REPORTREPORT

About Yokohama Triennale

Summary
The Yokohama Triennale is an international exhibition of contemporary art held in Yokohama once every
three years. The exhibition features both internationally renowned and up-and-coming artists, and presents
the latest trends and expressions in contemporary art.
Since its inauguration in 2001, the Yokohama Triennale has addressed the relationships between Japan andthe world, and the individual and society, and reexamined the social role of art from a variety of perspectives,in response to a world in constant flux.
The first three editions (2001, 2005, 2008) were primarily organized and overseen by the Japan Foundation
to enhance cultural exchange between Japan and other countries and cultures through contemporary art.
From the fourth edition (2011), the City of Yokohama has been the primary organizer of the event.
The Yokohama Triennale is a national project supported by the Ministry of Cultural Affairs, and also a projectthat represents the ‘Culture, Art and Creative City Yokohama.’

Foreword

The Yokohama Triennale, which started in 2001, has reached its 20th anniversary with the completion of its
7th edition, Yokohama Triennale 2020 “Afterglow.”
Over these twenty years, the Triennale has been held under difficult circumstances on several occasions.
The inaugural edition in 2001 endured even as it witnessed the attack on American soil on September 11,
and the 4th edition (2011) opened in the aftermath of the Great East Japan Earthquake. Now the 7th edition
has been impacted by the new coronavirus, which started spreading widely in early 2020.
With travel restrictions in place, and neither the overseas-based artistic director Raqs Media Collective nor
artists able to attend in person, preparations for the exhibition were completed online. To help minimize risk,
the event’s opening was delayed by two weeks, and on July 17 the Yokohama Triennale opened to the public,
becoming one of the first major international exhibitions to physically open during the pandemic. It closed
78 days later, having welcomed 154,000 visitors.
Many events and much of the work by volunteer guides had to be repurposed quickly to online platforms in aprocess that provided a valuable opportunity to think about how the online realm might be utilized by the art

The Yokohama Triennale and Its Mission
MISSION
The Yokohama Triennale, one of the leading international exhibitions of contemporary art in Japan, will
spearhead the development of ‘Culture, Art and Creative City Yokohama’and cultivate a spiritually richsociety that embraces diversity.

exhibitions of the future.
This report documents the preparation, contents and operation the Triennale’s many aspects, as well as thevarious related community programs and initiatives. We hope that this report will be useful to the organizers
of other international exhibitions and festivals who are in search of new ways of planning events in the faceof unprecedented challenges during this pandemic.
Last but not least, we would like to express our deep gratitude to all the artists and lenders who generously

GOALS

provided artworks. We would also like to thank the Agency for Cultural Affairs for its support, many other・To open new channels through artorganizations for their cooperation and of course the many Yokohama Triennale Supporters who in spite ofBy celebrating contemporary art, the Yokohama Triennale provides opportunities to engage with a wide

the difficult circumstances helped make the exhibition a reality.

range of expressions, which transcend any given genre or era, to foster better understanding between people
from many different generations and backgrounds.
・To engage with the world

City of Yokohama
Yokohama Arts Foundation

As a national project, the Yokohama Triennale strives to contribute to international exchange and mutual

Japan Broadcasting Corporation [NHK]understanding through its commitment to conveying new principles and values.

The Asahi Shimbun

・To engage with the community

Organizing Committee for Yokohama Triennale

By collaborating with partners in ‘Culture, Art and Creative City Yokohama,’ the Yokohama Triennale
enhances and promotes the unique resources in the city.

GUIDING POLICIESStriving for excellence / Nurturing future generations / Contributing to shaping an inclusive society /Engaging with the Community / Celebrating art / Attracting business and tourism

2

3

Greetings

Yokohama Triennale 2020
—Bringing Together People, Society, and the Moment

The Yokohama Triennale 2020 “Afterglow” came to an end in October 2020 after a successful three month

I am delighted that the Yokohama Triennale 2020 “Afterglow” closed successfully, despite having opened

run. I would like to first express my deepest gratitude to all of the artists who created wonderful works,

with a two-week delay.

and the Artistic Director, Raqs Media Collective. I am also sincerely grateful to all those who supported
the Triennale including the Agency for Cultural Affairs, the sponsors and supporting corporations, citizen

I would like to express my sincere gratitude to the Artistic Director Raqs Media Collective, who devoted

supporters, and all others who made this edition possible.

themselves to preparations for the Triennale, with unceasing discussion and dialogue based on preliminary
research, even as the world was plunged into unease due to the COVID-19 pandemic and travel between

While the COVID-19 pandemic led to the postponement or cancellation of many events, this Yokohama

countries became impossible. Through their cooperation and that of the participating artists, the many

Triennale was held ahead of other biennales and triennales around the world. Believing in the power of art

wonderful works on site in Yokohama could be realized. These works, overflowing with passion and creativity,

to heal our hearts, and to provide radiance and hope, we wanted to deliver a spirit of hope from Yokohama

gave great encouragement not only to the visitors but also to the organizers struggling with the challenges of

to many people. In such a time, we wanted even more to deliver gratitude and courage to artists around thethe exhibition operations. Further, through the online events and virtual tours, I am sure that the attraction ofworld. This was the reason for our decision to proceed. The number of visitors exceeded our expectations,the cutting-edge expression of the works could be shared even with people who had been anticipating thereaching 154,000; this made us realize anew that culture and art are needed by so many people.

Triennale but were not able to attend physically.

While also implementing stringent anti-contagion measures, we also took on the challenge of various

The emergence of COVID-19 has made us think once again about globalization, the environment, and

new initiatives utilizing ICT to ensure the Triennale would be accessible for everyone to enjoy. The releaseconnections and divisions between people. I am sure that many people were able to discover hints forof a virtual tour site to allow visitors to view the exhibition online, and the use of avatar robots for viewing,

co-existence with the virus through the works exhibited. The Yokohama Triennale will continue to confront

have great potential for new styles of viewing art in the future. Further, through collaboration including withvarious issues, as it has in the past, and to connect people, society and the times through contemporary art.

BankART 1929 and the Koganecho Area Management Center, as well as local Yokohama companies and art

We hope it will continue to be such a place of encounter and thought.

organizations, the “Creative Railway” art program was developed. With areas in and around Minato Mirai Linetrain stations as venues, visitors could enjoy the many artworks together with the City of Yokohama.

Looking back on the records of the Yokohama Triennale 2020, I would like to express my deepest thanks
to all those who made it possible. The Yokohama Triennale has grown into an international exhibition with

Culture and the arts have an incomparable value, bringing a spiritual abundance and enrichment to people’s

a long history, that attracts attention from around the word, and we are already taking steps towards thehearts and to society. Yokohama, as a creative city of art and culture, believes in the power of culture and thenext edition. We thank you in advance for your ongoing cooperation to ensure that the Yokohama Triennale

arts, and promotes such values in building our city and community. Drawing on our experience in organizing

continues to be a popular and sustainable event in the years to come.

distinctive arts festivals in dance, music and contemporary art, we will continue to work with you all topromote to the world the attraction of culture and the arts, and of Yokohama.
KONDO Seiichi
Chairperson, Organizing Committee for Yokohama Triennale
HAYASHI Fumiko

Chairperson, Yokohama Arts Foundation

Representative Honorary President, Organizing Committee for Yokohama Triennale
Mayor of the City of Yokohama

45

Yokohama Triennale 2020 Area Map

Outline of Yokohama Triennale 2020 “Afterglow”

Port of Yokohama

●

Title

Sponsors

Osanbashi Yokohama International
Passenger Terminal

Yokohama Triennale 2020 “Afterglow”

Nissan Motor Co., Ltd., Nomura Research Institute, Ltd.,MITSUI FUDOSAN GROUP, Mitsubishi Estate Group

Yokohama Hammerhead

Artistic Director
Raqs Media Collective●●

Fruits Tree

Yamashita Park

Yokohama Red Brick
Warehouse

Kanagawa Kenmin Hall●

Seaside Park (Rinko Park)● ZOU NO-HANA TERRACE● Cupnoodle Museum● Pacifico Yokohama● Yokohama World Porters

Kanagawa Prefectural
Government●●

Minatomirai LineSOGO Yokohama●

BankART
Stationma

Hara Model
Railway Museum ●■Minatomirai Sta.
ichi

am
ash

●
●

.

Sta

PLOT 48●

Nihon-odori Sta.

New Media, Tokyo University of
the Arts●

Sakuragicho Sta.

■ R16 Studio

Takashimacho Sta.

ta.

ai S

nn
Ka

JR Negishi Line

Yoko
ham
a Sta
.

Yokohama Municipal Subway

Yokohama Noh Theater ●Yokohama Stadium●

BankART
Yokohama Temporary
City Hall

.

Sta
nai

Kan

Ookagawa River

tsu

Sote

Isezaki-chojamachi Sta.

Yokohama City Library ●*Open until 21:00 on October 2, 3, 8, 9, 10 and until 20:00 on October 11 (Admission
open until 30 minutes before closing time)

VenuesYokohama Museum of Art(4-3-1, Minatomirai, Nishi-ku, Yokohama, Kanagawa, Japan［Minato
Mirai 21 Central District Block 48］)

Line

[Special co-operation: NYK MARITIME MUSEUM (3-9, Kaigan-dori,
Hinodecho Sta.

Steep Slope Studio ●Hinode Studio■

Site-A Gallery Beneath the Railways
Kogane Studio

Naka-ku, Yokohama, Kanagawa, Japan)]

Hatsunecho,
Koganecho and
Hinodecho
Neighborhoods

Keikyu Line

Number of Participating Artists
69 artists/groups■■

Organizers
Bandobashi Sta.

Koganecho Sta.

As of March 2021

The Bank of Yokohama, Ltd.

July 17–October 11, 2020
Open for a total of 78 days

(3-4-1, Minatomirai, Nishi-ku, Yokohama, Kanagawa, Japan)
PLOT 48

Yokohama Nigiwai-za ●Nogeyama Zoo ●Ishikaw
achō Sta.

(Motomachi・C
hinaTown)

Sakuragicho Sta.

Yokohama Civic Art Gallery ●Exhibition Dates

Hours
10:00–18:00● Graduate School of film and●

Dai Nippon Printing Co., Ltd,TAKASHIMAYA STORES Yokohama, Mori Building Co., Ltd.,Closed on Thursdays (except July 23, August 13, October 8)● THE BAYS

.

Sta

B

Yokohama Museum of Art The Landmark Tower

Yokohama China Town

NYK MARITIME MUSEUMMARK IS Minatomirai ●Shintakashima Sta.

oha
Yok

Takashimaya
Yokohama
Store ●●

Yokohama Cosmoclock 21

Yokohama Bay Quater

MotomachiChūkagai Sta.

JVCKENWOOD Corporation, Starts group,(Jeebesh Bagchi, Monica Narula, Shuddhabrata Sengupta)

City of Yokohama, Yokohama Arts Foundation,
Japan Broadcasting Corporation (NHK), The Asahi Shimbun,
Organizing Committee for Yokohama Triennale
Co-operation
Agency for Cultural Affairs (Program to Support International Arts
Festivals)
Special Co-operation
The Japan Foundation, Urban Renaissance Agency

Uyeno Transtech Ltd., NTT EAST, OBAYASHI CORPORATION,
Kawamoto Industry Corporation., Kitamura Co., Ltd.,
Kiyoken Co., Ltd., SAKATA SEED CORPORATION,TORAY INDUSTRIES, INC., NEC Corporation,
Hara Model Railway Museum, The Yokohama Shinkin Bank,
NEWoMan YOKOHAMA
Corporate Co-operation
ACM Co., Ltd., Keikyu Corporation, Sotetsu Group,
DAIICHI ORIMONO CO., LTD., NYK MARITIME MUSEUM,
Peatix Japan K.K., Fuji Xerox Co., Ltd.,YOKOHAMA MINATOMIRAI RAILWAY COMPANY.,
Yokohama Urban Future Create Co., ltd
SupportNational Culture and Arts Foundation, Mondriaan Fund,
The Obayashi Foundation, YOSHINO GYPSUM ART FOUNDATION,
ifa (Institut für Auslandsbeziehungen),Ambassade de France / Institut français du Japon,
Acción Cultural Española (AC/E),
Embassy of Spain, Austrian Cultural Forum
Artist Support
Australia Council for the Arts, Taiwan Cultural Center,
Taipei Economic and Cultural Representative Office in Japan,
Incheon Foundation For Arts & Culture
Certification
beyond2020

Under the Auspices of
Ministry of Foreign Affairs of Japan,
Kanagawa Prefectural Government, Kanagawa Shimbun,
Television Kanagawa

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Contents

A World in Flux

About Yokohama Triennale

2

Even before the coronavirus pandemic, Yokohama Triennale 2020 “Afterglow” was always intended to

Foreword3

include several new challenges.

Outline of Yokohama Triennale 2020 “Afterglow”

7

Delhi-based artist trio comprising two men and one woman, was chosen as a counterpoint to the tendency“A World in Flux,” KURAYA Mika

9in Japan for biennales and triennales to be directed by Japanese men.

“The world changed, and we all mattered,” Raqs Media Collective

10

For one, a non-Japanese artistic director was selected for the first time. Raqs Media Collective (Raqs), a

Raqs’ curatorial vision itself represented a challenge in many ways to the conventional approach to themaking of biennales and triennales.

01. Major Events Leading to Yokohama Triennale 2020
“The Autodidacts’ Yokohama Triennale 2020:
Notes on Planning and Preparation,” KIMURA Eriko

11
13

02. Exhibition Documentation

14

03. Preventive Measures Against COVID-19

43

04. Visitor Amenities

46

They also sought to undermine the primacy of the exhibition itself by questioning its temporal and spatial

05. Initiatives for Children and Youth47

limitations and establishing a parallel axis called “Episōdo,” which started before and continued after the

06. Initiatives for Social Inclusion

48

07. Yokohama Triennale Supporters

49

08. Art Programs in the City

53

09. Public Relations and Promotion

56

10. Visitor Profile

63

11.

66

Furthermore, many of the works questioned the relationship between the human and non-human, such

12. Income and Expenditure Report67

as the universe and particles, DNA and poisonous plants. One of the key terms, Toxicity, was also exploredYokohama Triennale 1st-7th Editions

68

Organization

70

Credits

71

Economic Impact and Publicity Effects

For example, directors of such large international exhibitions generally exercise a large degree of directcontrol. In contrast, Raqs approached the project by initially sharing a set of texts that would seed theirthought on five key terms: Autodidact, Luminosity, Friendship, Care and Toxicity. They then called on theparticipant artists and the public to join them in exploring those ideas.

exhibition in locations both in and out of the exhibition sites of Yokohama. Episōdo refer to a diverse group of
projects, including performances, online events and in-exhibition exhibitions planned by other curators.
A total of 69 artists and artist groups were involved in the Triennale, most of them hailing from or basedin Asia, the Middle East, Africa and elsewhere. This selection suggested Raqs’ desire to relativize theEurocentric ideas that had dictated the history of art since the 19th century.

under these themes, and it attracted a lot of attention for apparently anticipating our current lives incoexistence with the new coronavirus.
In short, Raqs, with their attitude of questioning much that had hitherto been considered essential, set about
unraveling everything from curator privilege, over-emphasis on the physical exhibition, Eurocentrism, andanthropocentrism.
Such were the new ideas that we were working on, to shift our perspectives in many ways, when we werethrown into the global wave of the pandemic caused by the new coronavirus. We were suddenly faced witha new set of challenges, such as dealing with the fact that neither the artistic director nor the artists could
travel to Japan, reworking transportation and installation plans, and shifting programs to online platforms.
We hope that this report, which documents a Triennale that played out like a raft riding through rapids, might
one day become a useful reference for future biennales and triennales. As a final note, we would not havebeen able to open this Triennale without the assistance of the many people who extended their generous
support and also the visitors who came to see the exhibition in person. We extend our gratitude for theircontributions.

Notes
1. Data on artists and works, names of organizations, groups, and institutions, and titles of individuals are current as of October 11, 2020.
2. The year (2020) is omitted for dates of activities that took place during the Triennale year.
3. “Yokohama Triennale 2020” is used for Yokohama Triennale 2020 “Afterglow.”
4. “Raqs” is used for “Raqs Media Collective.”
5. “AD” is used for “Artistic Director.”
6. “COVID-19” is used for “coronavirus disease 2019.”
7. The credits for photographs in “Exhibition Documentation” (pp.21–39) and “Yokohama Triennale 1st – 7th Editions” (pp.68-69) are listed on the “Credits”
page. The photographs in “Art Programs in the City” (pp.53–55) are provided by the organizers. Other photographs without credits are taken either by theOrganizing Committee for Yokohama Triennale or by the staff of Yokohama Museum of Art.

8

KURAYA Mika
Executive Chairperson, Organizing Committee for Yokohama Triennale
Director, Yokohama Museum of Art

9

The world changed, and we all mattered

As we write these lines, a debate is raging in the world about forms of morality that need to be brought

01. Major Events Leading to Yokohama Triennale 2020
[Timeline] （Major events are noted in bold, COVID-19 related events are in blue）

to bear within public (and personal) life. What is the nature of the compass that gives us a direction into
the future? Are our decisions and dispositions to emerge from an inventive working of values of equalitythat carry a nuanced idea of a just life, or are they to maintain what is culturally dominant, habitual, and2018

May・The Recommendation Committee nominates 21 candidates for the Artistic Director (AD)convention-bound?

June 26・The 7th Yokohama Triennale (7th edition) AD Selection Committee shortlists four candidates
Aug 21, 24・The 7th edition AD Selection Committee selects Raqs Media Collective (Raqs) as one of the finalists

In some ways, the Yokohama Triennale 2020 is a site working out the nuances of principles that underline

Oct 14–17・Raqs in Yokohama for the first time (agreement / site visits to the proposed venues / discussion on the direction of the exhibition, etc.)

all our global presences, and interdependences. By staging the Yokohama Triennale 2020 as an opportunity

Nov 26・The 21st General Meeting (AD approval / project schedule)

to think these questions, we were able to embark on a remarkable journey to imagine responses with a large

Nov 29・Press announcement of Raqs as AD of the 7th edition

number of protagonists. En route we understood that the triennale as a form is critical in today’s world for
upholding a trans-global deliberative process. We hope we have been able to communicate this sense andfeeling to, and for, Yokohama. Goodbye, and see you in the next edition in 2023, as guests to conversations.

Mar 27・The 20th General Meeting of the Organizing Committee for Yokohama Triennale (Yokohama Triennale outline; exhibition dates and venues)

Dec・Raqs starts research visit (Turkey)

2019

Feb 2・“Yokohama Art Rally” (Featuring: Shiriagari Kotobuki, Aida Makoto, JARUJARU, Chihara Tetsuya, Kuramoto Mitsuru and others)
・Start audience research (finish on March 31)

Feb 19–27・Raqs in Yokohama (Meetings with artists Arai, Iwai, Iwama, Takekawa [Printing Sound] / research in Yokohama and Tokyo / audience research,etc.) *Initial meetings are mentioned hereafter・Online meetings with overseas-based artists begin

October 11, 2020

Feb 20・Raqs gives a presentation for the series “Curating International Exhibitions,” organized by Yokohama Museum of Art

Raqs Media Collective

Mar・Raqs research visit (Qatar)
・Raqs confirms the series of program to be named “Episōdo”

Artistic Director, Yokohama Triennale 2020

Mar 6・The 22nd General Meeting (exhibition dates and venue / project and budget plans for FY2019)
May・Raqs research visit (Greece, the Philippines, United Arab Emirates [UAE], Qatar) / curatorial team research visits (Greece, Italy, Qatar, UAE)
June・Raqs research visit (Australia)
June 21– July 2・Raqs in Yokohama (meetings with artists, Tamura, Iiyama / research visit by Franke and Vidokle / research in Kyoto and Osaka related to Shintaku,
Kaneuji, Zheng, Vidokle / planning for Episōdo, etc.)
July・Raqs research visit (France, Italy) / Artists’ site visits begin
July 2・Press announcement of the exhibition dates and venues (July 3–October 11, 2020 / Yokohama Museum of Art and PLOT 48)
July 12–16・Raqs in Yokohama (planning of Episōdo, etc.)

