8

years since 2010 across a wide region including the Aichi Arts Center andother city venues, and preparations are underway for Aichi Triennale 2022 tobuild on the achievements of the previous four iterations. The festival will
span a wide range of ﬁelds, synthetically exhibiting performing art and otherforms together with a contemporary art core, and make Aichi Prefecture abeacon of the artistic avant-garde.
Mission・Contributing to the global development of culture and art by creating anddisseminating cutting-edge art
・Bringing culture and art into people's daily lives by promoting and providing
education on contemporary art
・Enhancing the attractiveness of the region by vitalizing culture and art
activities

Outline of Aichi Triennale 2022

The Aichi Triennale is an urban international art festival, held every three

Theme

STILL ALIVE

Artistic Director

Kataoka Mami （Director of the Mori Art Museum and President of the CIMAM）
PeriodJuly 30（Saturday）to October 10（Monday, public holiday）,2022 [ 73 days]
Main Venues

Aichi Arts Center/Ichinomiya City/Tokoname City/Arimatsu, Nagoya City
Organizer

Aichi Triennale Organizing Committee（Chairperson: Obayashi Takeo（Chairperson of the Board, Obayashi Corporation））

Programs

Located in the center of Japan and blessed with marine and mountainous natural environments, Aichi is theContemporary Art

fourth most populous prefecture in Japan（with 7.52 million inhabitants as of July 2021）.

・ Cutting-edge global contemporary art will be introduced through the exhibitions of 82 individual artists or

Aichi is known for its manufacturing industry（producing cars, robots, textiles, ceramics, and the like）but,
in fact, it also has a thriving agricultural industry, producing more ﬂowers than any other prefecture in
Japan.
This is also a region that produced many of the military generals who inﬂuenced Japanʼs history in the
Sengoku（“Warring States”）period（c. 16th century）.As well as the townscapes still lining roads that have
served people and goods since long ago, and traditional crafts such as Shibori（tie-dye）and pottery, theareaʼs unique culinary culture also contributes to its charm ̶ examples include Nagoya meshi and the1

luxurious “morning service” at coﬀee shops.
2

groups from Japan and overseas, including new works.
・ Events are to be held across a wide area of the prefecture, with works exhibited at locations including
Aichi Arts Center, which includes the Aichi Prefectural Museum of Art, as well as the cities of
Ichinomiya and Tokoname, and the Arimatsu district of Nagoya.

Performing Arts
・ Approximately 10 performances of radical theater, music, dance, and other performing arts from Japanand overseas will be performed near the Aichi Prefectural Art Theater and the Aichi Arts Center.

A general term for the unique meals and sweets eaten widely, at home and at restaurants, in the area around Nagoya in Aichi.
Morning service refers to the oﬀer of food such as bread or eggs for free or at a discounted price when ordering a drink at a coﬀee shop
during morning hours.

1
2

・ Focusing as well on performance art, which is considered a form of contemporary art, we plan to holdlectures and discussions to help people enjoy a broader range of performing arts.

Learning
・ “Art is not just for art lovers, itʼs for everyone to enjoy in their own way!” This is the concept for ourContents
Outline1-2

・ These Programs will be held both during Aichi Triennale 2022 and in phases leading up to the opening.

Concept

3-4

Collaborative Programs

Logo

1

Learning Programs, which are designed for a wide variety of people.

5

Curatorial Team6 - 10Main Venues

11 - 12

Contemporary Art

13 - 40

Performing Arts

41 - 48

Learning

49 - 54

Collaborative Programs, Ambassadors

55 - 56

Ticket Information of Contemporary Art Exhibition

57 - 58

・ Collaborative projects with a variety of organizations, including art universities within Aichi.
・ Short-term “traveling exhibitions” by participating artists will be held at cultural venues in four Aichi
Prefecture cities: Nagakute, Gamagori, Handa, and Nishio.
・ Stage performances in collaboration with local arts and cultural organizations selected by open call.

Online Initiatives
・ In addition to on-site exhibitions and performances, video streaming and learning opportunities will beoﬀered online.

2

years since 2010 across a wide region including the Aichi Arts Center andother city venues, and preparations are underway for Aichi Triennale 2022 tobuild on the achievements of the previous four iterations. The festival will
span a wide range of ﬁelds, synthetically exhibiting performing art and otherforms together with a contemporary art core, and make Aichi Prefecture abeacon of the artistic avant-garde.
Mission・Contributing to the global development of culture and art by creating anddisseminating cutting-edge art
・Bringing culture and art into people's daily lives by promoting and providing
education on contemporary art
・Enhancing the attractiveness of the region by vitalizing culture and art
activities

Outline of Aichi Triennale 2022

The Aichi Triennale is an urban international art festival, held every three

Theme

STILL ALIVE

Artistic Director

Kataoka Mami （Director of the Mori Art Museum and President of the CIMAM）
PeriodJuly 30（Saturday）to October 10（Monday, public holiday）,2022 [ 73 days]
Main Venues

Aichi Arts Center/Ichinomiya City/Tokoname City/Arimatsu, Nagoya City
Organizer

Aichi Triennale Organizing Committee（Chairperson: Obayashi Takeo（Chairperson of the Board, Obayashi Corporation））

Programs

Located in the center of Japan and blessed with marine and mountainous natural environments, Aichi is theContemporary Art

fourth most populous prefecture in Japan（with 7.52 million inhabitants as of July 2021）.

