, encountering miare surely inspired whole new creative urges. And
the people who came into contact with these works experienced the happiness of quiet joy, of surprise, of extraordinary
laughter.
Through this art festival, we want to think about and sharewidely the meaning of happiness and the future. For the Japanese, happiness is less about having a high income, achieving
high scores, or the benefits we are bringing as a member ofsociety than the connections we have with others; that those
we love continue to smile and laugh, that we might continue
to enjoy uneventful, peaceful days. The gods reside withinpeople and nature: as we engage with things, we experience
the joy of passing time in comfort with our neighbors. In afestival, what kind of happy future will art shown us? And
how will those ideas connect with children? Those questions
and practices have only just begun.

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57

宗 像 みあれ 芸 術 祭 2 0 2 3を支 えてくださった 方々
本
ご

の

な

ま

本

に
を

・

たり、
し

ま

大な
。

を

りました。

This festival and documentation book were made possible by
the tireless efforts of many people. We would like to take thisopportunity to thank everyone for their contribution.

クト
大
大
島

沖ノ島

大

がい アートる のン ート、 ーク

作 など
島

リー

ッ

島
島

ー ー

大
地

※本芸術祭にボランティア登録し、実際に活動いただいた方々を掲載しています。
宗像

Organizers

ンテ アの会の な ま

Nishinippon Shimbun,
Munakata Contemporary Art Exhibition Executive Committee

大Co-organizers
海大

Munakata City, Munakata City Board of Education,の な ま

Munakata YURIX, Munakata Taisha
Special Sponsor

地

Kuhara Honke Group

島
の な ま

地

Supported by

大

地

ス

Agency for Cultural Affairs

リン ックス 本・

の な ま

ン ート

Management
Munakata Contemporary Art Exhibition Executive Committee
Chair: Noriyuki Ashizu

大

の
地

地

Vice Chair: Hiromi Tanii

か大Advisor: Takashi Shimada
Executive Director: Sadaharu Nagatomo大大Accounting: Yusuke Funakoshi
Coordinator: Hirokazu Minami
Open Call Selection Judge
Jun’ya Yamaide (Yamaide Art Office Inc.)

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企画運営体制

Planning and Management

宗像現代美術展実行委員会

Munakata Contemporary Art Exhibition Executive Committee

事務サポートAdministrative Support

古賀朋香

Tomoka Koga

アートディレクター

Art Director

青柳舞（株式会社 art cantiere maimai）

Mai Aoyagi (art cantiere maimai Co., Ltd.)

運営統括マネージャー

General Operations Manager

金﨑邦寿

Kunihisa Kanazaki

ザイ・クーニン・吉田重信 キュレイター

Zai Kuning and Shigenobu Yoshida Exhibits Curator

中野和加子

Wakako Nakano

ザイ・クーニン 通訳

Zai Kuning’s Interpreter

原崎靖子

Yasuko Harasaki

ザイ・クーニン 作品制作助手

Zai Kuning’s Production Assistants

ニイカド・マルセロ・アレハンドロ、原享志

Marcelo Alejandro Niikado, Takashi Hara

メインデザイナー

Main Designer

永田修平

Shuhei Nagata

告知コンサート デザイナー

Preview Concert Designer

片岡香

Kaori Kataoka

ウェブサイト制作

Website Production

楠林いずみ

Izumi Kusubayashi

広報サポートPublic Relations Support

楠林いずみ、
松本尚吾、
古川佳祐

Izumi Kusubayashi, Shogo Matsumoto, Keisuke Furukawa

記録撮影

Photographs

松本尚吾

Shogo Matsumoto

映像ディレクション・編集

Video Director and Editor
Keisuke Furukawa

古川佳祐

記録集

文章執筆・編集発行者

青柳舞

宗像現代美術展実行委員会

校正
宗像現代美術展実行委員会
デザイン
永田修平
写真撮影
松本尚吾
（P6-7, 56-57 徳持安吉）〒 811-3505 福岡県宗像市田島 2331
発行日
2024 年 2月25日

Munakata Miare Art Festival 2023 Documentation Book

Writing and Editing:Published by

Mai Aoyagi

Munakata Contemporary Art Exhibition

Proofreading:
Munakata Contemporary Art
Exhibition Executive Committee
Design:Shuhei Nagata
Photographs:
Shogo Matsumoto(P6-7, 56-57 Yasukichi Tokumochi)© 2024 Munakata Contemporary Art Exhibition Executive Committee All rights reserved

Executive Committee
2331 Tajima, Munakata City, Fukuoka
Prefecture 811-3505 Japan
Published on
February 25, 2024