・Ariane Spanier commissioned as main visual designer after interview with candidates

July 13・Raqs (Jeebesh Bagchi) speaks at International Symposium 2019 “Trading Places” / Asia in Resonance 2019 (Organizer: The Japan Foundation
Asia Center / Venue: Tokyo Metropolitan Theatre Gallery 1)
Aug・Raqs proposes “Afterglow” as the title of Yokohama Triennale 2020
・Curatorial team research visit (UK)

Oct・Raqs research visit (UK, France)
Oct 29–Nov 5・Raqs in Yokohama (meetings with artist, Takemura, Sato, Knox, Aono / research in Yokohama, Tokyo, and Sendai / planning exhibition floor plan)
・Kudo Momoko of MMA Inc. commissioned as space designer/architect after interview with candidates

Nov・Raqs research visit (Taiwan, Korea)
Nov 26–Dec 5・Raqs in Yokohama (Episōdo 00 / exhibition floor plan / wall texts, etc.)

・Artists in Yokohama (Berrada, Franke, Wong, Malatsie, Xie [Xie stays until Jan 31])

Nov 29・Press preview of Episōdo 00 (at PLOT 48) and launch of Sourcebook

・Launch of the Yokohama Triennale 2020 website / Press announcement of the title, concept, and the first list of participating artists

Nov 30・Episōdo 00 (at PLOT 48)
Dec 2・Raqs meets with Hayashi Fumiko, Representative of Honorary Presidents of the Organizing Committee for Yokohama Triennale
Dec 4・Open call for the Guide Service Supporters begins

2020

Jan・Artists’ research visit in Yokohama (Farming Architects)
Jan 16

The first case of coronavirus infection is confirmed in JapanJan 16–20・Raqs in Yokohama (exhibition floor plan / finalize the list of 65 groups [67 artists] to be announced in April)
Jan 25The Government of the Hong Kong Special Administrative Region raises the response level to the coronavirus infection to “Emergency”

Feb・Artist in Yokohama (Mohaiemen), residency stay in Yokohama (Make or Break)Feb 3

Raqs Media Collective
Based in New Delhi, Raqs Media Collective was

Feb 11World Health Organization (WHO) officially names the coronavirus infection COVID-19 (coronavirus disease 2019)Feb 27・Open call for the Visitor Service Supporters begins (activities are later cancelled due to COVID-19)

formed in 1992 by Jeebesh Bagchi, Monica Narula andFeb 29・Temporary closure of Yokohama Museum of Art due to the COVID-19 (until July 16)

Shuddhabrata Sengupta.

Mar 11

WHO declares COVID-19 a pandemic

Mar 21

Entry restrictions into Japan become effective(from left) Shuddhabrata Sengupta, Jeebesh Bagchi,

Mar 25・The 23rd General Meeting (outline of the 7th edition / budget plan)

Monica Narula
Photo: KATO Hajime

10

The cruise ship Diamond Princess arrives at Port of Yokohama

Feb 10・Episōdo 01, originally planned to take place in Hong Kong in March, postponed (to Oct 17)

Mar 25Nationwide lockdown in India begins (lifted on June 8)

Mar 30

Announcement of one-year postponement of the Tokyo 2020 Olympic Games

11

Mar 31・Osaka Eriko resigns as Director of Yokohama Museum of Art (she continues to stay as the Executive Chairperson)
Apr 1・Kuraya Mika assumes the positions of Director of Yokohama Museum of Art and Executive Chairperson
Apr 7

The Japanese government declares a state of emergency

Apr・Online training programs for Supporters begin
・Internal discussion on opening the Triennale under the pandemic begins / Communication with overseas-based artists to adapt plans on
production, fabrication, and transportation, where necessary / Artists based in Japan start on-site production at PLOT 48 (Sato, Knox)
Apr 13・Announcement of 65 groups (67 artists) of participating artists through the newsletter and the official website
Apr 24・Executive Chairpersons confirm cancelation of the opening reception and limiting guests for the preview
Early May・Transportation by sea begins

・Curatorial team starts working on alternative logistic plans in case Raqs and overseas-based artists cannot travel to Japan

Mid-May・Fabrication starts at PLOT 48 / Online communication with Raqs becomes routine
・Collection of artworks and transportation begin (by air, with delays and irregular schedules)
May 14

Japanese Association of Museums (JAM) establishes “Guidelines for Controlling the Spread of Novel Coronavirus Infections inMuseums” (JAM Guidelines) in response to government notification

Late May・Internal discussion on anti-coronavirus measures continues and exhibition plans are revised to minimize risks where necessary / Installation ofartworks starts at PLOT 48 (artists on-site: Iikawa, Sato, Tan, Knox / artists assistants on-site: Arunanondchai, Vidokle, Kawakubo)
May 24・The 24th General Meeting (closing of the FY2019 financial term)
May 25

The government lifts the state of emergency / Entry restrictions remains effective

May 27

Kanagawa Prefectural Government relaxes restrictions on art museums and other facilities

June・Artworks start arriving on-site / Fabrication starts at Yokohama Museum of Art
・Discuss revisions on Episōdo scheduled during the exhibition period
June 1・The 25th General Meeting (opening date changed from July 3 to July 17)
June 3・Announcement on new opening date, launch of pre-booking/time-slotted ticket system, and COVID-10 safety measures during the Mayor’s
daily press conference
Mid-June・Installation starts at Yokohama Museum of Art (artists on-site: Aono, Arai, Iiyama, Iwai, Takemura, Kaneuji / assistants on-site: Barba)
・Artworks start arriving and installation proceeds with online communication
June 19

The advisories against inter-prefectural travel are lifted

June 22・Online press conference presents Raqs video message on the concept and announces the ticket sale dateJune 23・Tickets go on sale
July・Fabrication and installation starts at NYK Maritime Museum
July 3・Episōdo X (online streaming) and Episōdo 02 begins (in Johannesburg through to Aug 14)
July 16・Preview / Online and on-site press conference announcing 67 artists/groups (held at Yokohama Landmark Hall, with Raqs participating online)・Performance by Takemura (until Oct 11, mainly on weekends)
・Raqs and Curatorial Head carry out an online walkthrough for the overseas-based artists

July 17・Yokohama Triennale 2020 opens to the public・Episōdo 03, 04, 06, and 09 begin in the exhibition venues

July 19・Episōdo 06, Iwai’s online workshop and on-site action starts (July 26, Aug 9 and 23, Sept 6 and 20, Oct 11)
・“Online Guide” by the Guide Service Supporters begins (until Oct 9)

Aug 21・Program for junior high and high school students begins (until Feb 28, 2021)
Aug 22・Episōdo 05 Printing Sound online project SURE INN (on-site exhibit Aug 21–Oct 11)
Aug 25・Children’s Workshop “Meet the Artists: Sato Risa” (at Minatomiraihoncho Elementary School, Yokohama)Aug 30・Citizens’ Workshop “Catching Iikawa Takehiro’s Thoughts” / Make plans to present Episōdo 01 (in Hong Kong) and Episōdo 10 online and stream
video works on exhibit for a limited period
Sept・The final number of the participating artists confirmed as 69 artists/groups
Sept 9・Exhibition guide assisted by avatar robot “OriHime” begins
Sept 11・“BankART Life VI” and “Koganecho Bazaar 2020” begins (closes on Oct 11)
Sept 12・Performance of Taus Makhacheva’s artwork begins (until Oct 10)
Sept 16・Episōdo 07 Sound Reasons begins (closes on Sept 27)
Sept 19・Visitor number restrictions relaxed following the government’s notification
Sept 24・Launch Yokohama Triennale 2020 Virtual Tour on the official website
Oct 1・Episōdo 08 Tamura Yuichiro begins (on-site performance and exhibition Oct 2–11)
Oct 2・Late night opening begins (Oct 2, 3, 8, 9, 10, 11)
Oct 5・Episōdo 10 Interstitium begins (selected video works online screening for a limited period)
Oct 11・Closing of Yokohama Triennale 2020

・Episōdo 09 Dennis Tan The case of the ringing bell continues

Oct 17・Episōdo 01 Afterparty

2021

Jan 8

The government declares the second state of emergency.

Mar 2・Online release of the archive video of the exhibition
Mar 21

The government lifts the state of emergency.

Mar 26・The 26th General Meeting (outputs and outcomes, etc.)
Mar 31・Publication of official catalogue

12

The Autodidacts’ Yokohama Triennale 2020: Notes on Planning and Preparation

Preparations for the Yokohama Triennale 2020 began in Augustand stood not as an object-based installation but as a collection of

2018, when Raqs Media Collective was selected as Artistic Director.
As they were the first non-Japanese AD to be appointed by the

diffused light. At the same time, Raqs paid careful attention to
decentralizing and diversifying of norms, not only by balancing theOrganizing Committee, we, the curatorial team, imagined that it
would take time for us to familiarize ourselves with their thoughts.

selection of artists and artworks, but also through the placement of
the works in the gallery spaces. The juxtaposition of 'Franke =But as their direction and interests were made apparent during theselection process, our apprehensions proved groundless. Raqs
proposed not to set a theme in advance, but to start from a set of

Woman' on the exterior and 'Cave = Black' in the interior is an
example of such curatorial considerations.

texts which they called “sources.” With these, they would start
discussions with artists as well as the public, so that the Triennale

The exhibition started with the personal point of view such as thewould not become a monolith built by the AD, but a “thicket ofthought” conceived by participants from various locations andindividual and the family, leading then to issues of ethnicity andhistory, and from there shifting to those related to the body andhuman perception, as well as to life and death, and ecology. The visi-

backgrounds. Thus, the second half of 2018 was spent discussing
how we could deepen our understanding of each source, andtors could experience this array of motifs while walking through thegallery spaces of Yokohama Museum of Art and PLOT 48. The flow

conduct multifaceted research. The “participants,” or perhaps“protagonists,” in Raqs’ term, were not to be constituted only byof thought demonstrated in the exhibition, which expanded in scalefrom the familiar to the cosmic, also led to questioning our current

curators and artists. Rather, visitors, museum docents and anyone
else involved in the project were also to become “autodidacts” whohuman-centered society.

would take part in growing the thicket of thought. The first step wasthus to conduct an audience research. In spring of 2019, a survey-like project was organized and the public were asked to respondto the question, "What arises within when you encounter a work that

Finally, a note on the impact of the COVID-19 pandemic on the
preparations for the Triennale. As the preparations were originally tocalls itself art?" As a result, we collected more than 200 answers
which were shared with Raqs. The purpose of this exercise was notand had therefore begun preparations with the transportation,
fabrication, and installation earlier than usual. Further, working

to arrive at a conclusion, but to involve participants in the very act ofcontinuing to think and discuss, or in short, to become discursive.

online was already the norm for communication with Raqs, whowere usually in Delhi, and the artists living overseas who required"Episōdo" was conceived as an extension of these thoughts.

site visits had already finished their visits and residencies before
February, when travel restrictions began. As a result of these factors

Preparation for Episōdo began around spring 2019, as a platform tofocus on the sustainability of change, free from the traditional

coming together, there was no significant delay. However, once astate of emergency was declared in Japan, we anticipated that theframeworks of the exhibition, bound by temporal and spatial limitations. At the same time, a great amount of time was spent on research into artists and works from throughout Japan and various
countries around the world. Especially from Japan, the “luminosity,”

artists who had planned to create their works on site might no longer
be able to come to Japan. We therefore had to shift to ask them“toxicity” and “care” of the atomic bomb and the nuclear power
plant, and Okinawa and its geopolitics in relation to the history ofform of the works themselves. Preparations for the exhibition
became possible, despite the physical absence of Raqs and thecolonization in Southeast Asia and the Pacific, as well as the“friendship” or “care” nurtured in these communities, were subjects

majority of artists from the site, with heavy use of messaging andconferencing apps. However, it was extremely difficult to grasp anof interest, passed on to Episōdo by Iwai Masaru, Printing Soundand Inti Guerrero, as well as several exhibited works. In addition,

understanding of a three-dimensional physical space projected only
through a small screen. This required both communication skills

rather than having people from around the world come to Yokohama, presenting Yokohama to a global audience as a platform fordiscussion was made priority in the early stages. From this thought

and twice the time or more to convey the critical points of theinstallation. Performances and workshops, such as parts of Episōdo

developed plans for Episōdo to travel to different locations aroundthe world before the opening of the Triennale. These were realized in
the form of “Episōdo 01, 02, 03: Deliberations on Discursive Justice,”
which included a scenography, or a set of objects and narratives
exhibited in Johannesburg and streamed online to sustain dialogues
and discussions involving not only the artists and participants, butalso non-human protagonists.
The preparations for the exhibition, which was to be conceived inparallel to Episōdo, began in full scale in mid-2019. In the selectionof artists and works, and in the layout of the exhibition, Raqs placedemphasis on the continuity between the works themselves, which
they termed “flow.” Efforts were made to avoid a particular workfrom dominating the space in both physical and contextual terms.
Ivana Franke’s work installed on the exterior of the YokohamaMuseum of Art disrupted the visitors’ perception and presented themuseum building as a fluid and elusive material, while Nick Cave's
work in the Grand Gallery widened and confused the viewer's gazecoincide with the period of the Tokyo 2020 Olympic Games, we had
anticipated challenges in logistics and travel arrangement of artists,

either to complete their works in their respective countries, to create
them in another more stable third location, or even to change the(01, 05, 06, 08, 10, etc.) in which the artists and participants wereintended to meet face to face, had to be altered to conduct parts of
the workshops online, or rescheduled. Further, with the hope of thevirus being contained, we had continued to pursue the possibility ofholding such programs in person once the Triennale began. But
when it became clear in September that it would be difficult for
Raqs to come to Japan by the end of the exhibition, 01 and 10 werechanged to take place online after the closure of the exhibition. As aresult of these external factors, the individual methods and timings
were shaken, meaning that the Episōdo numbers were no longer inorder. The non-human being that is COVID-19 continually shook the
project’s implementation plan right throughout the exhibition period,
leading to an exploration of online projects. This Triennale required
an autodidactic process and discussion without answers, not only interms of content but also implementation.
KIMURA Eriko
Curatorial Head, Yokohama Triennale 2020
Curator, Yokohama Museum of Art

13

02. Exhibition Documentation
The Yokohama Triennale 2020 “Afterglow,” directed by the Artistic Director Raqs Media Collective, wascomposed of two frameworks; one was an exhibition and the other was a series of events called “Episōdo,”which expanded the Triennale beyond the exhibition in spatial and temporal terms by commencing before
the official opening and continuing after the closing of the Triennale, and held online and abroad as well.
Raqs prepared “sources” as the starting points to contemplate the Triennale, derived several keywords tocomprehend the world—“autodidact,” “luminosity,” “friendship, “care” and “toxicity”—, and selected 69
artists/groups, more than half of them showing works for the first time in Japan, from around the world
including Asia, Middle East, Africa and South America. Their works and diverse activities were introduced in
the exhibitions at Yokohama Museum of Art, PLOT 48 and NYK MARITIME MUSEUM and in 12 Episōdos.

List of Participating Artists (in alphabetical order)
Name

Place of birth

Place of activity

Year of birth/death

Venue/Project

30

IWAI Masaru

Japan

Tokyo

1975

Yokohama Museum of Art/Episōdo

31

IWAMA Asako

Japan

Tokyo and Berlin

N/A

Yokohama Museum of Art

32

KANEUJI Teppei

Japan

Kyoto

1978

Yokohama Museum of Art

33

KAWAKUBO Yoi

Spain

London and Tokyo

1979

PLOT 48

34

Lebohang KGANYESouth Africa

Johannesburg

1990

Yokohama Museum of Art

35

KIM Yunchul

Korea

Incheon1970

Yokohama Museum of Art

36

Elena KNOX

Australia

Tokyo

N/A

PLOT 48

37

LAU WaiHong Kong

New York andHong Kong

1982

PLOT 48

38

Russ LIGTAS

Philippines

Manila1985

PLOT 48

39

Make or Break(Connie ANTHES & Rebecca GALLO)

Australia

Sydney1978/1985

Yokohama Museum of Art

40

Taus MAKHACHEVA

RussiaMoscow

1983

Yokohama Museum of Art

41

Kabelo MALATSIE

South Africa

Johannesburg

1987

Episōdo42

Naeem MOHAIEMEN

UK

Dhaka and New York1969

PLOT 48

43

James NASMYTH

UKー

1808-1890

Yokohama Museum of Art

44

PARK Chan-kyong

Korea

Seoul

1965

Yokohama Museum of Art

1

Haig AIVAZIAN

LebanonBeirut1980

PLOT 48

45

Amol K. PATIL

India

Mumbai

1987

PLOT 48

2

Farah AL QASIMIUAE

New York and Dubai

1991

PLOT 48

46

Printing Sound

China, Japan, Korea

China, Japan, Korea

Initiated 2018

PLOT 48/Episōdo

3Morehshin ALLAHYARIIranNew York

1985

Yokohama Museum of Art

47

Aluaiy PULIDAN

TaiwanSandimen

1971

PLOT 48

4

Robert ANDREW

Australia

Brisbane

1965

Yokohama Museum of Art

48

Renuka RAJIV

India

Bangalore

1985

Yokohama Museum of Art

5

AONO Fumiaki

Japan

Miyagi1968

Yokohama Museum of Art

49

Oscar SANTILLAN

EcuadorDen Haag

1980

Yokohama Museum of Art/PLOT48

6

ARAI Takashi

Japan

Kanagawa

1978

Yokohama Museum of Art

50

SARKER Protick

Bangladesh

Dhaka

1986

Yokohama Museum of Art/PLOT48

7

Korakrit ARUNANONDCHAI

ThailandNew York

1986

PLOT 48

51

SATO Masaharu

Japan

ー

1973-2019

Yokohama Museum of Art

8

Rosa BARBA

Italy

Berlin1972

Yokohama Museum of Art

52

SATO Risa

Japan

Kanagawa

1972

Yokohama Museum of Art/PLOT48

9

Taysir BATNIJI

Palestine

Paris and Gaza1966

Yokohama Museum of Art

53

Renu SAVANT

India

Ratnagiri andMumbai

1981

PLOT 48

10

Hicham BERRADA

MoroccoRoubaix

1986

PLOT 48

54

Ish SHEHRAWAT (Ish S)

India

New Delhi

1978

Yokohama Museum of Art/Episōdo

11

Nick CAVE

USA

Chicago1959

Yokohama Museum of Art

12

CHEN Zhe

China

Beijing

1989

Yokohama Museum of Art

55

Tsherin SHERPA

Nepal

Kathmandu andOakland (California)

1968

Yokohama Museum of Art

13

Jesse DARLING

UK

London and Berlin

1981

Yokohama Museum of Art

56

SHINTAKU Kanako

Japan

Kyoto

1994

Episōdo

14

Max DE ESTEBAN

Spain

Barcelona

1959

Yokohama Museum of Art

57

Elias SIME

Ethiopia

Addis Ababa

1968

Yokohama Museum of Art

15

Eva FÀBREGAS

Spain

London1988

Yokohama Museum of Art

58

Rayyane TABET

LebanonBeirut1983

Yokohama Museum of Art

16

Marianne FAHMY

Egypt

Alexandria

1992

NYK MARITIME MUSEUM

59

TAKEMURA Kei

Japan

Gunma

1975

Yokohama Museum of Art

17

Alia FARID

KuwaitKuwait City and
San Juan

1985

Yokohama Museum of Art

60

TAMURA Yuichiro

Japan

Kyoto

1977

Yokohama Museum of Art/Episōdo

61

Dennis TAN

Singapore

Singapore and Tokyo

1975

PLOT 48/Episōdo

18

Farming Architects

Vietnam

Hanoi

Est. 2017

PLOT 48

19

Ivana FRANKE

Croatia

Berlin1973

Yokohama Museum of Art

62

Ali VANUSA

Hong Kong andMinnesota

1986

Episōdo20

Rahima GAMBO

UK

Abuja

1986

PLOT 48

63

Venzha Christ

Indonesia

Yogyakarta

1973

Yokohama Museum of Art/Episōdo

21

Zuza GOLIŃSKA

PolandWarsaw and London

1990

Yokohama Museum of Art

64

Anton VIDOKLE

RussiaNew York and Berlin

1965

PLOT 48

22

Andreas GREINER

Germany

Berlin1979

PLOT 48

65

Omer WASIM & Saira SHEIKH

Pakistan

Karachi

1988/1975-2017

Yokohama Museum of Art

23

Inti GUERRERO

Colombia

Hong Kong

1983

Yokohama Museum of Art/Episōdo

66

Michelle WONG

Hong Kong

Hong Kong

1987

Episōdo24

Nilbar GÜREŞ

TurkeyVienna and Istanbul

1977

Yokohama Museum of Art

67

Lantian XIE

N/A

Dubai

1988

Yokohama Museum of Art/Episōdo

25

Tina HAVELOCK STEVENS

Australia

SydneyN/A

PLOT 48

68

ZHANG XU Zhan

TaiwanTaipei1988

Yokohama Museum of Art

China

Lantau Island,Hong Kong

1974

PLOT 48

26

Joyce HO

TaiwanTaipei

1983

PLOT 48

27

Ingela IHRMAN

Sweden

Malmö

1985

Yokohama Museum of Art

28

IIKAWA Takehiro

Japan

Hyogo

1981

PLOT 48

29

IIYAMA Yuki

Japan

Tokyo

1988

Yokohama Museum of Art

1469

ZHENG Bo

Artists participating in Episōdos
Episōdo 03: Merv ESPINA, PUGMENT
Episōdo 04: ISHIUCHI Miyako, ISHIKAWA Mao, Kathy JETÑIL-KIJINER (with Dan LIN), Eisa JOCSON, Paul JACOULET, Cristina LUCAS, TANAKA Atsuko,
Wilhelm VON GLOEDEN

15

Episōdo X

Sourcebook and Episōdo

15 works created and filmed by participating artists and the Organizing Committee for Yokohama Triennale were presented in digital forms on
the official website from July 3, the original opening date of the Triennale.