・ Cutting-edge global contemporary art will be introduced through the exhibitions of 82 individual artists or

Aichi is known for its manufacturing industry（producing cars, robots, textiles, ceramics, and the like）but,
in fact, it also has a thriving agricultural industry, producing more ﬂowers than any other prefecture in
Japan.
This is also a region that produced many of the military generals who inﬂuenced Japanʼs history in the
Sengoku（“Warring States”）period（c. 16th century）.As well as the townscapes still lining roads that have
served people and goods since long ago, and traditional crafts such as Shibori（tie-dye）and pottery, theareaʼs unique culinary culture also contributes to its charm ̶ examples include Nagoya meshi and the1

luxurious “morning service” at coﬀee shops.
2

groups from Japan and overseas, including new works.
・ Events are to be held across a wide area of the prefecture, with works exhibited at locations including
Aichi Arts Center, which includes the Aichi Prefectural Museum of Art, as well as the cities of
Ichinomiya and Tokoname, and the Arimatsu district of Nagoya.

Performing Arts
・ Approximately 10 performances of radical theater, music, dance, and other performing arts from Japanand overseas will be performed near the Aichi Prefectural Art Theater and the Aichi Arts Center.

A general term for the unique meals and sweets eaten widely, at home and at restaurants, in the area around Nagoya in Aichi.
Morning service refers to the oﬀer of food such as bread or eggs for free or at a discounted price when ordering a drink at a coﬀee shop
during morning hours.

1
2

・ Focusing as well on performance art, which is considered a form of contemporary art, we plan to holdlectures and discussions to help people enjoy a broader range of performing arts.

Learning
・ “Art is not just for art lovers, itʼs for everyone to enjoy in their own way!” This is the concept for ourContents
Outline1-2

・ These Programs will be held both during Aichi Triennale 2022 and in phases leading up to the opening.

Concept

3-4

Collaborative Programs

Logo

1

Learning Programs, which are designed for a wide variety of people.

5

Curatorial Team6 - 10Main Venues

11 - 12

Contemporary Art

13 - 40

Performing Arts

41 - 48

Learning

49 - 54

Collaborative Programs, Ambassadors

55 - 56

Ticket Information of Contemporary Art Exhibition

57 - 58

・ Collaborative projects with a variety of organizations, including art universities within Aichi.
・ Short-term “traveling exhibitions” by participating artists will be held at cultural venues in four Aichi
Prefecture cities: Nagakute, Gamagori, Handa, and Nishio.
・ Stage performances in collaboration with local arts and cultural organizations selected by open call.

Online Initiatives
・ In addition to on-site exhibitions and performances, video streaming and learning opportunities will beoﬀered online.

2Concept

STILL ALIVEIn the post-COVID-19 era, the question of how we might recover a sense of daily life and socio-economic activity inorder to build a sustainable and more equitable world is an urgent one that the entire world will face. 2022 will be aperiod of recovery from this pandemic, during which we will see new propositions being called for from all domains oflife, whether environmental, political, economic, or cultural, in order to address the structures of contemporary societythat have been thrown into sharp relief by COVID-19. The act of confronting this reality and creating a future amid
uncertainty, during this particularly barren and unpromising period, is also an obligation that is being demanded of all of
us who live in the present time.
Art, including contemporary art and the performing arts, has always reﬂected the times, pursued the truth, andproposed new values for the future in the face of uncertainty throughout its history. Since the 1990s, Western-centric
values have branched oﬀ in multiple directions. In todayʼs increasingly complex world, we are seeing an increasingemphasis on the qualities of diversity and inclusion, which demand understanding and respect for diverse cultures. In
particular, the vulnerability of our social structures as exposed by the pandemic has had a profound impact on the workof artists and art institutions, while the international art community has been demonstrating its solidarity in confrontingsocial issues such as discrimination and inequality, in an eﬀort to seek out models for a sustainable world.
The theme of Aichi Triennale 2022, “STILL ALIVE,” was inspired by a series of works entitled I Am Still Alive by the
Aichi-born conceptual artist On Kawara, who continually dispatched the fact of his own existence during his lifetime
using telegrams starting in the 1970s. This international art festival to be held in 2022 will oﬀer a multi-dimensional
interpretation of the words “STILL ALIVE,” revisiting the origins and sources of contemporary art while also focusing
on the gaps between domains that have come to be classed according to ﬁxed categories, all the while shuttling backand forth between the past, present, and future. Through the medium of art, Aichi Triennale 2022 promises encounterswith uncertainty, the unknown, a diversity of values, and overwhelming beauty, while also serving as an opportunity forthinking about how we can create an ideal, sustainable future together. COVID-19, on the other hand, has curtailedtransnational activities and projects, and directed our attention to the regions where we actually live and work. In termsof “regional rediscovery,” one of the distinctive characteristics of art festivals held in diﬀerent cities, Aichi Triennale 2022
will also incorporate the proud history, local industries, and traditional culture of Aichi Prefecture, exploring the questionof how to rejuvenate and revive these elements by taking the present time as a starting point, while also promising to
be a creative response to the question of how to connect local cultures around the world to a wider global context.
In order to contemplate the theme “STILL ALIVE,” Aichi Triennale 2022 will embrace the following visions. They do
not exist in isolation: rather, they are interrelated and sometimes at odds with each other in terms of how they make up
the entirety of this international art festival.