Raqs Media Collective chose a set of five texts, or “sources,” as a starting point to deliberate the Triennale
together with the participating artists. Furthermore, to expand the Triennale beyond the exhibition in spatial
and temporal terms, “Episōdo,” or a series of programs combining performances, workshops, and music
events, was organized in physical and digital spaces.

Sourcebook
The five texts constituting the sources of Yokohama Triennale 2020 were compiled in a booklet, which was distributed free of charge at
Episōdo 00. It was also made available online.

Dates: July 3–ongoing
Venue: Online
Number of viewers: 10,773 (as of October 11)
Artists and works:
IWAI Masaru, Magic hour (for Episōdo), Stacking Actions (for Episōdo), andPlay with graphite in Yokohama (for Episodo)
Taus MAKHACHEVA, Quantitative Infinity of the Objective
KAWAKUBO Yoi, LOOP A LIVE, EVIL A POOL
Make or Break, Speaking to the Street (Koganecho/Parramatta)
Elena KNOX, Volcana Brainstorm
Amol K. Patil, Rest, Study oneself
Dennis TAN, The case of ringing bell performance (Sangenjaya)
Participating artists showing videos produced by the Organizing Committee for
Yokohama Triennale: TAKEMURA Kei, Farming Architects, SHINTAKU Kanako,
Haig AIVAZIAN, Nick CAVEKAWAKUBO Yoi, LOOP A LIVE, EVIL A POOL

Contents of the Sourcebook (*sources)
1・ Introduction to the Sourcebook for Yokohama Triennale 2020 by Organizing Committee for
Yokohama Triennale
・ Sharing Our Sources by Raqs Media Collective
・ Yokohama Street Life: The Precarious Career of a Japanese Day Laborer by Tom Gill*
・ Bongomohilar Japan Jatra [A Bengali Woman’s Voyage to Japan] by Hariprabha Takeda*
・ Scenography of Friendship by Svetlana Boym*
・ The Authorship and Significance of the Nujūm al-‘ulūm: A Six teenth-Century
Astrological Encyclopedia from Bijapur by Emma Flatt/Nujūm al-‘ulūm [illustrations]*
・ Luminous Pursuit: Jellyfish, Gfp, and the Unforeseen Path to the Nobel Prize by Osamu

Episōdo 01 Deliberations on Discursive Justice: Afterparty
Initially planned to open before the Triennale, but postponed due to the spread of COVID-19, the “Afterparty” was held after the closing of the
Triennale as the last event of the Episōdo “Deliberation on Discursive Justice,” convened by Kabelo Malatsie, Michelle Wong and Lantian Xie. Itfeatured DJ Phatstoki from Johannesburg with rapper Fotan Laiki and visual artist Jerome Reyes from Hong Kong and was live-streamed forthe audience to join online. *In English only
Date/Time: October 17/23:00–26:00 (Japan time)
Venue: Online (live-streamed from Hong Kong and Johannesburg)

Shimomura, Sachi Shimomura, John H Brinegar*
・ Yokohama Triennale 2020 to Start with the Episōdos by Raqs Media Collective

Number of viewers: 452
Protagonists: PHATSTOKI, FOTAN, LAIKI, SODA STUDIO, Michael,
Malose MAHLASELA, PIKACHU, DANCING DIGITS, SOMEONE WALKING TO GETMORNING COFFEE, SOMEONE WASHING DISHES, AFRO ASIA, AKIL WORLD
TIME, MARIKO AND TOM, Jerome REYES, Amiya NAGPAL, PINK LIGHT FROMNEIGHBOUR’S HOUSE, PORTABLE GENERATOR, MONKEY, Linda CHEUNG,
Özge ERSOY, Herman LAU, LIN On Yeung, ACO

Designer: Ariane Spanier (assisted by Mineishi Keiko)
CoverSize/Format: h. 190 x w. 115 mm / Japanese and English editions / published on November
29, 2019

Live streaming view

Episōdo 00 Sharing Our Sources
The first Episōdo was held at the time of the publication of the
Sourcebook. Raqs presented the sources through the performances

Episōdo 02 Deliberations on Discursive Justice: Scenography for Suspended Timeand lectures by the participating artists.
*Japanese-English consecutive interpretation

The scenography was set up in Johannesburg to contemplate on“Deliberations on Discursive Justice” by Kabelo Malatsie, Michelle
Wong and Lantian Xie and explored the possibility of a paradigm
outside relationships of reward and retribution and other procedural

Date/Time: November 30, 2019/14:00–18:00(Press preview on November 29)
Venue: PLOT 48

forms to settle disputes. An online walkthrough by the curators washeld on August 13.

Admission fee: 1,000 yen
Moderator: Raqs Media Collective

Dates: July 3–August 14
Venue: 52 Kimberly road, Lorentzville, Johannesburg

Number of participants: 163

Number of visitors: 48
Number of viewers: [Live stream] 146

Artists and works:
SHINTAKU Kanako, I’m still alive
TAMURA Yuichiro, Awe / If
Ivana FRANKE, Chairs Outside of Human Consciousness
Lantian XIE, Speech act for a screening
Hicham BERRADA, Présage
Reading: NISHIOKA Ai (Reporter, Japan Broadcasting Corporation [NHK] Yokohama Station)

Protagonists: PUSHIE, Mr. KING, Mr. PRINCE, MONEY PLANT, SNAKE PLANT,BUTTERFLY PALM, Hicham BERRADA, Pallavi PAUL, Cici WU, HERON, FISH,
Sunday LAI Long Sang, COPPER, NANNI, A. Leo OPPENHEIM, KINOSHITA
Takahiro, George MAHASHE, Refiloe NAMISE, Nicholas HLOBO, TSHEPO, MusaBALOYI, KHUMBU, YU Man Hon, YAMAHA, TRANSNET COPPER, CHURCH ON
VILJOEN STREET, HILUX, DUMI, RASHID, CATNIP, 1989 NASA REPORT, PAHARPUR
BUSINESS CENTRE, Kamal MEATTLE, FISH PUMP, WORLD OF SAMOOSA’S,
MOTHER IN LAW SPICE, SECURITY CAMERA, GUAN Yu, Neo DISEKO, SIMON

Photos: George MAHASHE

SHINTAKU Kanako, I’m still alive, 2019 (Top) / Raqs giving an opening speech(Bottom left) / Hicham BERRADA, Présage, 2019 (Bottom right)
Photos: KATO Hajime

16

17

Episōdo 03 Deliberations on Discursive Justice: Chasing the Scent

Episōdo 05 Printing Sound: SURE INN

The deliberation on discursive justice by Kabelo Malatsie, Michelle
Wong and Lantian Xie in Yokohama manifested in two works –Printing Sound, an artist group consisting of more than 40 artists fromJapan, China and Korea, presented a one-day live-streaming projecta sound installation by a sound artist Merv Espina and a work
to contemplate on wardrobe by the fashion label PUGMENT.

“SURE INN” featuring video, animation, music, photographs andmore. Some artworks from the program were exhibited in the lounge

Espina installed radio transmitters in various places in the venue
and created an installation with the sound transmitted to theat PLOT 48 to document their activities.
Date/Time:

radios that docents carried with them in the venue. PUGMENT
proposed deliberations through wardrobes and unfolded the project[Live streaming] August 22/20:00–22:00[Exhibition] August 21–October 11
Venues: Online, Lounge at PLOT 48

with Instagram and T-shirts, which were worn by docents in thevenue. A two-day webinar was held as part of Episōdo 10 to deliberate discursive justice with young architect, performer, poet, writer,
curator, thinkers and others in UAE, India, South Africa, Mexico,

Number of viewers: [Live streaming] 900

Indonesia, Hong Kong and other areas.
*In English only (except Ahmed & Rashid BIN SHABIB who made apresentation in Japanese.)

PUGMENT, Wardrobe Discussive, 2020 Photo: OTSUKA Keita

Date/Time: [Exhibition] July 17–October 11[Webinar] October 9/17:00–22:00, October 10/3:00–5:05,
17:00–21:00 (all Japan time)Members: on Lee, YANG Jian, Nahwan JEON, PEACE MOMO,
KATAMI Yo, LU Jiawei, AOTA Shinya, JONG YuGyong, TANG Dixin, SHIMODA Hikota,
TANIZAWA Sawako, MURPHY Zhong, OSAWA Yudai, Works, XU Xiaorong,
HASEGAWA Yui, DJ TASAKA, Tianmu, KIM Myong Hwa, LI Tingwei, KUDO Natsumi,
Absolute Purity, Yang Xi, Akira the Hustler, Dongwu Yang, LEE Kyungmin,
MORI Takashi, 73, BuBu de la Madeleine, 6699press, TAKEZAKI Kazuyuki, TANG Ting,
MOUNTAIN/FULL EDITION, YABUUCHI Misako, Yongkwan KIM, Huangshan,
TAKEKAWA Nobuaki, Gaymakimaki, Hepziba KIM, Wenjun, LEE Doyun,
JUST PROJECT, USUI Yui, KOBAYASHI Noa, HIRANO Taichi, AMIGOS

Venues: Yokohama Museum of Art, online
Artists and works: Merv ESPINA, Light houses made out of air / PUGMENT, Wardrobe Discussive
Installation view of Printing Sound, SURE INN (Top) Photo: OTSUKA Keita
Live streaming views (Bottom)

Number of viewers: [Webinar] 643 (224 on Oct.9, 419 on Oct.10)
Protagonists of Light houses made out of air: Merv ESPINA, THE RADIO ASTRONOMY ASSOCIATION SWITZERLAND (RAAS),PIXELSYNTH, Pallavi PAUL, SUNAPARANTA—GOA CENTRE FOR THE ARTS, ALPHABET SCHOOL, HAUS DER KULTUREN DER
WELT, Alessandro GIROLA, Raghunath RAJARAM, Arundhati CHATTOPADHYAYA, Jeetin RANGHER, Saif AKHTAR,
Vlado DZOMBETA, Shalini PASSI, Pascal MUSCH, Dayanita SINGH, Vikram DESSAI, Chrys-Ellen PETERS, Crezel COELHO,
Raju BISWAS, Umesh PANT, Greg STACHOWIAK, Namisha PARTHASARTHY, Latika LOBO, Ranjit KANADALGAONKAR,
Chantal OLIVEIRA, Tanya GOEL, Nerissa LAWRENCE, Nachiket BARVE, Nilima MENEZES, Delano D’SOUZA, Shivam RASTOGI,
Roah FOBES, Namrata ZAKARIA, Amanda LAWRENCE, Barbara GAVEZOTTI, Zain MASUD, Dr. Munjaal KAPADAI,
Kamna ANAND, Ranjani MAZUMDAR, Cedric G. ALMEIDA, Cheryl DSA, Waswo X. WASWO, Sriparna GHOSH, Syma TARIQ,
John MENEZES, Amin JAFFER, Khrisha SHAH, Kiran AMBWANI, Maletta GODINHA, Edith LÁZÁR, JAYSIMHA, Ipshita MAITRA,
Anita YEWALE, Rattananmol JOHAL, Raktim PARASHAR, Ada Einmo JURGENSEN, Nelinha RAVARA, Cristina Vere NICOLL,
Kalyani CHAWLA, Leandre D’SOUZA, Fiona AMUNDSEN, Isheta SALGAOCAR, Paul MATHIEU, Hajra AHMAD, Satya HINDUJA,
Anandi SOANS, Dipanwita BANERJEE, Odella PINTO, Katarina RASIC, Sahej RAHAL, Jenne COUAILLIER, Sree BANERJEE,
Ankita NAIK, Kabelo MALATSIE, Lantian XIE, Michelle WONG, Jeebesh BAGCHI, PHATSTOKI, SOUNDPOCKET, Shai HEREDIA,
Nicholas GRUM, Amy LIEN, ALL OVER BANGALORE, JAMIA IN NEW DELHI, BOGOTA, BOTH SIDES OF VICTORIA HARBOUR IN
HONG KONG, LA PAZ DURING PITITA REVOLUTION, BLM PROTESTS BROOKLYN, UP DILIMAN CAMPUS, PRIMERA LÍNEA INSANTIAGO, ÁGORA MALL SANTO DOMINGO, Pi (π), MORSE CODE, 1990S DIAL-UP MODEMS, SILBO GOMERO, KUŞ DİLİ,and BIKES IN TOKYO
Protagonists of Wardrobe Discussive: PUGMENT, WARDROBE WEARERS

Merv ESPINA, Light houses made outof air, 2020
Photo: OTSUKA Keita

Protagonists of the webinar Chasing the Scent: Typhoon CHAN-HOM, Daikoku, HASHIMOTO Shino, CANDY LIFE,
Honda CBX400F, Sumayya VALLY, JOHANNESBURG MINE DUMPS, VREDEFORT CRATER, DAILY SUN, Ahmed BIN SHABIB,
Rashid BIN SHABIB, Kenzo TANGE, Aladdin, Hala ALI, Omar AL MUKHTAR, Christian NYAMPETA, Rodrigues KAREMERA,
RADIO TROPIEZO, Dineo Seshee BOPAPE, Kanouté KÉMISSIN, Aki HOASHI, Grace SAMBOH, GUNUNG MERAPI, TUMPENG,
MONUMENT YOGYA KEMBALI, Griya Seni Hj. KUSTIYAH & Edhi SUNARSO, FATMAWATI, Amiya NAGPAL, SPOTIFY HACKER,SLUG HOTLINE OPERATOR, Siv GREYSON, Mamello MAKHETHA, LO TING, Mr. WAT, Abhishek HAZRA, Mark CHUNG,
Santhosh S, Samantha KWOK

Episōdo 06 IWAI Masaru: Broom stars
Iwai Masaru explored the theme of “cleansing” and conducted a series of mask making workshops and discussions online (6 times), in
collaboration with the Citizens’ Workshop at the Yokohama Museum of Art. He also collaborated with Yokohama Triennale Supporters andcarried out actions to clean the gallery spaces of Yokohama Museum of Art together (14 times).
Date/Time:[Exhibition] July 17–October 11 *[Online (mask making)] July 19, August 9, September 6/13:30–15:00[Online (discussions)] July 26, August 23, September 20/13:30–15:00[Cleaning actions] July 19, 26; August 9, 23; September 6, 20;
October 11/10:30–11:10, 16:30–17:10
Venues: Yokohama Museum of Art, online
Number of participants: [Online] 123
Number of participating supporters: 10 (in cleaning actions)

IWAI Masaru, Broom stars, 2020, Cleaning action, Photo: OTSUKA Keita

Episōdo 04 Inti GUERRERO: Institute for Tropical and Galactical Studies

Episōdo 07 Sound Reasons

Presented as an Episōdo in a form of exhibition, a guest curator Inti
Guerrero curated a themed exhibition. Centering around the collection of Yokohama Museum of Art, the exhibit mainly focused on thecomplex history of colonialism in the Pacific islands through theSound installations by the sound artist Ish SHEHRAWAT (Ish S) andthe media artist Venzha Christ were exhibited, and an online walkthrough by the artists was held on September 19.
Dates: September 16–27

works by eight artists and historical artifacts, including guest artists
and loaned works.

Venue: Lecture Hall, Yokohama Museum of Art
Number of visitors: [Exhibition] 3,267

Dates: July 17–October 11 *Number of viewers: [Live streaming] 136

Venue: Yokohama Museum of Art
Artists from the collection of Yokohama Museum of Art: ISHIUCHI Miyako,
Paul JACOULET, TANAKA Atsuko, Wilhelm VON GLOEDEN
Guest artists and loaned works: ISHIKAWA Mao, Kathy JETÑIL-KIJINER (with Dan
LIN), Eisa JOCSON, Cristina LUCAS and Anting-Anting artifacts from the Philippines

Venzha Christ, Evolution of the
Unknown VII, 2020 (Top)Ish SHEHRAWAT (Ish S), An
Octagon and a Square II, 2020
(Bottom)
Photos: OTSUKA Keita

Artists and works:
Ish SHEHRAWAT (Ish S), An Octagon and a Square II
Venzha Christ, Evolution of the Unknown VII

Installation view of Paul JACOULET, from Inti GUERRERO, Institute for Tropical andGalactical Studies, 2020
Photo: OTSUKA Keita*The dates for Episōdo 04, 06 and 09 are the same as the exhibition dates.