Thinking about the theme of “STILL ALIVE” while shuttling back and forth across a time axis thatstretches from the past to the future
Thinking about the survival of the Earth and human beings one million years into the future
A focus on raising awareness and making propositions that will ensure that the Earth will continue to exist
beautifully, and humanity will live in peace a hundred, or even a million years into the future, by understanding thecontemporary world from a more macro perspective based on the workings of nature and the laws of the universe.
An awareness of environmental issues and sustainability is something that inherits and builds on the history of the
Aichi Triennale, which was established as a legacy of Expo 2005 Aichi, Japan.
Thinking about how to revive the diversity of stories of the past in the present era
A spotlight on the history of the Earth and humanity, and a reassessment of local contexts from around the worldin light of the contemporary. Up until the Edo period（1603-1868）,Aichi Prefecture was the land of two provinces,
Owari and Mikawa. Subsequently, during the Sengoku and Azuchi Momoyama period（1467-1603）, the region
produced numerous military commanders, including three national heroes who made important contributions to theuniﬁcation of Japan. History is often made up of narratives that have been deemed legitimate and various otherstories, told from diﬀerent perspectives and handed down through the generations. Aichi Triennale 2022 will bring
the worldʼs diverse stories back to life in a present day context.

Revisiting the origins and sources of contemporary art while also focusing on the gaps between
domains that have come to be classed according to ﬁxed categories
Revisiting the origins and sources of contemporary art
The 1970s, when On Kawara began his I Am Still Alive series, were an era that saw the ﬂourishing of conceptual art,
which emphasized the concept and meaning behind the work rather than its visual expression. This approach still
underpins global contemporary art today. While Aichi Prefecture has been the place of origin of internationallyacclaimed conceptual artists such as On Kawara and Shusaku Arakawa, Aichi Triennale 2022 will also showcase
conceptual art from around the world.
Reconsidering traditional crafts and the artistic production of indigenous culture in the context of contemporary art
Aichi Prefecture is home to a number of unique cultural traditions, including local industries, traditional crafts, andculinary practices. The rich natural environment consisting of sea, mountains, and rivers has also led to thedevelopment of its ceramic and textile industries. Since the modern era, ceramics and textiles have come to be
regarded as “crafts” that are distinct from ﬁne art, but recent years have seen a reassessment of the development ofmodern art in a wide range of cultural spheres and a reappraisal of artistic practices that straddle both craft andﬁne art, as well as the artistic production of indigenous peoples. Aichi Triennale 2022 will seek to liberate these
artistic domains from our preconceptions of them, and to reconsider them as living, contemporary forms of artistic
expression.
Reconsidering artistic practices that deploy text and symbols
In addition to his I Am Still Alive series, Kawara also created works that use numbers and texts, such as dates andthe time at which he woke up. In a contemporary society with highly developed social media networks,
communication using short words and symbols has become more prevalent. Aichi Triennale 2022 will also have afocus on poetry and other text-based forms of artistic expression.
Experiencing art through the body and the ﬁve senses
Forms of art experienced through the body and the ﬁve senses are a direct reminder of being alive. Aichi Triennale2022 will pay particular attention to performance art as discussed in the context of contemporary art, while
continuing the legacy of succeeding to past editions, where contemporary art and the performing arts coexisted
alongside each other. Here, too, the festival will explore ways of integrating these two forms in an organic way
without being bound by the frameworks and spaces associated with the respective ﬁelds.