18

19

Episōdo 08 TAMURA Yuichiro: Chemistry / The Story of C

Exhibition ［Yokohama Museum of Art］

A sequel to the performance Awe / If presented at Episōdo 00 by
TAMURA Yuichiro, Chemistry / The Story of C unfolded in four acts:
video works and exhibition in the Acts 1 through 3 were presented
online and on-site, and the last Act 4 presented a combination of a
on-site live performance and a video stream to be viewed throughmobile devices.
Dates: [Online] October 1–ongoing[Exhibition] October 2–11
Venues: Lecture Hall, Yokohama Museum of Art, Online
Number of visitors: 2,584
Number of viewers: [Online videos] 2,166 (as of October11), [Live streaming] 1,672
TAMURA Yuichiro, Chemistry / The Story of C, 2020
Act 1, Carbonization (Top left) / Act 2, Authenticity (Top right) / Act 3,
Hemicorpus (Center left) / Act 4, Emergence (Center right) (Internet
video streaming for Act1-3, live streaming for Act 4) / Act 4, Emergence,
performance view (Bottom), Photo: OTSUKA Keita

Works: Act 1, Carbonization (released on October 1)
Act 2, Authenticity (released on October 4)
Act 3, Hemicorpus (released on October 7)
Act 4, Emergence (held on October 10 and 11)

Episōdo 09 Dennis TAN: The case of the ringing bellDennis Tan presented an installation at Plot 48 based on his firsthand experience with ringing of a bell in the crowd in Shibuya. He
has also embarked on a journey that would last for 1000 days until
the next Triennale and carried out performances related to his
exhibit at various locations. The videos of the performances were
presented on the official website.
Dates: July 17–ongoing *Venues: PLOT 48, online

Ivana FRANKE
Resonance of the Unforeseen, 2020 *Dennis TAN, The case of the ringing bell (A reminder of sorts), Ver.1, 2020

Episōdo 10 Interstitium
13 artists presented short videos created especially for the Triennale
on the official website. In addition, 15 video works in the exhibition
were screened on the website for a limited period.
Date/Time:[Streaming of exhibited works]
Artists: ARAI Takashi, Lebohang KGANYE, IWAMA Asako, PARK Chan-kyong,
SARKER Protick, Alia FARID, ZHANG XU Zhan, Tina HAVELOCK STEVENS, Rahima
GAMBO, Naeem MOHAIEMEN, KAWAKUBO Yoi, Amol K. PATIL, Renu SAVANT,
Anton VIDOKLE[Streaming of short video works] October 5–ongoing[Streaming of exhibited works] October 6, 18:00–October 11, 23:59
Venue: Online
Number of views: [Streaming of short video works] 5,918 (as of
October 11), [Streaming of exhibited works] 9,440[Streaming of short video works]
Artists and works: Anton VIDOKLE, The God-Building Theory,
Renu SAVANT, My Ecosystem
Marianne FAHMY, Fragments of myth, fabulation and what may comeRuss LIGTAS, planet blue: epilogue
Max DE ESTEBAN, Max de Esteban on Contemporary Infrastructures
Make or Break, Some actions with people on bridges
SARKER Protick, O great life! / !" #!$%&'(
Oscar SANTILLAN, SUNLIGHT MINUS A FIREFLY
Nilbar GÜREŞ, Unknown Sports
Rosa BARBA, Bending organizations
Ivana FRANKE, Resonance of the Unforeseen
Ali VAN, parterre
KAWAKUBO Yoi, The Epilogue*In English only, except for Anton Vidokle and Kawakubo Yoi’s works which were
presented in Japanese and English

20

Ali VAN, parterre, 2020

Nick CAVE
Kinetic Spinner Forest, 2016 (recreated in 2020)21

James NASMYTH

ARAI Takashi

Illustrations in “The Moon: Considered as a Planet, a World, and a Satellite,”
4th ed.,1903 (1st ed. in 1874)(enlarged facsimile/exhibition copy, 20 pieces)

Multiple Monuments for 1000 Women No.1–10, 2020, and others, total 4 works

Robert ANDREWA Connective Reveal-Nagula, 2020

AONO Fumiaki

Max DE ESTEBANIWAMA Asako

Remnant of the House, Living Place inside Drawers, -Reclamation of Collected Door, 2020, and others, total 6 works/133 items

Red-Dot Prints from “Twenty Red Lights”, 2017, total 1 work/20 items

A mound of shells, 2020

TAKEMURA Kei

Lebohang KGANYEIIYAMA Yuki

Rayyane TABETTime Counter, 2019-ongoing, and others, total 52 works/97 items

Mohlokomedi wa Tora (Lighthouse Keeper), 2017, and other, total 2 works

Old Long Stay, 2020, and others, total 3 works

Orthostates, from the series “FRAGMENTS,” 2017-present, total 1 work/26 items

22

23

KIM Yunchul

Nilbar GÜREŞ

Chroma, 2020, and other, total 2 works

Balance Board, from the series “Unknown Sports,” 2009, total 1 work/3 items

Rosa BARBA
Bending to Earth, 2015

CHEN ZheKIM Yunchul

Zuza GOLIŃSKA

Windows of Paradox 1, 2020, and other, total 2 works

Argos, 2018, and other, total 2 works

Run-up, 2015 (recreated in 2020)

IWAI Masaru

KANEUJI Teppei

PARK Chan-kyong

Elias SIME

Episōdo 06: Broom stars, 2020

White Discharge (Figure/203), 2003-2020, and others, total 5 works/207 items

Belated Bosal, 2019

Tightrope: From The Belly of The Earth 1, 2020, and others, total 6 works

24

25

Inti GUERRERO
Episōdo 04: Institute for Tropical and Galactical Studies, 2020, 8 artists and historical artifacts, total 29 works/56 items
ISHIKAWA Mao (left) / Eisa JOCSON (right)

Eva FÀBREGAS
Tangles, 2020

Ingela IHRMAN
The Giant Hogweed, 2016 (recreated in 2020)

Taus MAKHACHEVA

Omer WASIM & Saira SHEIKH

Renuka RAJIV

Quantitative Infinity of the Objective, 2019-2020

Excepts from Props from an Unrealised Play, As the Light Turns, and That

Cyborgs are susceptible, 2020, 33 pieces and others, total 5 works/236 items

Which Lies Beyond, 2015-2020, and others, total 2 works/14 items

26

27

Tsherin SHERPA

SARKER Protick

Jesse DARLING

Alia FARID

54 views of Wisdom and Compassion, 2013)*+#, / Raśmi / Ray, 2017-2020, and other, total 2 works

Cultural artefacts from a nonexistent archive (various), 2020, total 1 work/9 items

At the time of the Ebb, 2019

SATO Risa

Oscar SANTILLAN

Taysir BATNIJI

Lantian XIEThe Twin Trees (white), 2020, and others, total 4 works

Spacecraft (do not objectify the land), 2018, and others, total 3 works

Suspended Time, 2007, and other, total 2 works

when I move, you move, 2020, and other, total 2 works

SATO Masaharu

Morehshin ALLAHYARI

from “Dr. Reaper,” 2018, total 10 works

She Who Sees The Unknown: Ya’jooj Ma’jooj, 2018, and others, total 2 works/3 items ＊28

29

［PLOT 48］

Make or Break (Connie ANTHES & Rebecca GALLO)

Farming Architects

Care for Bridges, 2020 ＊The Space Coalition, 2020 (object at the left side), total 1 work/2 items

ZHANG XU Zhan

Dennis TAN

SATO Risa

Holy Mountain Pu Tuo Rock, 2020, and others, total 8 works/28 items

Episōdo 09: The case of the ringing bell, 2020, and others, total 3 works

The Twin Trees (blue), The Twin Trees (yellow), 2020, and others,
total 4 works

30

31

KAWAKUBO Yoi(same as left)

Waiting for Diogenes, 2020

Farah AL QASIMI
Jazirat Al Hamra 2020, 2020

Andreas GREINER

Amol K. PATIL

Multitudes, 2014 (recreated in 2020) ＊Reminiscent, 2019, and others, total 8 works

Renu SAVANT
Many Months in Mirya, 2017

Hicham BERRADA

LAU Wai

SARKER Protick

Mathematical Omens #3 and Mass and Martyr, 2020, total 2 works

There is a voice missing, 2019 (recreated in 2020)

Love Kill, 2014-2015, and other, total 2 works

32

33

Elena KNOX
Volcana Brainstorm (hot lava version), 2019, 2020,
1 project/61 items

Aluaiy PULIDAN
Wrap, 2019, and others, total 5 works

34

ZHENG Bo

Anton VIDOKLE

Pteridophilia 1-4, 2016-2019, and others, total 1 project/6 items

Citizens of the Cosmos, 2019, and other, total 2 works

35

Tina HAVELOCK STEVENS

Russ LIGTAS

Ghost Class, 2015

Planet Blue, 2020

Joyce HO
Balancing Act III, 2020 ＊Haig AIVAZIAN
1, 2, 3 Soleil! (2020), 2020
DECORATOR CRAB “Very Heavy Bag” (same as left)

IIKAWA Takehiro

Korakrit ARUNANONDCHAI

Oscar SANTILLAN

DECORATOR CRAB “Arrangement, Adjustment, Movement,” 2020, and other,

With History in a Room Filled with People with Funny Names 4, 2017

Chewing Gum Codex, 2019-2020, and others, total 3 works

total 2 works

36

37

Farming Architects
The Space Coalition, 2020, total 1 work/2 items

Rahima GAMBO
Tatsuniya 1, 2017, and others, total 2 works/11 items［NYK MARITIME MUSEUM］

Naeem MOHAIEMENMarianne FAHMY

JOLE DOBE NA (Those Who Do Not Drown), 2020

Atlas Series, 2020, and other, total 2 works ＊38

39

Floor Map
Yokohama Museum of Art

PLOT 48
West Exit (to PLOT 48)

1F・2F

North Wing 1FSouth Wing 1F

Dennis TAN
IIKAWA Takehiro౒ᇃஙୖண୨

Tina HAVELOCK STEVENSZHANG XU Zhan

North Wing Entrance
Rahima GAMBO

Korakrit
ARUNANONDCHAI
Museum Shop

Make or Break (Connie ANTHES & Rebecca GALLO)

Main Entrance

3F

チケット販売窓口
TicketMake or Break (Connie ANTHES & Rebecca GALLO)Haig
AIVAZIAN

Oscar
SANTILLAN

Renuka RAJIV

Naeem
MOHAIEMEN

Exit

South Wing 2F

Alia FARIDSouth Wing 3F
SATO Risa (Outside terrace)

SARKER Protick

SATO Masaharu

Ingela IHRMAN

Hicham BERRADA
Amol K. PATIL

Exit

Russ
LIGTAS

Ivana FRANKE

Omer WASIM &Saira SHEIKHKAWAKUBO Yoi

Oscar SANTILLAN

FarmingArchitects౒ᇃஙୖண୨
LoungeEntrance

Inti GUERREROSouth Wing Entrance

Joyce HO
Lecture Hall
Sound Reasons
TAMURA Yuichiro

FarmingArchitects

Andreas GREINER

Grand Gallery
FormerRestaurant

MainEntranceୱୡ୳୸᱃༰
Ticketᠲ෱

Entrance to
IIkawa’s work

Nick CAVE

Café Ogurayama

୧஗୳இ
Shop

PrintingSound౒ᇃஙୖண୨
LoungeJesse DARLINGTAKEMURA
Kei

Taysir BATNIJI

SATO Risa

Farah AL
QASIMI

Elena KNOX

Renu
SAVANTZHENG BoLAU Wai
Anton
VIDOKLE

ARAI Takashi

Tsherin SHERPA

Aluaiy PULIDANJames NASMYTH
Exit

SARKER Protick
Taus MAKHACHEVAAONO Fumiaki

Eva FÀBREGAS

RobertANDREW

Lebohang KGANYE

Morehshin
ALLAHYARI

Lantian XIE

KANEUJI Teppei

IWAI Masaru

Max DE ESTEBANNYK MARITIME MUSEUM

Elias SIMEPARK Chan-kyong Zuza GOLIŃSKA
Nilbar GÜREŞ

Rosa BARBAKIM Yunchul
KIM
Yunchul

CHEN ZheIIYAMA Yuki

IWAMA
Asako

Rayyane TABETMarianne FAHMY

Main Entrance

40

41

Exhibition-related Programs andPublications

Make or Break, Care for Bridges《橋を気にかける》
公式ウェブサイト：

www.careforbridges.com

インスタグラム：@careforbridges

Care for Bridges

The artists prepared stories on

Kame Bridge 亀の橋

Visit www.careforbridges.com
or Instagram @careforbridges

今
夜
男
は
︑
二
十
年
ぶ
り
に
︑
少
し
飲
む
つ
も
り
だ
︒

Performancean additional session at 19:00 for the late night opening / Numberof participants: 3,945
Takemura Kei, Time Counter
Performance by the artist mainly on weekends / A duration ofseveral hours in the gallery space

亀の橋は中村川の上に架かる橋で、３車線をそなえ、
首都高速道路の下にあります。
赤く塗られた
鉄製の欄干には亀の甲羅の模様̶天地をつなぐものの象徴―が施されています。
南端には大きな
石の地蔵尊が色とりどりの提灯に囲まれて置かれ、花が供えられています。
1800年代に建立された亀の橋は、
かつて船積みの要となる場所でした。
近くの卸売市場に品物を供給する拠点だったのです。
日雇い労働者たちが多く暮らす寿町とお洒落な元町をつないでいます。

Location:
35°26’17.0”N 139°38’30.6”E
Shin-yokohama dori, Yoshihamachō, Naka-ku,
Yokohama, Kanagawa 231-0024, Japan
Kame (Turtle) Bridge is a three-lane road bridgethat passes over the Nakamura River and under the
Metropolitan Expressway. Its balustrades describe an
open turtle-back pattern – a symbolic connectorof heaven and earth – in red-enameled steel. At its
southern end, a large stone Jizo statue is ringed
with coloured paper lanterns and floral offerings.
Originally constructed in the 1800s, Kame Bridge
was once an important point for shipping; a hubthat supplied a nearby wholesale market. The bridgeconnects what was the working-class day-labouring
district of Kotobukicho with trendy Motomachi.

アクション
さまざまな物差し
空間をはかる時、
わたしたちは、
畳、
坪、
ヘクター
ル、
マイル、
フィート、
インチ、
リーグ、
ミリメートル、
メートル、
海里……と、さまざまな物差しを使います。
それらのいくつかは人間の身体と関わり、また別のものはお金や不動産に、
あるいは時間に関係しています。
もしも橋を中間の場所や接点と考えるなら、橋という空間をはかったり説明したりする
ためのさまざまな方法があるのではないでしょうか。
呼吸や頭の上を飛んでいく生き物、空想の数を数えてみたり、橋を構成する部材
（ネジ、
鉄、
コン
クリート）
、
傷や凹み、
老朽化した部分と修復した部分の割合を参照するのもいいでしょう。

Action:A Different Measure
We measure spaces in tatami, tsubo, acres,
hectares, miles, feet, inches, leagues, millimetres,
metres, nautical miles… Some of these terms
relate to the human body, some to money
and property, others to time. If we think of abridge as an in-between space and a point ofconnection, are there different ways we mightmeasure and account for the space of a bridge?
A measurement could take into account breaths,
critters flying overhead, daydreams. It could refer
to components (screws, steel, concrete), scratches
and dents, rates of decay and repair.

ある橋のためにあなた自身の物差しを用意し、公共空間をより細やかにはかる方法を一緒に考案してみませんか。
あなたの物差しの使い方について教えてください。
そして、その方法であなたの橋をはかりましょう。
あなたの橋の写真を添えて、それがどうなったかを、
インスタグラム（@careforbridges）
や、
公式ウェブサイト（www.careforbridges.com）
でシェアしてください。

Help us devise a more sensitive accountingof public space by coming up with your own
measurement system for a specific bridge.
Describe your measurement system, andmeasure your bridge using this system. Shareyour results along with a photo of your bridge on
Instagram @careforbridges or online atwww.careforbridges.com.

亀
の
橋
の
上
で

On Turtle Bridge
A man pauses on Turtle Bridge to look down the Nakamura River
towards the giant Bay Bridge, religiously white in late afternoon
September sunlight. Slight, neatly dressed in laundered blue overalls,
whitening hair carefully combed, gold-rimmed glasses hiding old greyeyes, he pauses, hand in pocket, clasping a well-honed flint, found years
ago on a building site. How easy it would be to jump into the river...
or to slit his wrists with this ra or flint. Many a drunken, broken-downlabourer has done as much.
But that’s not me.
Forty years he lived on the wrong side of the river, in the slums of
Kotobuki. The men there scorned life. They’d drink themselves to death,die in the gutter or jump off Turtle Bridge. But whenever he crossed
the bridge, he d carry on to Motomachi, to mingle invisibly among thecrowds around the boutiques and cafes. He’d have a quick look at the
girls.
But not today.
oday he pauses at the Motomachi end of urtle ridge, at the statueof Jizo, the patron saint of travellers. A bald and kindly fellow, walking
staff in one hand, wish-fulfilling ewel in the other. nobserved, he slips
behind the statue and retrieves a smooth grey stone hidden in the rootsof a hedge. arved with his flint, in photographic detail, is his own face.
After months of work, it is done. Now he carefully adds his initials, “YS.”
Today is the day.
He returns to the middle of Turtle Bridge. A quiet moment comes, andhe hurls the stone downriver. Describing a lazy arc, it splashes down
silently, halfway to the next bridge.
onight, for the first time in twenty years, he will have a little drink.

YS

Andreas Greiner, Multitudes
Approximately 20 minutes / Everyday at 13:00, 15:00, 17:00;

場所
35 26ʼ17.0”N 139 38ʼ30.6”E〒231-0024 神奈川県横浜市中区吉浜町新横
浜通り

は男 今 月ても今 だ ブび四 だ のらガしあ
静は 日 もあう日 が テ︑十 が 鋭れネくるか亀 こ のっ片︑ 今 ィ野年 俺 いたが白男にの そ 末た手男 日 ッ垂の は 燧燧年いが
水橋 は に滑には は クれ間 違 石石老︒亀しの そ ︑らは元 違 や死︑ う でをい痩の
ぶ真 の そか宝町 う カに男 ︒ 手握たせ橋
きん 日 れな珠の ︒ フすは首り灰たのを中 だ は灰を終をし色男上
ェる川上に ︒ 完色手端
切めのはで
のかの
げ戻
っな眼︑立
成のに︑
周亀荒
てる
てがを洗ち
し石し亀
りのん
︑︒
しら隠い止
たをたの
の橋だ
次静
ま︑したま
の取︑橋
群か側
のけ
え立ててり
だり旅の
衆ら︑
橋さ
ばちいの︑
っ出人た
に飛寿
とが
︒止る青中
たすのも
こび町
の満
数ま︒い村
︒︒守と
っ込の
半ち
多っ彼作川
そ燧りに
そむド
ば︑
くては業を
し石神立
りかヤ
あ彼
のいポ服見
てに︒つ
紛だ街
たは
酔るケを下
今よ人地
れっに
りそ
っ︒ッ着ろ
︑っの蔵
てた暮
にの
払川トてし
男て目の
み︒ら
沈石
いにに︑て
は︑を前
るだし
んを
︑飛手白い
丁写引で
のがた
だ川
ヤびをくる
寧真か足
だ彼︒
︒
︒の
キ込入な川
にのずを
っはそ
がんれっの
中
イよに止
たここ
回でてた先
へ
ニう︑め
︒のの
っし︑髪の
と
シに男る
女橋男
たま何はベ
放
ャ緻は︒
たをた
人え年丁イ
り
ル密石丸
ち渡ち
夫ばか寧・
投
をに像い
をるは
たど前にブ
げ
彫︑
盗と人
自の頭
ちれに撫リ
る
る分裏を
みい生
がだ建でッ
︒
︑自にし
見つを
﹁
やけ設つジ
ゆ
すも投
身潜た
っ楽現けが
る
る︑げ
のり優
ただ場ら九
や
のそて
﹂顔込し
よろでれ月
か
だのい
とがんげ
うう見︑の
な
︒また
︒彫でな
ま︒
に⁝つ金午
ア
ら︑や
元死
︒⁝けの後
ー
れ柵つ
町ぬ
︑たフの
チ
の︑
て根片
まま
あ︑レ日
を
い元手
でで
る研ーの
描
るにに
ぎ 下
行酒
き
い上ムで
︒ 錫
きを
︑
はげの神
何隠杖
石
︑浴
こ メ々
ヶし︑

︱︱
︱︱
翻執
訳筆
河ト
合ム
政・
之ギ
ル
教
授

― Text by Professor Tom Gillbridges in Yokohama and actions
to care for bridges.

Due to COVID-19 pandemic, major changes were made to the operation to reduce the risk of infection
through various schemes, including controlling visitor numbers through use of time-slotted online booking
systems. In the meantime, efforts were made to provide access to those who could not visit the exhibition inperson through the active use of ICT.

Size/Format: h. 297 x w. 210 mm /Japanese and English, 7 sheets(6 distributed free at the gallery and apaper tray mat version offered in Café
Ogurayama in Yokohama Museum of Art)

Handout displayed at the venue(Left: surface, right: reverse)

Venue Operations

Audience Research Project
Raqs initiated a research project toDates: July 17–October 11

learn about Japanese audiences.
Questionnaires were distributed,

Taus Makhacheva, Quantitative Infinity of the Objective
Performance by gymnasts

and the responses were studied tofurther develop the curatorial

Approximately 23 minutes in the gallery space /September 12, 16, 26, October 3, 10 at 14:00 and 14:45 each day*For information on performances and workshops related to
Episōdo, see pp.16-20, for other workshops see p.47.

Artworks with limited capacity
Lantian Xie, when I move, you move
Walking while wearing an exoskeleton (two sets)
Maximum 60 minutes / Number of participants: 511
Morehshin Allahyari, She Who Sees The Unknown: Ya’jooj Ma’jooj
VR experience (three VR headsets including one reserved forwheelchair users)
Approximately 15 minutes / Number of participants: 2,995
Iikawa Takehiro, DECORATOR CRAB “Arrangement, Adjustment,
Movement”
Maximum 20 minutes / Number of participants: 2,429

concept.
Dates: February 20–March 31, 2019
A questionnaire(Left: surface, right: reverse)

Preventive measures required by the visitors
・ Mask-wearing, frequent hand washing and sanitizationand highlights.

・ Use of transparent acrylic partitions to prevent aerosol transmission
・ Floor markings to ensure social distancing among the visitors

Format: h. 297 x w. 420 mm, tri folded; Japanese only; free distribution at theentrances / Publication date: First edition July 7; Second edition August 7

Floor Map
Floor map of the exhibition layout and the directions between the*For information on exhibition guides by
volunteer supporters and inclusive
programs, please see p.48 and p.50.

・ Specific preventive measures per artwork

Preventive measures by the staff
・ Monitoring body temperature and health conditions of all staff
・ Providing docents with personal protective equipment, such as face masks, face shields,
and gloves

Controlling visitor numbers
The admission to Yokohama Museum of Art was divided into 30-minutes time-slots tocontrol the number of visitors in the space and secure distance. The admission to PLOT 48
was not time-slotted, and the visitors with tickets could enter at the time of their preference. The ticket allowed for admission to the two venues in one day. The visitor numbers
per 30 minutes/per day was raised in phases, following the government’s guidance to relax

Photos: OTSUKA Keita

the restrictions.

Dates

Capacity of visitors per 30 minutes at
Yokohama Museum of Art (capacity per day)

July 17 – September 4

70 (1,050 per day)

Exhibition “Looking Back at Yokohama Triennale through theArchive”

September 5 – September 18

89 (1,335 per day)Archive exhibition on the past six editions (2001–2017) of the
Yokohama Triennale including catalogs and flyers.

September 19 – October 11*

178 (2,670 per day)Dates: [First term] July 17–

ited works.

September 2; [Second term]
September 4, 2020–February 28,

Size/Format: h. 210 x w. 659 mm, half
folded, Japanese and English; free
distribution at the gallery

2021
Venue: Art Information and Media
Center, Yokohama Museum of Art
Organizer: Yokohama Museum ofArt

Handout (inside double-page spread)contact tracing, in case infections were reported

Preventive measures at the venues

Related Exhibition

SATO Masaharu, “Dr. Reaper”
Artist’s statement on the exhib-

temperature of 37.5℃ or higher were not allowed to enter the exhibition)
・ Collection of visitor information in order to cooperate with the public health centers for・ Time-slotted online ticket system
・ Sanitization and ventilation

Format: h. 210 x w. 659mm, accordion
folded; Japanese and English; free
distribution at the entrances / Publication date: First edition July 16; Second
edition August 13

Cover

・ Social distancing among the visitors
・ Body temperature screening by a thermographic camera at the entrance (Persons with

Yokohama Triennale 2020 Educational Leaflet
A leaflet written by Kuraya Mika to introduce the exhibition concept

Official Catalog
The catalog, edited by Shveta Sarda with Raqs Media Collective,

Title: Yokohama Triennale 2020: Afterglow
Designer: Ariane Spanier (Japanese version
assisted by Shimakage Minami)
Size/Format: h. 260 x w. 190 mm; Japaneseand English versions
Price: ¥2,420 (incl. tax)
Publication date: March 31, 2021

risk assessment was made on visitor flow lines and high-touch surfaces, to identify potential infection risk and implement preventive measures.

Size/Format: h. 210 x w. 148 mm /Japanese and English

Printed Material for Visitors

venuesrecaps the exhibition through Raqs’ text and conversations.

In compliance with the national and prefectural policies and also in line with several
guidelines such as the one suggested by the Japanese Association of Museums, COVID-19

Number of responses: 219*For information on the Sourcebook publication, please see p.16.

Publications

42

03. Preventive Measures Against COVID-19

Late night opening (until 21:00)

178 (3,738 per day)

Late night opening (until 20:00)

178 (3,382 per day)

*The restrictions on capacity for events were relaxed by the government from September 19.

43

Tickets

Utilization of ICTTime-slotted tickets were sold at the ticket offices of Yokohama Museum of Art and PLOT 48 as well as through the online booking system.

ICT tools were used to keep the exhibition accessible to a wide scope of audience, including those who could not visit in person due to the

Ticket numbers were controlled per 30 minutes to limit the number of visitors and avoid congestions.

COVID-19 pandemic.

Ticket Types

Sales Results

Yokohama Triennale 2020 Virtual Tour・Yokohama Triennale 2020 Ticket
Admission to Yokohama Museum of Art was time-slotted andSales period: June 23–October 11

The Yokohama Triennale 2020 Virtual Tour was launched online for free to bring a new viewing experience to those who could not visit theexhibition in person. The program enabled a 360-degree panoramic view of the exhibits at Yokohama Museum of Art, PLOT 48, and NYK* The ticket offices at the venues were open only during the exhibition period.

required visitors to pre-book the slots. Entry to PLOT 48 was nottime-slotted but limited to visitors who had booked slots at the(Unit: number of tickets sold)Yokohama Museum of Art (Last admission 30 minutes before
closing). Entry to NYK Maritime Museum required presentation of

Maritime Museum. The wall texts and the labels accompanying the artworks were also on view.

Yokohama Triennale 2020
TicketYokohama Triennale
Plus Ticket

Total

Launch date: September 24
Languages: Japanese and English

54,4297,299

61,728Supported devices: PC, tablet, and smartphone
Total views: 13,645 (as of January 31, 2021)

the Triennale ticket.
*Free admission for junior high school students or younger and people withdisabilities (see p.48) and their caretakers (pre-booking not required)(Tax included. Unit: JPY)

Adult

Student (University andVocational School)

High School Student

2,000

1, 200800

・Yokohama Triennale Plus Ticket
In addition to Yokohama Triennale 2020, admissions to “BankART
Life VI” and “Koganecho Bazaar 2020” were included in this ticket.
(Tax included. Unit: JPY)

Adult

Student (University andVocational School)

High School Student

2, 000Free for “BankART” and“Koganecho”/ 800 JPY for
the Triennale 2020

2,800

Yokohama Triennale 2020 Virtual Tour screen view

Ticket screenshot

Online exhibition guide service by Guide Supporters
The online exhibition guide service was launched by Yokohama Triennale Supporters as analternative to the on-spot guidance. The Guide Supporters gave presentations of theexhibition highlights to the prebooked individuals and groups. Not only those who could

Purchaser Profiles
Ticket purchasemethods

Ticket offices at thevenues 9.0%

Yokohama Triennale Plus Ticket[university and vocational
school student] 1.3%

Percentage of sales by ticket types
Yokohama Triennale Plus Ticket [adult] 10.5%
High SchoolStudent 1.6%

not visit the Triennale but also those who were planning to visit or had already visited were
all welcomed.
(See p.50 for details)

Exhibition guide assisted by avatar robot “OriHime”

Student (university andvocational school)
12.2%

Online exhibition guide service

The viewing sessions with the avatar robot “OriHime” were carried out for those who haddifficulties going out of their homes due to physical or other testrictions.
(See p.48 for details)

Adult
74.4%

Online91.0%

Online streaming of Episōdo
GenderAge group
Other
1.3%

Male
39.1%
Female
59.6%

44

60–69
5.4%

70 or older 1.4%
10–19 2.7%

50–59
14.9%

40–49
21.9%

Place of residence

Overseas 0.2%

Kanto (otherthan Kanagawa)
9.0%

Among the 12 Episōdos carried out in parallel to the exhibition, 8 projects (Episōdos X, 01,
03, 05, 06, 08, 09, 10) were designed to be streamed online.
(See pp.16–20 for details)
Exhibition guide assisted by avatar robot “OriHime”

Yokohama
29.6%

20–29
28.1%

30–39
25.6%

Japan (other than Kanto) 4.8%

Tokyo
40.5%

Kanagawa
Prefecture (otherthan Yokohama)
15.9%

45

04. Visitor Amenities

05. Initiatives for Children and YouthThe services to alleviate the visitors from the summer heat while walking between the Triennale venues were
provided in forms of rental parasols and mobility services. A variety of merchandise were sold at the museum shop of Yokohama Museum of Art and PLOT 48 Shop, including the officially designed items, “Yokohama Creators’ Goods” produced by designers working/living in Yokohama, “Tie-up Goods” with the Yokohama Triennale 2020 logo produced by local businesses, and the participating artists-related items.

Programs including workshops by participating artists were carried out for children and youth to introduce
different perspectives and deepen their understanding of diverse values through contemporary art. Whilesome programs were cancelled due to COVID-19, measures to prevent infection, such as operating in small
groups and utilizing online channels, were taken to realize as many programs as possible.

● Program for junior high and high school students
The program for junior high school and high school students unfold-● Online talk “Catching IIKAWA Takehiro’s Thoughts”
Participating artist Iikawa Takehiro talked about his work DECORA-ed over a period of 7 months. Combining online and on-site programs, artists and professionals (Aono Fumiaki, Arai Takashi,

TOR CRAB “Arrangement, Adjustment, Movement” and conducteda four-frame comic workshop as a way of better understanding his
work.

Measures Against Heat

Mobility Between the Venues● Parasol
Parasols designed by official designer Ariane Spanier were rented● Yokohama Community Cycle “baybike”
A temporary cycle station of the bicycle-sharing service, Yokohama

Takemura Kei and Hirose Koujirou) were invited to take part in
lectures and workshops.

out for free to visitors moving between the exhibition venues.

Community Cycle “baybike,” was made available at PLOT 48.

Number of events: 10● Cooling mist system
A mist system was installed at PLOT 48 through the partnership● Choi-Mobi Yokohama
Temporary parking spaces for Choi-Mobi Yokohama, a sharing

between Panasonic Corporation and the City of Yokohama to
implement measures against heat.

service of ultra-compact EV, were made available at YokohamaMuseum of Art and PLOT 48.
● Design for the Construction Walls
The key visual design of Yokohama Triennale 2020 appeared on thetemporary walls enclosing the construction site located between
Yokohama Museum of Art and PLOT 48.

Speaker: IIKAWA Takehiro, Facilitator: KIMURA Eriko
Date/Time:
August 30/14:00–15:30
Number of participants: 36

Dates: [Experiencing Art] August 23, September 6, 20, October 4, 11,November 8; [Expressing Art] November 22, December 13, January
31, February 28, 2021
Number of participants: 17
Venue: Yokohama Museum of Art (part of the programs wereconducted online)* “YT Kids Exploration Crew,” a program planned by junior high andhigh school students for elementary school students, was cancelled
due to COVID-19.

Originally designed parasol● School Program: Yokohama City Culture and Art Education
Platform
Led by the City of Yokohama and coordinated by the YokohamaMuseum of Art Educational Department, the program sent artists to

Cooling mist systemmunicipal schools.
Workshop on the theme of “walk” by Hanasaki Setsu
Dates/Schools/Number of participants: September 8 / 10 students
from Sugeta Junior High School; November 16 / 12 students from
Kanagawa Junior High School (Grades 1-3)
Construction wall design
Photo: KATO Hajime● Let’s Enjoy SATO Risa’s Work!
Participating artist Sato Risa was invited to do a hands-on workshop at a local elementary school. The workshop was conducted insmall groups in a ventilated room.

Shops

Official Items

Date: August 25
School: Minatomirai Honcho Elementary School
Number of participants: 120 students● Museum shop at Yokohama Museum of Art
The museum shop at Yokohama Museum of Art sold the officially

A total of seven official items were produced: tote bag, clear plastic
folder, and notebook (five variations). The design was supervised bydesigned items and other items by local designers and business.
Date/Time: July 17–October 11/11:00–18:00

Ariane Spanier.

“Expression for contemplation – Cleaning, Masks and Catwalk” by
Iwai Masaru
Dates/Schools/Number of participants: January 9, 26, February 2,2021 / 141 students from Hongo Junior High School (Grade 2)
Organizer: City of Yokohama● Online exhibition tours for schools
Online exhibition tours were held for teachers in elementary schools,
junior high schools, high schools, special-needs schools andcompulsory education schools in Kanagawa prefecture.
Number of events: 2
Dates: August 1, 29*Also open for the late night opening

Number of participants: 24● PLOT 48 Shop
PLOT 48 Shop opened for a limited period of the Triennale.
Date/Time: July 17–October 11/10:00–18:00*Also open for the late night opening

Museum shop at Yokohama Museum of Art

46(Tax included. Unit: JPY)

Item

Price

Tote bag

1,500

Clear plastic
folder385

Notebook (fivevariations)440● Participatory actions: “Episōdo 06 IWAI Masaru, Broom stars”(See p.19 for details.)● Visits by school groups
Group visits were made available to school groups only and after the
restrictions on admission were eased in September. Students weredivided into small groups to see the exhibition.
Dates: September 15,
September 30, October 8
Number of schools: 5
Number of students: 284

PLOT 48 Shop47

06. Initiatives for Social Inclusion

07. Yokohama Triennale Supporters

Initiatives were taken to make the Triennale accessible to every visitor regardless of disability, age, nationality or any other status. Online guidance and art appreciation sessions were provided to people with physicalor other disabilities who could not visit in person.

● Art appreciation session using the Avatar Robot “OriHime”“OriHime,” an avatar robot, was made available to access theexhibition from remote sites. Those confined to their homes, due tophysical and other barriers, accessed the exhibition through therobot carried by their friends and families on-site. The robot wasalso used to run an art class for students at special-needs school.

● Program in partnership with youth-support organizations
An art appreciation program was conducted in collaboration with K2
International, an organization supporting young people who facedifficulties in life.
Number of events: 3
Dates: September 15 (preliminary online guidance), September 23,

Number of sessions: 21
Dates: September 7–October 5

October 6
Venue: Online (preliminary online guidance), Yokohama Museum ofVenue: Yokohama Museum of Art
Number of participants: 138 (103 remote participants, 35 on-site

Art
Number of participants: 19

visitors)● Art Appreciation Workshop for the Deaf
The workshop “Training/Sign Language/Art Project 2020 Thinkthrough Art 2” was conducted for the Deaf and hard of hearing
participants with the support of the Agency for Cultural Affairs. It
combined online and on-site events, and was accompanied by adeaf interpreter.**Interpretation by a deaf person whose first language is sign language.

Number of events: 2
Dates: September 19, October 25
Venue: Online, Yokohama Museum of Art
Target participants: the Deaf and hard of hearing people, who are
high-school-aged or overNumber of participants: 12
Organizers: The Totto Foundation, supported by the program Promotion of Cultural and Artistic Activities for People with Disabilities,
Agency for Cultural Affairs
Co-organizer: Organizing Committee for Yokohama Triennale

48● Exemption of Admission Fees
People with disabilities* and their caretakers (one person) could
enter the Triennale free of charge.
*Persons with Identification Booklet for the Physically Challenged, Identification
Booklet for the Mentally Challenged, Identification Booklet for the Intellectually
Challenged (Ai-no-Techo), Medical Care Certificate for Specified (Intractable)
Diseases, Medical Care Certificate for Independent Living Support, or equivalent
documents● Other initiatives to support people with different needs- Access guides for those using wheelchairs and strollers were

Yokohama Triennale Supporters is a team of volunteers who provide assistance to the operation of the
Triennale. For this edition, a number of their activities were downscaled or cancelled due to the COVID-19
pandemic, but the online exhibition guide service was launched and provided a new way of enhancing thevisitors’ experience.

Preparing for the Triennale
Supporters held a series of lectures and events to recruit new members and build a shared sense of purpose among the members as well as
to publicize the Yokohama Triennale.

(Cumulative total number of people)

ProgramOutlineNumber of sessions

Total numberof participating
Supporters

Total number ofgeneral participants

Supporters Salon /Supporters Salon Extra

Talk events on contemporary art

Total 11 sessions(FY2018)

170

90

Petit Tori

Workshops and visits to art projects carried out insmall groups

Total 10 sessions(FY2018)

81

4

Hama-Treats! Station

Presentation of the Yokohama Triennale andSupporter activities during the Koganecho Bazaar
2018

September 21–
October 28, 201819―

Supporter
Initiatives(activities
initiated by supporters)

Projects initiated by supporters

Total 14 sessions(FY2018–2019)59

26

Exhibition Guide
Service

Guide Supporter training programs
Number of registered Guide Supporters: 129
Guidance: 2 sessions / Groupwork (online): 36
sessions / Venue visit:4 sessions / Rehearsal (online):
18 sessions / training video (online): 7 sessions* From February through to August 2020

Total 67 sessions(FY 2019–2020)――

Other events

Presentations of the Yokohama Triennale andSupporter activities at community events

Total 2 sessions(FY2018–2019)――

posted on the official website. (Cooperation: Yokohama City
Wheelchair Association)- Wheelchairs, strollers, writing boards, magnifying glasses andcanes were made available for loan, free of charge.
- Transcripts of the film works without subtitles were provided.
- Basic information were offered in multiple languages.
- Online guides in English and Chinese were given by Yokohama
Triennale supporters.

Supporters Salon “Surprising Facts about
Contemporary Art”

Petit Tori Trip to “Water and Land Niigata Art Festival
2018”

Hama-Treats! Station

Supporters Initiatives Cooking Club 2020

Guide Supporter training program

Workshop at the 27th Ookagawa Sakura Festival

49

Activities during the Triennale

Supporter’s Profile

Changes were made to Supporter activities due to the COVID-19 pandemic: the visitor service activity was cancelled; the artist support

Number of registered supporters:

activity was carried out in limited scope; and the exhibition guide service activity shifted to an online platform. A limited number of Supporter
Initiatives were carried out as planned.

1,671 as of October 11
Number of active supporters:

Exhibition
Guide
Service

Activities

Online exhibition
guide service(live version)

Online exhibition
guide service(archive version)

ArtistSupportCleaning action of“Episōdo 06:
IWAI Masaru,
Broom stars”
Support for “Episōdo
06: IWAI Masaru,
Broom stars”

Age group

70–79
2.9%(49)

cumulative total of 220(actual number: 83)

Yokohama Triennale 2020 Supporter Activities

Program

Gender

OutlinePresentation of exhibition highlights topre-booked groups and individuals
Number of registered Guide
Supporters: 129 (Number of active
guides: 57)

Pre-recorded video presentation of
exhibition highlights

Participated in the cleaning activity

Participated in the technical rehearsal

Location

Number ofsessions

Online92

Online12*Numberof videospresentations

Yokohama
Museum ofArt

Online

10

1

Total
number ofparticipating
Supporters

Total
number ofparticipants

182

845

12

3,871
*Total views(August 23–
October 11)

under 18)
・Expenses for transportation and meals

10

9

―

―

Place of residence

40–49
16.5%
(275)

Nishi-ku

68

30–39
26.3%
(439)

102
79

Totsuka-ku

Yokohama
55.4%
(926)

Asahi-ku

83

Naka-ku

67

Hodogaya-ku

35

Isogo-ku

39

Izumi-ku

28

Tsuzuki-ku

29

66

Midori-ku

27

59

Minami-ku

43

Tsurumi-ku

61

Aoba-ku

52

Kanazawa-ku

52

Konan-ku

Kohoku-ku
Kanagawa-ku

Kanagawa
Prefecture(other than
Yokohama)
16.6%
(277)

20–29
28.4%
(474)

Breakdown by ward

Other
7.4%
(123)
Tokyo
20.6%
(345)

10–19
2.1%(35)

50–59
14.4%
(240)

Female74.6%(1,246)are not provided.

Unknown
0.7% (11)

60–69
8.6%
(144)

Male
25.4%
(425)

Eligibility:
・16 years of age or older (approval ofparent or guardian is required for those

80–89
0.2%(4)

24

Sakae-ku
Seya-ku

12

Supporter Initiatives
・ Yokohama Leaps Through Time II: An original city guide produced by the supporters for on-site distribution at the venues
・ Yokotori Trivial Pursuit: Quiz on Yokohama Triennale trivial facts
Reasons to register as a Supporter (Multiple answers allowed)*Answers collected from 330 newly-registered supporters from April 1, 2018 to December 31, 2020

249

Interested in contemporary art
Interested in the Yokohama Triennale
Interested in international exhibitions
Interested in the artist
Interested in working with artists

Online exhibition guide service (live version)

Online exhibition guide service (live version)

Interested in learning about art
284

137
22

157
190

Interested in volunteer work
113

Interested in local events

99

Interested in meeting people
71

Other

20

Online exhibition guide service (archive version)

Supporter’s Survey Results
The registered supporters were asked to cooperate with thesurvey by e-mail. The survey included multiple choices and

1. Have you participated as a Yokohama Triennale Supporter
previously? If so, when? (Multiple answers allowed)

comments.
Survey system: Online survey system “Questant”
Survey target: Registered supporters who subscribed to the
Supporters’ newsletter as of November 12 (1,268 members)
Tabulation period: November 12–December 6
Artist Support
Cleaning action of “Episōdo 06: IWAI Masaru, Broomstars”

Artist Support
Cleaning action of “Episōdo 06: IWAI Masaru, Broomstars”

Supporter Initiatives
On-site distribution of activity handouts

Number of valid responses: 98

2001 (1st)2005 (2nd)2008 (3rd)2011 (4th)2014 (5th)2017 (6th)

4
11
15
21
31
38
54

2020 (7th)Have never participated

50

45

51

2. Did you participate in Supporter activities
before the Triennale (FY2018–2019)?
Yes

37

No

3. Did you participate in Supporter activities
during the Triennale?
Yes

61

37

Yes

No

61

Which activities did you participate in?

Which activities did you participate in?

(Multiple answers allowed)(Multiple answers allowed)

Supporter Initiatives

9

Guide Supporter training
programs
FY2019 orientation
meeting3

Other

No, I would not(I cannot)

88

Yokohama Triennale takes part in promoting arts and culture in the city with the local art NPOs, corporations,organizations and the creative community through the following schemes: “combination ticket programs”(2 programs), “tie-up programs”(8 programs), “support programs” (56 programs), “tie-ups” (12 projects),“tie-up goods” (5 items by 2 companies), and “Yokohama creator goods”(136 items by 45 groups).

10

Which activities would you like toparticipate in? (Multiple answers allowed)
Production
support for artists

60

Exhibition guide
9

1

6Combination Ticket Programs

54

Visitor information service

46

Supporter
Initiatives
Other

2

23

Yokohama Triennale 2020 collaborated with BankART Life Ⅵ and Koganecho Bazaar 2020 to launch the “Yokohama Triennale Plus Ticket,”which allowed admission to these exhibitions so that visitors could enjoy the broader contemporary art scene in Yokohama when visiting the
Triennale.

2● BankART Life Ⅵ – Insertion into City Life Tadashi KAWAMATA

Petit Tori
Yokohama Art Rally

6

Artist support
Other

Hama-Treats!
orientation 201831

Supporter
Initiatives
22

Hama-Treats! Station

Supporters Salon

Guide service
19

08. Art Programs in the City

4. Would you like to participate in
Supporter activities again?

5
2
4

The exhibition of Kawamata Tadashi, the artistic director of the Yokohama Triennale in 2005, introduced his new project using metal plates at
Bashamichi Station, Minato Mirai Line, and in and around BankART Temporary, an art space utilizing former Dai-ichi Bank. Also displayed on
a 200-meter wall at BankART Station in the basement of Shin-Takashima Station was a series of drawings on his projects from early topresent days. The photos of his projects after 2012 were also exhibited for the first time in Japan.
Dates: September 11–October 11

Supporters’ Voices

Time: 11:00–19:00
Venues: BankART Station, BankART Temporary, Bashamichi Station
Organizer: BankART1929

Supporter activities in general・As I admire art, I am grateful for this opportunity to take part in the museum activities. Volunteer programs open the museum up to thecommunity and reveal its vital role.

・It would be great if the program could continue after the exhibition period. Casual follow-up events and exchanges would encourage us tocontinue our commitment to art at our own pace.
・I learned a lot from my fellow supporters. It was great to have an opportunity to get exposed to new and different ideas and perspectives.
・I joined volunteer activities for the first time in my life. It was a precious experience for me.
・It would be even better if there were more varieties in activities and modes of participation.
・I gained a valuable experience to enrich my life. This program gave me an excellent learning opportunity to enhance my knowledge andinterest.
・Reading newsletters made me excited about what is planned next.
・I was interested in assisting artists for production of artworks. It is a pity that this was not realized due to the pandemic. I hope there will be
more on-site activities in the next edition.
Exhibition Guide Service
・We tried new things and also worked on improving it. I think we were able to offer rich contents in the end.
・I found it both interesting and challenging to give an online exhibition guide service. I noticed that the audience was very attentive event
through the monitor.
・I enjoyed a lot. It was surprising that we could communicate with one another so well although we had never met in person.
・I had a meaningful time connected with people far apart while talking about the Yokohama Triennale.
・I thought the online exhibition guide service was a great alternative during the pandemic. Everything was new but we were able to discussand organize the online contents quite efficiently. Online guide services could be a standard program in the future editions.

Photos: BankART1929● Koganecho Bazaar 2020 Artists and Communities
Under the theme of “Artists and Communities,” the first part presented the works of 42 artists who were engaged in the Koganecho Artist in
Residence (AIR) program; the second part exhibited the works of 9 artists who were selected through an open call and invited for a residency.
Dates:［Vol.1］September 11–October 11 ［Vol.2］November 6–November 29
Time: 11:00–19:00
Venues: Studios and galleries under the railways, and other indoor and outdoor spaces around the Koganecho area
Organizers: Koganecho Area Management Center, the Hatsunecho-Koganecho and Hinodecho Environmental Cleanup Initiative Committee

Artist Support
・It was fun to work with Mr. Iwai.
・It was simply a joy. I hope there will be more chances to join this kind of project.
Supporter Initiatives
・I was glad to see the handouts distributed at the venue.
・It was good to get acquainted with those who were interested in contemporary art.
・I realized many things could be done online.

52

Gaeun Kim, somewhere along
the journey, 2020 (Left)
Photo: Yasuyuki Kasagi
Tomoko Abe, BI /OTO /P, 2020
(Right)Photo: Ujin Matsuo

53

● Art Guide App “Public Art’s Light”

Tie-Up Programs

The app on public art was developed to encourage users to walk around and enjoy public
art in the Minato Mirai 21 district. It provided 3 routes to encounter public artworks in thearea between Yokohama Museum of Art, PLOT 48 and Yokohama Station. Information was

A wide range of art programs were jointly carried out in collaboration with corporations, NPOs in the Creative City Core Area Bases and otherorganizations in Yokohama.

● Creative Railway - Art in the Minatomirai Line stations
Contemporary art exhibitions and performances were held at and around the stations of Minatomirai Line, which runs along the port of

distributed at the venues of the Triennale, Shiseido Global Innovation Center (S/PARK) andother places.
Dates: August 3–October 11
Organizer: Nomura Research Institute, Ltd.

Yokohama through uniquely-designed stations.
Dates: September 26–October 11
Venues: Stations of Minatomirai Line (from Shin-Takashima to Motomachi-Chukagai) and the surrounding area
Organizers: City of Yokohama, YOKOHAMA MINATOMIRAI RAILWAY COMPANY, Creative Core Area Bases● Street Furniture Competition
Out of the 209 proposals received for the open-call competition for street furniture,
3 proposals were selected and installed in public space.
Dates: October 1–11
Venue: Grand Mall Park (in front of Yokohama Museum of Art)
Organizer: Committee of Yokohama Street Furniture Competition● Art Program “Let’s play with paper clay and make a tree of manju (steamed bun)!”
The art program with participating artist Sato Risa was held in the suburbs of Yokohama toprovide an opportunity to appreciate contemporary art to the local community.
Date/Time: [Workshop] September 27/10:00–17:00

Shin-Takashima Station

Nihon-ōdōri Station

Motomachi-Chūkagai Station

Yokohama Paratriennale is an art project where people with disabilities work with professionals in various fields. This was the third time that the project was held, presented in a
new format that integrated online and real events.

● Triennale in the City Stamp Rally
The digital stamp rally “Triennale in the City Stamp Rally” was carried out to encourage aPreliminary programs: August 24–ongoing・ “Yokohama Paratriennale 2020 Open Class”

tour around the venues of the Triennale and Creative Railway.

August 24/14:00–15:50/Yokohama City Hall (Atrium, 1F)
・ “Yokohama Paratriennale Documentation Exhibition”

August 24–ongoing/Official YouTube channel of Yokohama Paratriennale

Venue: Urban Design Center Namiki Lab (1-17-7 Namiki, Kanazawa-ku)
Organizer: Organizing Committee for Yokohama Triennale
Co-organizer: Yokohama Kanazawa Seaside Area Management Committee (Ashita Town
Project)● Yokohama Paratriennale “Our CurioCity - toward an open city”

August 24–August 29/9:00–20:00/Yokohama City Hall (Presentation Space, 2F)・ “Paratri TV“[Exhibition] September 27–October 11
Number of participants: 82 / Number of works completed: 110[Yokohama Triennale 2020 course] September 11–October 11
Rally points: 5 locations (Yokohama Museum of Art, PLOT 48, Venues of BankART Life Ⅵ
and Koganecho Bazaar 2020)
Photo: KATO Hajime

Number of participants: 2,414[Creative Railway course] September 26–October 11Core programs: November 18–November 24
Venues: Yokohama City Hall (Atrium, 1F and other places), online

Rally points: 5 locations (Shin-Takashima Station, Minatomirai Station, Bashamichi Station, Nihon-ōdōri Station, Motomachi-Chūkagai Station)
Number of participants: 1,025

Organizers: Rendez-vous Project Yokohama Committee, SLOW LABEL (a specified
non-profit corporation)

Organizer: Organizing Committee for Yokohama Triennale, City of Yokohama
Cooperation: NIPPON TELEGRAPH AND TELEPHONE EAST CORPORATION● Nissan Art Award 2020 Finalists Exhibition
Based on Nissan Motor’s corporate vision of enriching people’s lives, the Nissan Art Award● ”BankART School Outreach Program” + “Let’s play! with Mr. Kobayashi, the Pink Cat Project”

was established with the aim of supporting talented artists in Japan and contributing to the
future development of Japanese culture. The exhibition presented new works by 5 finalists

To engage with the community in the suburbs of Yokohama, a series of lectures on the city’surban planning, with references to the history of Kanazawa ward and the city center of Yokohama,

who were selected by globally renowned jury members.

was held in two locations, and an art project by the participating artist Iikawa Takehiro was held in
Kanazawa ward.

Dates: August 1–September 22[BankART Outreach Program] November 20, 30, December 19, 2019; January 11, 25

Venue: NISSAN PAVILION (6-2-1 Minatomirai, Nishi-ku)
Organizer: Nissan Motor Co., Ltd.

Venues: BankART Station, Kanazawa-hakkei campus of Yokohama City University, Urban Design
Center Namiki Lab, around Kanazawa-hakkei Station

Tie-up panel discussion“Perspectives from Curators and Artists on the New Normal”[Workshop “Gardening for Mr. Kobayashi, the Pink Cat” ] December 8, 2019
Venue: Urban Design Center Namiki Lab (1-17-7 Namiki, Kanazawa-ku)

Panelists: Ute META BAUER, NANJO Fumio, Raqs Media Collective, KURAYA Mika
Date/Time: August 4/19:00–20:30 (online)[Live sculpting and outdoor installation: Decoratorcrab – Mr. Kobayashi, the Pink Cat] January 22–March 1, 2019
Venue: Namiki Clinic (2-9-4 Namiki, Kanazawa-ku)

Co-Organizer: Organizing Committee for Yokohama Triennale
Cooperation: SUPER DOMMUNE
Tie-up panel discussion

54

DECORATOR CRAB - Mr. Kobayashi, thePink Cat -, 2020
Photo: Takafumi Sakanaka

Organizer: YOKOHAMA AIR ACT Committee (BankART1929+Koganecho Area Management Center)
Support: Yokohama Arts Foundation, City of Yokohama
Cooperation: Yokohama Kanazawa Seaside Area Management Committee (Ashita Town Project)55

09. Public Relations and Promotion

Press releases
The press e-newsletters were sent as follows:

Various channels were used for publicity and promotion of Yokohama Triennale, targeting both professionals and the general public. Digital media, in particular, was exploited in order to reach potential visitors.
In-depth coverages of the Triennale were made by journalists of arts and culture section of major broadsheet newspapers as a result of publicizing Raqs’ curatorial concept and approach in detail. However, as
event-listings and other leisure pages were nearly inactive due to COVID-19, the number of coverages inmedia targeting the general public decreased.
The publicity materials were designed by Ariane Spanier, who created a key visual image based on a color
spectrum. The variations of the image were developed for use according to different media including flyers,posters, website and banners. Promotional activities made active use of digital advertisement and online
contents, expanding the use of digital media and tools for public relations and promotion.

Publicity
Press conferences
The press conference in November 2019 was held in the form of Episōdo at the proposal of artistic director to launch the Triennale. Osaka
Eriko and Kuraya Mika, Executive Chairpersons of the Organizing Committee for Yokohama Triennale, attended the mayor’s regular press
conference held on June 3 and made an announcement on the postponement of the opening for 2 weeks. The press conference on June 22
was live-streamed to prevent the spread of infection, and the conference on July 16 was attended by a limited number of press people and

Date

Topics1

November 29, 2018

Yokohama Triennale 2020 Announcement
The Raqs Media Collective Appointed as Artistic Director for Yokohama Triennale 2020

2

July 2, 2019

Yokohama Triennale 2020 Announces Dates and Main Venues
July 3 - October 11, 2020
Yokohama Museum of Art and PLOT 48

3April 20, 2020

The First Announcement of Participating Artists

4

June 24, 2020

Opening Date to Change from July 3 to July 17

5

July 3, 2020

Digital Space, “Episōdo X”

6

July 16, 2020

Yokohama Triennale 2020 will open to the public on July 17

7

September 24, 2020

Explore Yokohama Triennale 2020 from home
New virtual tour released September 24

8October 6, 2020

“Episōdo 03: Deliberations on Discursive Justice- Chasing the Scent”

9

October 7, 2020

“Episōdo 10: Interstitium”− The Penultimate Episōdo with video presentations by artists

10

October 12, 2020

Yokohama Triennale 2020 “Afterglow” closes

11

October 16, 2020

Invitation - YOKOHAMA TRIENNALE: “Episōdo 01: Afterparty”

live-streamed online as well.
Date/Time

Episōdo 00: Sharing
Our Sources
November 29, 201914:00–18:00

2nd Press
Conference
June 22, 2020
14:00–15:00

3rd Press
Conference
July 16, 2020
14:30–15:30

Venue

No. of attendees

PLOT 48 (Minato Mirai 21
Central District Block 48)[Agenda]Performances and lectures to share the sources (and ADʼscomments on title and concept), title, concept and the first group ofparticipating artists[Presenters] Raqs Media Collective, SHINTAKU Kanako, TAMURA
Yuichiro, NISHIOKA Ai (reading), Ivana FRANKE, Lantian XIE, Hicham
BERRADA, KOMATSU Kazumichi (music)

52

Live-streamed from a café in
Yokohama Museum of Art[Agenda]Exhibition outline and participating artists, measures to prevent the
spread of infection[Speakers] Raqs Media Collective (video message), OSAKA Eriko,
KURAYA Mika, MATSUMOTO Kimiyoshi, HOASHI Aki (moderator)

124(number ofviewers）

Yokohama Landmark Hall/
Lecture hall, YokohamaMuseum of Art (satellite venue)[Agenda]Introduction of the exhibition and participating artists, photo session[Speakers] HAYASHI Fumiko, KONDO Seiichi, OSAKA Eriko, KURAYA
Mika, Raqs Media Collective (online), KIMURA Eriko
Artists: AONO Fumiaki, ARAI Takashi, IIKAWA Takehiro, IIYAMAYuki, IWAI Masaru, Elena KNOX, SATO Risa, SHINTAKU Kanako,
TAKEMURA Kei, TAMURA Yuichiro, Dennis TAN

Episōdo 00: Sharing Our Sources
Photo: KATO Hajime

56

Announcement

2nd Press Conference (Live streaming)

88(including thesatellite venue)
676 online viewers(including generalpublic)3rd Press Conference
Photo: KATO Hajime57Volume of media exposure

Value of publicity effects of Japanese and overseas media:
approximately 5.09 billion yen (see p.66 for details)

Publicity Materials

Volume of Japanese media exposure (November 2018–January 2021)
Japanese media

TV
TV
Terrestrial

CATV

Radio

Newspapers

MagazinesFreemagazines

OnlineTotal

Designers in Japan and overseas were invited to propose a design concept for the Triennale, and Ariane Spanier was selected as a result. The
key visual design incorporated a broad range of color spectrum and randomly inserted pixels, reflecting “luminosity,” “toxicity,” “coexistence”
and “passage of time.” A range of patterns and a moving image were developed for use in various digital media.

April 2018-June 2020

8

84

6

41

41

25

742

947

July 2020

4

7

16

56

13

14

561

671

August 2020

7

234

3

37

17

8

443

749

September 2020

4

13

5

35

16

13

807

893

Designer: Ariane SPANIER (Ariane Spanier Design)

Octover 2020

0

0

6

45

7

4

311

373

November 2020-January 2021

1

0

0

78

3

3

263

348

Based in Berlin, Spanier and her studio work on graphic design and art direction, for mainly but not limited to print media, and also for moving
image and animation. She worked with Raqs on the 11th Shanghai Biennale (2016) as designer.

Total

24

338

36

292

97

67

3127

3981

Flyers and Logos

Volume of overseas media exposure (November 2018–January 2021)
TV

Newspapers

MagazinesFreemagazines

OnlineTotal

RegionTotal no. of
appearances

November 2018June 2020

0

0

2

0

76

78

China

20

July 2020

0

0

4

0

62

66

Taiwan32

August 2020

0

1

5

0

33

39

South Korea

14

September 2020

0

0

2

0

23

25

Other Asian
countries

38

Octover 2020

0

0

2

0

12

14

Middle East

10

November 2020January 2021

0

2

7

0

26

35

Europe

58

Total

0

3

22

0

232

257

Americas31

Oceania

5

Other

49

Total

257

Overseas media

Media Coverage Summary
Television
The NHK programs “Gogo Nama” (the “museum at home” segment)

Magazines
The art journal Bijutsu Techo featured a long interview on Raqs by

and “Hirumae Hotto” featured the Triennale with curators explaining
the artworks for the audience with few opportunities to engage with

Miki Akiko, co-director of the 6th edition of Yokohama Triennale.
Magazines in various fields also featured the Triennale including

art. The NHK programs “Nichiyo Bijutsukan” and Television Kanagawa’s “Hamanavi” introduced the exhibition with their guests appreciating hands-on works or participating in workshops and the
keywords of the Triennale in great detail. The NHK Shutoken-Network broadcasted Triennale’s initiatives for social inclusion, andcable television featured children’s workshop, focusing on thewomen’s magazines SPUR and madame FIGARO japon, whichinterviewed participating artists, and BRUTUS and OZ magazine

Triennale’s commitment in the community.

The online art journal Bijutsu Techo Web presented an exhibition
report and a special interview with the curatorial head. Photo tour inRadio
Curators made appearances to introduce the Triennale on the radio

ART iT and artscape’s report on social inclusion and appreciation,
as well as tie-up articles posted on the cultural journal CINRA ran a

programs of NHK Yokohama “Hama☆Kira” and FM Yokohama. City
officials also spoke on the radio programs of FM Yokohama andseries of reviews on the Triennale by prominent musician, DJ andwriter. The Japanese idol group Momoiro Clover Z ’s video report

Radio Nippon to introduce the exhibition and preventive measuresof COVID-19.

attracted new audience. Digital versions of the newspapers, magazines and free publications also carried news on the Triennale.

Newspapers

Overseas media
Interviews of Raqs were reported in The New York Times and The

Broadsheet newspapers, The Asahi Shimbun, Mainichi Shimbun,
Yomiuri Shimbun, Nihon Keizai Shimbun and Sankei Shimbun, ran
articles on “toxicity,” one of the key terms of the Triennale, in relation
to the situation with COVID-19. The Kanagawa regional editions ofeach of these newspapers and Kanagawa Shimbun introduced
various activities including interviews with participating artists,
support programs for visitors, workshops with elementary school
students, measures to counter COVID-19 and activities specific to
Yokohama. Kyodo News’ readers campaign attracted more than
6,500 readers nationwide to apply for complimentary gift, contributed to disseminate information on the Triennale widely.
58

ENGLISH

JAPANESE2020

YOKOHAMATRIENNALE

20
20

ヨコハマ
トリエンナーレ

giving interviews to curators. Due to COVID-19, some magazines had
to cancel or postpone publications of their issues.

ヨコハマ
トリエンナーレ

20 YOKOHAMA
20 TRIENNALE

ヨコハマ
トリエンナーレ ‫΄ط‬Ꮘ(back)

ヨコハマ
20 トリエンナーレ20‫΄ط‬ᏈᇆΨͺ͡Δ͞Ρ

Online media

ENGLISH +JAPANESE +SUBTITLE
VERSION 2

20
20

ᇆ
Ψ
ͺ
͡
Δ
͞
Ρ

ヨコハマ
トリエンナーレ
YOKOHAMATRIENNALE‫΄ط‬ᏈᇆΨͺ͡Δ͞Ρ
Logos

Indian Express. Since overseas journalists were unable to travel toJapan, local reporters writing for the international art journals, Art
Review Asia, Flash Art and ART AGENDA, covered the Triennale indetail, with a focus on the exhibition during the pandemic.

20 YOKOHAMA
20 TRIENNALE
Key visual

ENGLISH +JAPANESE +SUBTITLE
VERSION 1(front)JAPANESE +SUBTITLE
VERSION 1

ENGLISH +JAPANESE

JAPANESE +ENGLISH /NO TITLE

20 YOKOHAMA
20 TRIENNALE

ヨコハマ
トリエンナーレ

Flyer (h. 297 x w. 420 mm, half folded): distribution started in June 2020

(inside)20
20
YOKOHAMATRIENNALE
ヨコハマ
トリエンナーレ

20
20

YOKOHAMATRIENNALE
ヨコハマ
トリエンナーレ‫΄ط‬Ꮘ ᇆΨͺ͡Δ͞Ρ59

Yokohama Triennale 2020 website

Promotion

A teaser site went live on November 8, and the Yokohama Triennale
2020 website was launched on November 29, 2019. The website
presented the outline of the Triennale, a message from artistic
director, the information on “sources,” “Episōdos,” participating

Advertising on public transport and in the vicinity of venues

artists and online events. The website also introduced usefulservices for visitors and information on local art scenes as well as aAdvertisements were displayed in the Minatomirai area where the venues were located.

pre-booking online ticket sales page to comply with the new measure to control admission. The website was also used as a platform to

Locationspresent live streaming and video works by artistic director andparticipating artists.
The outline, the ticket, and the access pages were translated byautomatic translation system and were made available in 7 languages.
The total number of sessions (visitors) was 932,887, and the total
number of page views was 2,145,922. (from November 8, 2019 to
October 11, 2020)

Landing page view

Type of ad

Grand Mall Park

Flag (2 kinds, small and large)

Entrance of YokohamaMuseum of Art

Sign

Yokohama Station

Signboard

Minatomirai Station

Signboard/Digital signage

Stations of Minatomirai Line

Digital signage (platform protection
gates)

Train cars of Minatomirai LineAd-wrapped train

Train cars of Yokohama
Municipal Subway

Digital signage

The new Yokohama City Hall

Digital signage

Signboard at Yokohama Station

Social media
TwitterPrior to the opening, information on the Triennale was tweeted

Instagram
From September 2020, midway through the exhibition period until

Advertisements

whenever information was updated. After the opening, information
on ticket availability and opening hours were tweeted every day. In

closing, photos and the information on the artworks by participating
artists were posted every day to introduce the exhibition and theAdvertisements were placed on social media to run digital promotions that reached out directly to target audiences. Digital media, including
overseas websites for contemporary art and e-newsletter services were also proactively used for publicity abroad.

addition, video works and live streaming by participating artists,
online events, information on special services and other usefulwork. Artists abroad shared the posts and disseminated informationworldwide.

information were tweeted to feed the art fan followers, with theinformation on the Triennale.

E-mail news

Facebook

Information on press release and news published on the special
website were delivered by e-mail to subscribers in Japanese andIn conjunction with Twitter, Facebook posted information on the
exhibition and events. Facebook Events were also created to announce events in Episōdo 02 and was used to contact participants.

English in a timely manner. (Japanese: 40 times, English: 11 times)

Number of ads

Twitter

8

Facebook

9

Instagram

14

Listing ads

6

In JapanMagazines（cultural）

1

Overseas

Websites for contemporary art, e-newsletters

6

Social Media

Aug. 30
Featured in NHK“Nichiyo Bijutsukan”

35,00030,000Media

Jul. 17
Opening

Number of pageviews
Number of sessions
Facebook Likes

25,000

Twitter Followers

20,00016,799Flag at Grand Mall Park

Signboard at Minatomirai Station

Digital signage in Yokohama Municipal Subway

Ad-wrapped train of Minatomirai Line

Signboard at the entrance of Yokohama Museum of Art

Jun. 3
Announcement on
the opening date

15,00010,00010,3675,000

0Nov. 8, 2019

60

Dec.

Jan. 2020

Feb.

Mar.

Apr.

May

Jun.

Jul.

Aug.

Sep.

Oct. 11

Ad on Instagram

61

10. Visitor Profile

Promotional event
Yokohama Art Rally “The Line between Art and Comedy”
A promotional event was held in 2019 featuring players in comedy and art to cultivate a new audience aside regular art fans and to provide
them with an opportunity to enjoy art.
Date/Time: February 2, 2019 / [Part 1] 12:30–14:00 [Part 2] 15:00–16:00 [Part 3] 17:00–18:00
Number of participants: [Part 1] 385, [Part 2] 320, [Part 3] 282

Total number of visitors: 153,528
Yokohama Museum of Art

Venue: Yokohama Port Opening Memorial Hall (1-6 Honcho, Naka-ku, Yokohama)Featured guests: SHIRIAGARI Kotobuki, AIDA Makoto, Jaru Jaru (GOTO Junpei & FUKUTOKU Shusuke), KURAMOTO Mitsuru, AKI INOMATA,
AOTA Shinya, LEEKANKYO, TANAKA Iichiro
Planning: KURAMOTO Mitsuru, HONDA Ashita
Cooperation: Yokohama Triennale Supporters Office

Visitors

PLOT 48

73,782

NYK Maritime Museum

44,269

Total

10,251

128,302

Public program participants

25,226

Total

153,528* Visitors who were in junior high school or younger: 8,619; People with disabilities and their caretakers: 5,244; Non-Japanese visitors: 1,198* The number of public program participants is the total number of people who entered the free-admission zones and those who participated in workshops and otherpublic programs.

Average number of daily visitors
Yokohama Museum of Art

Stage view

AIDA Makoto

SHIRIAGARI Kotobuki

PLOT 48

NYK Maritime Museum

Total

Weekday average

660

402

72

1,133

Weekend/holiday average*

1,336

794

213

2,343

Daily average

946

568

131

1,645

*August 13 and 14 counted as holidays

Construction walls at Minato Mirai 21 Central District Block 37
To publicize the Triennale widely in the area and to mark the route between the venues, the key visual of Yokohama Triennale 2020 appearedon the temporary walls enclosing the construction site located along the way between the west entrance of Yokohama Museum of Art andLargest number of visitors on a single day

Smallest number of visitors on a single day(among the days when all three venues were open)

PLOT 48 (see p. 46 for details).

October 11 Late night opening

July 28

Yokohama
Museum ofArt

Parasol
200 parasols were produced exclusively for Yokohama Triennale 2020 and rented free of charge for use between the venues (see p.46 fordetails). They were also used in an umbrella sharing service around Tokyo Station and in the Ueno area in Tokyo among other places topublicize the Triennale.

Numberof visitors

Weather: Cloudy

NYK
Maritime
Museum

PLOT 48

2,983

1,875

563

Weather: Cloudy, partially rainy

Yokohama
Museum of
Art

Total

5,421

Numberof visitors

NYK
Maritime
Museum

PLOT 48

274

193

Total

58

525

Daily Visitor Numbers
October 3
No. of visitors exceeds 100,000
5000

September 6
No. of visitors exceeds 50,000

September 19
Event capacity restrictions
relaxed by the government

October 8
Typhoon No. 14(Chan-hom)

Sunny

4000

CloudyRainy

Construction walls

Parasol

Photos: KATO Hajime
September 5
Visitor restrictions revised*p.43 for details

3000

2000

1000

October 11

October 4

September 27

September 20

September 13

September 6

August 30

August 23

August 16

August 9

August 2

July 26

July 19

July 1762

63

4. How would you rate your experience with

Visitor Survey

5. Would you recommend the Triennale to

the Triennale?

your family or friend?
Very dissatisfied
4.4%

Dates: July 17–October 31
Survey method: Online survey
Number of valid responses: 2,161

Somewhatdissatisfied
10.2%

Visitor profiles

Neutral16.5%

GenderAge group

70 or older
2.2%

Place of residence
19 or younger
2.9%

Other 2.2%
60–69
7.9%

Male
35.0%

Overseas
0.2%

Kanto
(other than
Kanagawa)
10.3%

20–29
18.6%

6. How would you rate our guidance of thetime-slotted ticket booking system?

Tokyo
34.8%

Kanagawa
Prefecture(other than
Yokohama)
15.7%

40–49
24.1%

Other family members
6.2%

Children
11.4%

None
45.0%

Have visited
before62.2%

2017 (6th)
67.3%
52.3%

2008 (3rd)

8. Do you know about the following art events coinciding with
the Triennale?

42.1%

2005 (2nd)

Acquaintances
or friends
16.9%

Reasonably
satisfied
28.6%

78.9%

2014 (5th)2011 (4th)Spouse12.4%

Very satisfied
35.3%

Neutral
23.6%

Reasonably
easy to follow
27.2%(Multiple answers allowed)

Very hard to follow
2.2%

Somewhat hard
to follow
10.3%

Very easy tofollow
32.8%

Neutral
30.7%

Past editions attended by those who answered“Have visited before”

Other 0.5%

Romantic
partner 7.6%

7. How would you rate your experience withthe pre-booked entry?

Very hard to follow
1.9%

Somewhat hard
to follow
7.4%

Previous visits to the Yokohama Triennale

First time
37.8%

Reasons not to recommend the Triennale (excerpts)
・ Because of the COVID-19 pandemic.
・ My family and friends who are not interested in art
may think the works in this edition is a bit difficult.
・ Because I found a few works with sexual contents.

Have alreadyrecommended it
29.6%

Reasonably satisfied
42.4%

Yokohama
32.9%

30–39
19.6%

With whom did you visit the Triennale?

Yes, I would.
41.7%

Japan (other than Kanto) 6.1%

50–59
24.7%

Female62.8%

Would notrecommend it
28.7%

Very satisfied
26.5%

Reasons to recommend or have recommended the
Triennale (excerpts)
・ The Triennale provides a very meaningful experienceduring the pandemic.
・ Artistic expression is very inspiring and thought-provoking.
・ Located in Minatomirai, even those who are not very
familiar with art could enjoy it as a casual visitor.

34.1%

2001 (1st)

9. What is your image of the Yokohama Triennale?
(Multiple answers allowed)

66.7%

International

28.1%
49.1%

58.7%

Much-talked-about

44.1%

49.8%

Cutting-edge

44.8%

34.9%
29.4%

About Yokohama Triennale 2020

More than an exhibition

18.6%

Authentic

17.6%

Familiar

16.2%

21.1%

1. How did you first find out about the Triennale?

2. What motivated you to visit the Triennale?

(Multiple answers allowed)
Website

32.3%

SNS

27.1%

From friends or
acquaintances

17.6%

TV

15.6%

Poster

11.2%

Newspaper

7.1%

Interested in art

5.8%

Flyer

4.3%

Magazine

3.7%

Happened to pass by

2.7%

From teacher at school

1.6%

Radio

0.8%

14.6%

Information on newspaper and TV

No

Koganecho Bazaar 2020

Yes but will not attend

Creative Railway

Yes and will attend

10.2%

N/A

6.0%

Have already attended

8.2%

10. How much would you value each of the followings?

4.3%

Received complimentary ticket
Work or school-related visit

1.7%

Happened to pass by

0.9%
7.3%

3. Which venues did you visit today?
Yokohama Museum of Art

International

20.5%

Much-talked-about

15.6%

Cutting-edge

25.2%

Also offering attractions inaddition to the exhibition

14.8%

Authentic

38.7%

Familiar

13.8%

Photogenic

8.5%

Easy to understand

21.4%

29.9%

29.0%

34.6%

8.1%

23.4%
31.4%

27.4%

29.6%

6.8%

14.9%

17.9%

77.8%
19.4%

16.2%

24.3%
28.4%

16.1%
27.0%

No opinion
Not much

3.1%

10.8%

Very much
To some extent

10.6%
7.4%

13.3%

31.6%
25.8%

12.2%
24.7%

24.9%

8.2%

15.4%

4.3%

Not at all* No-response is not counted.

99.5%

PLOT 48

64

13.7%

5.3%

1.7%

NYK Maritime Museum

Photogenic

8.9%

Invited by friend or acquaintanceOther

6.1% 6.1%

Easy to understand
BankART Life Ⅵ

70.6%

Information on the Internet

Interested in exhibiting artists

Koho Yokohama
PR brochure

8.3%

76.3%

Interested in Yokohama Triennale

Had plans to go to Yokohama

12.7%

10.8% 10.7%(Multiple answers allowed)

30.1%
9.4%

9.1%

65

11. Economic Impact and Publicity Effects

12. Income and Expenditure Report

Economic Impact

Exhibition and Project (FY2018-2020)
IncomeEconomic impact was calculated using 2011 Yokohama municipal inter-industry table, the most recent at the time of estimation. Visitor
expenditure estimates are based on questionnaires administered to visitors, and organizer procurement estimates are based on expenses
related to preparation and operation. The economic impact in Yokohama, combining visitor expenditure and organizer procurement, totaled
approximately 2.3 billion yen.
Total economic impact (in Yokohama)(Unit: million JPY)

(Unit: JPY)

Item

FY 2019

FY 2020

63,767,067

149,065,401

396,097,041

608,929,509

Agency for Cultural Affairs00

180,000,000

180,000,000

Sponsorship and grants

0359,281

46,447,062

46,806,343

00

122,703,700

122,703,700

63,60066,051

156,309285,960

1,098,500

90,00001,188,500

871,815

2,997,290

228,591

4,097,696

65,800,982

152,578,023

745,632,703

964,011,708

City of Yokohama

Economic impact (induced production amount)

2,314

Ticket sales

Primary impact

2,030

Catalog and merchandise sales

Secondary impact

284

Number of jobs createdEvent ticket sales
Other operating income

187 (people)

Total

FY 2018

Total at the end of fiscal period[Breakdown]
Economic impact of visitor expenditures

Economic impact of organizer procurement(Unit: million JPY)

(Unit: million JPY)

Expenditures

Economic impact (induced production amount)

1,581

Economic impact (induced production amount)733

Primary impact

1,395

Primary impact

635

Production

Secondary impact

186

Secondary impact

98

Number of jobs created

142 (people)

Number of jobs created

45 (people)(Unit: JPY)

Item

(Unit: JPY)

Day tripExpenditure per person

Overnight stay in Yokohama
8,730

33,273

12,270Publicity Effects
The total of advertising conversion value of Yokohama Triennale 2020 for Japanese and overseas media coverage from November 2018 toJanuary 2021 amounted to approximately 5.09 billion yen (tax included).
Japanese media
Types of media
TV(Unit: million JPY)

Overseas media

Conversion value

Types of media

236,969,895

253,763,379

Fabrication and installation

0

30,000,000

69,867,171

99,867,171

Operation

024,642,135

231,145,157

255,787,292

4,143,885

12,536,286

55,486,962

72,167,133

02,000,000

02,000,000

3

Flagship TV stations

3,552

Magazines / books

17

Regional TV stations

26

WEB

22

CATV

34
94

Newspapers

635
National newspapers

345

National newspapers (regional editions)151

Regional newspapers

129

Other

10

Magazines/books

54

Free newspapers

7WEB

245,586

106,718

17,420,745

17,773,049

Event-related expense

003,266,803

3,266,803

Ticketing00

18,754,780

18,754,780

Travel

1,785,777

6,551,467

08,337,244

Outsourcing

16,307,651

28,749,379

48,660,063

93,717,093

Supporters-related expense

8,000,000

3,043,379

698,732

11,742,111

Administration

32,646,604

30,826,654

63,362,395

126,835,653

Total

65,800,982

152,578,023

745,632,703

964,011,708

Committee Administration (FY2018-2020)
Income5,053*Figures following decimal points are rounded off, so breakdown may not add up to total.

(Unit: JPY)

Item

42
City of Yokohama

FY 2018

FY 2019

FY 2020

Total of three years

1,232,933

4,934,599

19,042,959

25,210,491

Carried forward from previous FY(incl. supply and stock)

49,672,655

41,767,777

39,895,166

49,672,655※ FY 2018 only

Total

50,905,588

46,702,376

58,938,125

74,883,146

Expenditures(Unit: JPY)

Item

FY 2018

FY 2019

FY 2020

Total of three years

Committee operation

7,563,272

5,348,510

8,027,097

20,938,879

Office rental

1,574,539

1,458,700

1,736,837

4,770,076

Carried forward to next FY(incl. supply and stock)

41,767,777

39,895,166

49,174,191

49,174,191※ FY 2020 only

Total

50,905,588

46,702,376

58,938,125

74,883,146

Administration

651
Total

66

Art programs in the city

Conversion value

Newspapers

Radio

Total at the end of fiscal period(Unit: million JPY)

3,612

Total

FY 2020

14,122,005

Catalog and other printed materials

Overnight stay outside Yokohama

FY 2019

2,671,479

PR and promotion[Ref.] Amount of visitor expenditures (in Yokohama)

FY 2018

67

Yokohama Triennale 1st-7th Editions*1 The unit/numeration of the numbers of participating artists varies with each edition depending on curatorial direction.
*2 The numbers are the total numbers of visitors to paid exhibition venues except for the second edition.
*3 The opening was delayed by two weeks due to the COVID-19 situation.

1st Edition 2001

2nd Edition 2005

3rd Edition 2008

4th Edition 2011

5th Edition 2014

6th Edition 2017

7th Edition 2020

Exhibition dates(Number of days opened)

September 2 - November 11(67 days)

September 28 - December 18(82 days)

September 13 - November 30(79 days)

August 6 - November 6(83 days)

August 1-November 3(89 days)

August 4 -November 5(88 days)

July 17 - October 11(78 days) *3

Main venues (paid)[2 venues]·Pacifico Yokohama Exhibition
Hall (C, D)·Yokohama Red Brick Warehouse
No. 1[1 venue]·Yamashita PierNo. 3 and No. 4 Warehouses[4 venues]·Shinko Pier
·NYK Waterfront Warehouse(BankART Studio NYK)
·Yokohama Red Brick Warehouse
No. 1·Sankeien Garden[2 venues]·Yokohama Museum of Art·NYK Waterfront
Warehouse(BankART Studio NYK)

[2 venues]·Yokohama Museum of Art·Shinko Pier Exhibition Hall

[3 venues]·Yokohama Museum of Art·Yokohama Red Brick Warehouse
No. 1·Yokohama Port Opening
Memorial Hall (Basement)·Yokohama Museum of Art·PLOT 48
(Special co-operation:
NYK MARITIME MUSEUM)

Theme/ Exhibition title

MEGA WAVE— Towards a New Synthesis

Art Circus[Jumping from the Ordinary]

TIME CREVASSEOUR MAGIC HOUR -How Muchof the World Can We Know? -ART Fahrenheit 451: Sailing into
the sea of oblivion

Islands, Constellation &Galapagos

AFTERGLOW

Directors/ Curators

Artistic Directors:
KOHMOTO Shinji
TATEHATA Akira
NAKAMURA Nobuo
NANJO Fumio

Artistic Director: KAWAMATA
TadashiCurators:
AMANO TaroSERIZAWA Takashi
YAMANO Shingo

Artistic Director:
MIZUSAWA Tsutomu
Curators:Daniel BIRNBAUM
HU Fang
MIYAKE Akiko
Hans-Ulrich OBRIST
Beatrix RUF

Director General:
OSAKA Eriko
Artistic Director:
MIKI Akiko

Artistic Director:
MORIMURA Yasumasa
Associates:
AMANO TaroOODATE Natsuko
KASHIWAGI TomohKAMIYA Yukie
HAYASHI Sumi

Co-directors:
OSAKA Eriko
MIKI Akiko
KASHIWAGI TomohArtistic Director:
Raqs Media Collective(Jeebesh Bagchi, Monica Narula,
Shuddhabrata Sengupta)

Number of participated artists *1

109 artists

86 artists

70 artists

77 groups / 79 artists / 1 collection

65 groups / 79 artists

38 artists/groups, 1 project69 artists/groups

Number of artworks

113 works

84 works

66 works

337 works

444 works

344 works

269 works and 5 projects

Total operating expenses

Approx. 700 million yen

Approx. 900 million yen

Approx. 900 million yen

Approx. 900 million yen

Approx. 900 million yen

Approx. 900 million yen

Approx. 1 billion yen

Total number of visitors

Approx. 350,000

Approx. 190,000

Approx. 550,000

Approx. 330,000

Approx. 210,000

Approx. 260,000

Approx. 150,000*Visitor access was restricted following
measures to counter COVID-19.

Total number of visitors from overseas

Not available

Not available

Not available

Approx. 3,000

4,501

7,059

1,198

Total number of visitors, junior highschool students or younger

Not available

Not available

Not available

24,205

26,381

26,9888,619

Number of visitors (to paid venues) *2

Approx. 350,000

Approx. 160,000

Approx. 310,000

Approx. 300,000

Approx. 210,000

Approx. 250,000

Approx. 130,000*Ticket valid 2 days (valid on any 2 days)*Free for pre-school children*Ticket valid one day*Free pass available*Free for junior high school students oryounger*Ticket valid 2 days(valid on any 2 days)*Free for junior high school students oryounger*Ticket valid one day per venue*Free for junior high school students oryounger*Ticket valid one day per venue*Free for junior high school students oryounger*Ticket valid one day per venue*Free for junior high school students oryounger*Ticket valid one day*Free for junior high school students oryoungerApprox. 170,000

Approx. 120,000

Approx. 90,000

Approx. 170,000

Approx. 100,000

Approx. 100,000

Approx. 60,000

Number of tickets sold*Visitor access was restricted following
measures to counter COVID-19.

Number of media coverage

More than 237 publishers(Over 36 were overseas media)

1,089(Including 40 overseas media)

1,233(Including 165 overseas media)

1,763(Including 139 overseas media)

3,899(Including 117 overseas media)

6,923(Including 314 overseas media)

4,238(Including 257 overseas media)

1,222

1,510

940

1,631

1,474

1,671

*Number of coverage not available

Volunteer/ supporter registration

719

2001

History
1997

Ministry of Foreign Affairs announces organizing recurrent international exhibition

1999

Organizing Committee for Yokohama Triennale (The Japan Foundation, City of Yokohama, Japan Broad casting Corporation

2005

2008

2011

2017

2014

2020

[NHK], The Asahi Shimbun) is founded
2001

YOKOHAMA 2001: International Triennale of Contemporary Art Mega Wave Towards a New Synthesis

2004

Creative City Measures are initiated by the City of Yokohama and the Yokohama Triennale becomes its leading project

2005

YOKOHAMA 2005: International Triennale of Contemporary Art Art Circus [Jumping from the Ordinary]

2008

YOKOHAMA 2008: International Triennale of Contemporary Art TIME CREVASSE

2010

Members of Organizing Committee for Yokohama Triennale is reorganized, with members consisting of City of Yokohama,Japan Broadcasting Corporation (NHK), The Asahi Shimbun

2011

Agency for Cultural Affairs designates Yokohama Triennale as “Program to support International Arts Festivals”
Yokohama Triennale 2011: OUR MAGIC HOUR -How Much of the World Can We Know?-

2012

Yokohama Arts Foundation joins as a member of the Organizing Committee for Yokohama Triennale

2014

Yokohama Triennale 2014: Art Fahrenheit 451: Sailing into the sea of oblivion

2017

Yokohama Triennale 2017: Islands, Constellations & Galapagos

2020

Yokohama Triennale 2020: Afterglow

68

69

Organization* Yokohama Museum of Art (Yokohama Arts Foundation)** City of Yokohama

Organizing Committee for Yokohama Triennale
Honorary Presidents
HAYASHI Fumiko (Mayor, City of Yokohama) [Representative]
MAEDA Terunobu (President, Japan Broadcasting Corporation [NHK])WATANABE Masataka (President and CEO, The Asahi Shimbun
Committee Members
KONDO Seiichi (Chairperson, Yokohama Arts Foundation) [Chairperson]
OSAKA Eriko (Director, The National Art Center, Tokyo) [Executive Chairperson]
KURAYA Mika (Director, Yokohama Museum of Art) [Executive Chairperson]
KAKOI Kenichiro (Director, Cultural Promotions Center, Japan Broadcasting
Corporation [NHK])SAWA Kazuki (President, Tokyo University of the Arts)JINBU Hiroshi (Director General of Culture and Tourism Bureau, City of Yokohama)
TAKASHINA Shuji (Director, Ohara Museum of Art)TATEHATA Akira (President, Tama Art University)
TSUKA Hiroko (Executive Vice President, The Japan Foundation)
HORIKOSHI Reiko (Executive Director, Cultural Projects and Business Development, The Asahi Shimbun)
AuditorBay-Tax Tax Co.
Artistic Director Selection Committee for the 7th Yokohama Triennale
Committee Members (the title is as of November 2018)
ASADA Akira (Critic / Director, Graduate School Academic Research Center, Kyoto
University of Art and Design) [Chairperson]
KURAYA Mika (Chief Curator, Department of Programs Development, The National
Museum of Modern Art, Tokyo)
OSAKA Eriko (Director, Yokohama Museum of Art / Executive Chairperson,
Organizing Committee for Yokohama Triennale)
SAWARAGI Noi (Art Critic / Professor, Tama Art University)
WASHIDA Kiyokazu (Philosopher / President, Kyoto City University of Arts /Director, sendai mediatheque)Organizing Committee for Yokohama Triennale OfficeSenior Managing Director: MATSUMOTO Kimiyoshi**Managing Director: IGARASHI Seiichi*
Managers: AKIYAMA Daisuke (Japan Broadcasting Corporation［NHK］)
KAJIWARA Atsushi**
HOASHI Aki*
YAMAKI Naofumi (The Asahi Shimbun)

P.21-39
Photos: OTSUKA Keita, KATO Ken (photos marked with *)Exhibition Text
Shveta SARDA
Assistant Designers
MINEISHI Keiko (Sourcebook), YAMAGIWA Ryo (PR, Exhibition),
ITO Kohei (Exhibition)
Documentation
Photography
OTSUKA Keita, KATO Ken, KATO Hajime, KAMIIISAKA Hajime
Video
NISHINO Masanobu (Direction), MARUO Ryuichi,
TOMITA Ryohei / HARADA Takeaki (Direction)
Administration TeamPR & Promotion
TAKAHASHI Nobuka*, IWATA Tomoko
YONEZU Itsuka (Design Production / Documentation Coordinator)
Yokohama Triennale Supporters’ Office
HANZAWA Nanami,
YAMANO Shingo, TATEISHI Saori, YAMANO Kei, KANDA Miki (Koganecho Area
Management Center / fiscal year 2018-2019)
Administration
OSANAI Yukie*, TAKABAYASHI Mariko*, TSUCHIDA Kaori*
City of Yokohama
AKASAKI Yuka, IMANISHI Megumi, IWANAMI Ai, OGAWA Tetsu, OGAWA Yoshiyuki,
KIMURA Ayaka, TAKADA Satoshi, TSUGANESAWA Yasuyuki, TSURUMI Tempei,
HIRABAYASHI Otohiko, MARUYAMA Akiko, YAMADA Takahiro

Yokohama Museum of Art (Yokohama Arts Foundation)
KURAYA Mika [Director]
IGARASHI Seiichi [Deputy Director], KASHIWAGI Tomoh [Deputy Director]

Artistic Director
Raqs Media Collective

Curatorial Department
NUMATA Hideko, YATSUYANAGI Sae, NAKAMURA Naoaki, UCHIYAMA Junko,
MATSUNAGA Shintaro, KIMURA Eriko, KATADA Yuko, SHOJI Naoko,
AIHARA Kanako, OSAWA Sayoko, KANAI Mayuko, SAKAMOTO Kyoko, HASEGAWA
Tamao, HIBINO Miyon, KUMASAKA Kumi, OSAWA Tomoji, ONISHI Ayako,
HASEGAWA Naho, MIYATANI Tomomi, KATO Aki, KATO Aya, SUZUKI Rieko,
HIRAGA Kaoru

Project Manager: HOASHI Aki*
Administration Manager: KAJIWARA Atsushi**Communication Manager: NISHIYAMA Yuko

International Division
HOASHI Aki (Curatorial Dept.), FUKUOKA Ayako, OSANAI Yukie, TAKAHASHI
Nobuka, TAKABAYASHI Mariko, TSUCHIDA Kaori

Curatorial Team

Educational Department
YAMASAKI Yu, SEKI Junichi, KINOSHITA Takahiro, HAYAMA Satoko, YANAGAWA
Fumihide, SAKURABA Rumi, OIWA Kumi, OTA Masako, KITAGAWA Yusuke,
KOTO Minami, SATO Takumi, MORI Mineku, ISHIZUKA Miwa, NAKANO Hazuki,
ROKUSHIMA Yoshiro, SAITO Kayo

Yokohama Triennale 2020

Curatorial Head/Curator: KIMURA Eriko*Curator: HAYASHI Sumi
Assistant Curator: HIBINO Miyon*
Research Assistants: Kaushal Ajay SAPRE, IMAMURA Tyuki, SHIOZAKI Erica

Credits

Exhibition Head/Curator: UCHIYAMA Junko*
Coordination Head/Registrar: SUZUKI Yuko
Coordinators: KURASHIGE Natsuko (Curatorial), TAKEI Mariko (Episōdo),TOMIYASU Reiko (Curatorial Registrar), SHIBATA Haruka (Curatorial Assistant),
KOBAYASHI Maiko, IMASEKI Yurika
Technical Coordinators: YAMAMOTO Shiro, ITO Yuya, OKAMOTO Akio, TANAKA Shinji
YAMADA Hiroki (Intern, Sapporo Cultural Arts Community Center SCARTS)

Administration Department
NARAZAKI Kazuo, YOSHIKAWA Yukiko, MIZUTANI Hidetoshi, ADACHI Yoko,
SAKODA Toshinori, OKUTSU Eri, KAWABE Moe, KOYA Akiko, SAKAGUCHI Shuhei,
TANABE Masako, FUKAWA Yukiko, NAGATA Asako, YAMAUCHI Ryoko, FUJII Satoko,
ERIKAWA Fumie, UMEZAWA Nodoka, YAMAMOTO Noriko, ISSHIKI Azusa,
NAGAHAMA Sawako, IMANO Maki, KOSUGI Hiroko, ISHII Yuko, SAITO Kanako,
MORITA Michiyo, MIYAKAWA Izumi, DOI Toshie,
MURAMATSU Kazuhiko (YOKOHAMA Artist Corp.)

Assistant Project Manager: FUKUOKA Ayako*
Project Coordinator: SUZUKI KeikoInterns (2019): ISODA Minori, IMASEKI Yurika, TOMINAGA Risako

Japan Broadcasting Corporation [NHK] /Japan Broadcasting Corporation [NHK] Yokohama
YOSHIIKE Ayako, MAEDA Yoshihiro, NISHIOKA Ai

Designer
Ariane SPANIERThe Asahi Shimbun
TAKEBE Shoma

P. 21
Nick CAVE｜Courtesy of the artist and Jack Shainman Gallery
P. 22James NASMYTH｜“Astrocurio Collection” by TSUNODA Tamao
TAKEMURA Kei｜Production supported by Gunma Sericultural Technology Center, Agriculture,
Sericulture, Horticulture Promotion Division, Gunma Prefectural Government, Supported by Kyoto
Bisho
Lebohang KGANYE｜Courtesy of AFRONOVA GALLERY
P. 23
Robert ANDREW｜Courtesy of the artist and Milani Gallery, Brisbane
Max DE ESTEBAN｜CGAC Collection, Santiago de Compostela / Courtesy of the artist and CGAC
Collection, Santiago de Compostela
Rayyane TABET｜Courtesy of Sfeir-Semler Gallery Beirut/Hamburg
P. 24
KIM Yunchul｜Developed as part of the Collide International Award, a partnership program between
Arts at CERN and FACT, and was co-produced by ScANNER.
P. 25
Nilbar GÜREŞ｜Collection of Galerist, Istanbul / Courtesy of the artist and Galerist, Istanbul
Elias SIME｜Courtesy of the artist and James Cohan, New York
P. 28
Tsherin SHERPA｜Courtesy of the artist and Rossi & Rossi
Oscar SANTILLAN｜Collections of LA COLECCIÓN JUMEX, MÉXICO and LLANO
SATO Masaharu｜Collections of IHARA Shinji, KAWAKAMI Tomoko, Northern Ark, KOJIMA Yuki,
NODA Yasushi, YOSHIOKA Emiko, NISHIJI COLLECTION and KEN NAKAHASHI / ©Estate ofMasaharu Sato / Courtesy of KEN NAKAHASHI

P. 68-69(2001)TSUBAKI Noboru + MUROI Hisashi, The Insect World / Locust,
2001
Photo: Mikio KUROKAWA(2005)
Photo-souvenir Daniel BUREN: On the Waterfront : 16.150 Flames,
work in situ, Yokohama, Japon, September 2005.
© DB - ADAGP Paris
Photo: ANZAÏ
(2008)
Elmgreen & Dragset, Catch Me Should I Fall, 2008
Photo: Tadahisa SAKURAI(2011)YIN Xiuzhen, One Sentence, 2011
Courtesy ALEXANDER OCHS GALLERIES BERLIN | BEIJING
Photo: KIOKU Keizo(2014)
Michael LANDY, Art Bin, 2010/2014
Photo: KATO Ken(2017)AI Weiwei, Safe Passage, 2016, Reframe, 2016
© Ai Weiwei Studio
Photo: KATO Ken(2020)
Nick CAVE, Kinetic Spinner Forest, 2016 (recreated in 2020)© Nick Cave
Photo: OTSUKA Keita

P. 30
ZHANG XU Zhan｜Collection of Project Fulfill Art Space / Courtesy of the artist and Project Fulfill
Art Space
P. 32
Amol K. PATIL｜Courtesy of Vibha Galhotra and Rahul Aggarwal
P. 34
Elena KNOX｜©Osamu Kajitani (Left side at top) / ©Dee Lee (NNNI) (Right side at top) / ©NNNI(Bottom left) / ©Marina Komiya (Bottom right)
P. 35
Anton VIDOKLE｜Courtesy of the artist, Asakusa and Vitamin Creative Space
P. 37
Korakrit ARUNANONDCHAI｜Courtesy of the artist, Bangkok City City Gallery, C L E A R I N G New
York/Brussels, Carlos/Ishikawa

Architect
MMA inc. (KUDO Momoko, NOMIYAMA Sakura, AKIMOTO Hirokatsu, KOBAYASHINatsuko)

70

71

Yokohama Triennale 2020 “Afterglow”
ReportEnglish Edition

Published in June 2021
Supervised by:
Organizing Committee for Yokohama Triennale
Edited by:
AMINO Nao (torch press)
TAKEI Mariko
Designed by:
SHIMAKAGE Minami, Ariana SPANIER (cover)Translated by:
Edan CORKILL (p.9)
Meri JOYCE (pp.4, 5, 13)
HOASHI Aki, SUZUKI Keiko, SUZUKI Yuko (Organizing Committee for Yokohama Triennale)
Printed by:
Azuma Printing Co., Ltd.
Published by:
Organizing Committee for Yokohama Triennale
Yokohama City Hall
30F 6-50-10, Honcho, Naka-ku, Yokohama 231-0005 JAPANwww.yokohamatriennale.jp©2021 Organizing Committee for Yokohama Triennale
All rights reserved. Printed in Japan