To live is to keep learning. Encountering the unknown, a diversity of values, and overwhelming beauty
Passing on experiences and a sense of emotional excitement to future generations through learning programs
Works of contemporary art are often said to be diﬃcult to understand when one encounters them for the ﬁrst time.
Learning about the stories behind their creation, and the eras and cultures in which the artists lived, however, canhelp us to empathize with the emotions and consciousness of people in distant parts of the world, or those from
diﬀerent generations.
Through a variety of learning programs, Aichi Triennale 2022 will seek to deepen oneʼs understanding of the works
of art and ensure that the experiences and emotions gleaned at the festival will become etched in oneʼs memory,providing one with wisdom, knowledge, and a sense of spirituality that can be applied to the rest of oneʼs life.
Inspiring with beauty
The poet William Wordsworth once proclaimed that his heart leaps with joy when he beholds a rainbow t in thesky. This was a state of mind that he wanted to preserve throughout his life. In the same way, Aichi Triennale 2022
will seek to move and astound through the overwhelming beauty of art, producing inspiring encounters andexperiences and a wellspring of positive energy that will help us to live for tomorrow, in each and every momentthat life brings our way.

Thinking about how to survive in this day and age, in this present moment
The unprecedented health crisis brought about by the 2020 pandemic and the discrimination and inequality withrespect to racial, gender, and ethnic diﬀerences brought to the surface by the COVID-19 pandemic have caused us
to reconsider the gravity of life associated with each and every one of us. The rising number of suicides, especiallywomen and children who are taking their own lives, is another major challenge facing Japanese society. At Aichi
Triennale 2022, we will ponder the meaning of life in these diﬃcult times through powerful expressions where theact of living is strongly linked to artistic creation.

3

Kataoka Mami, Artistic Director, Aichi Triennale 2022
Translated by Darryl Wee

4

Concept

STILL ALIVEIn the post-COVID-19 era, the question of how we might recover a sense of daily life and socio-economic activity inorder to build a sustainable and more equitable world is an urgent one that the entire world will face. 2022 will be aperiod of recovery from this pandemic, during which we will see new propositions being called for from all domains oflife, whether environmental, political, economic, or cultural, in order to address the structures of contemporary societythat have been thrown into sharp relief by COVID-19. The act of confronting this reality and creating a future amid
uncertainty, during this particularly barren and unpromising period, is also an obligation that is being demanded of all of
us who live in the present time.
Art, including contemporary art and the performing arts, has always reﬂected the times, pursued the truth, andproposed new values for the future in the face of uncertainty throughout its history. Since the 1990s, Western-centric
values have branched oﬀ in multiple directions. In todayʼs increasingly complex world, we are seeing an increasingemphasis on the qualities of diversity and inclusion, which demand understanding and respect for diverse cultures. In
particular, the vulnerability of our social structures as exposed by the pandemic has had a profound impact on the workof artists and art institutions, while the international art community has been demonstrating its solidarity in confrontingsocial issues such as discrimination and inequality, in an eﬀort to seek out models for a sustainable world.
The theme of Aichi Triennale 2022, “STILL ALIVE,” was inspired by a series of works entitled I Am Still Alive by the
Aichi-born conceptual artist On Kawara, who continually dispatched the fact of his own existence during his lifetime
using telegrams starting in the 1970s. This international art festival to be held in 2022 will oﬀer a multi-dimensional
interpretation of the words “STILL ALIVE,” revisiting the origins and sources of contemporary art while also focusing
on the gaps between domains that have come to be classed according to ﬁxed categories, all the while shuttling backand forth between the past, present, and future. Through the medium of art, Aichi Triennale 2022 promises encounterswith uncertainty, the unknown, a diversity of values, and overwhelming beauty, while also serving as an opportunity forthinking about how we can create an ideal, sustainable future together. COVID-19, on the other hand, has curtailedtransnational activities and projects, and directed our attention to the regions where we actually live and work. In termsof “regional rediscovery,” one of the distinctive characteristics of art festivals held in diﬀerent cities, Aichi Triennale 2022
will also incorporate the proud history, local industries, and traditional culture of Aichi Prefecture, exploring the questionof how to rejuvenate and revive these elements by taking the present time as a starting point, while also promising to
be a creative response to the question of how to connect local cultures around the world to a wider global context.
In order to contemplate the theme “STILL ALIVE,” Aichi Triennale 2022 will embrace the following visions. They do
not exist in isolation: rather, they are interrelated and sometimes at odds with each other in terms of how they make up
the entirety of this international art festival.

Thinking about the theme of “STILL ALIVE” while shuttling back and forth across a time axis thatstretches from the past to the future
Thinking about the survival of the Earth and human beings one million years into the future
A focus on raising awareness and making propositions that will ensure that the Earth will continue to exist
beautifully, and humanity will live in peace a hundred, or even a million years into the future, by understanding thecontemporary world from a more macro perspective based on the workings of nature and the laws of the universe.
An awareness of environmental issues and sustainability is something that inherits and builds on the history of the
Aichi Triennale, which was established as a legacy of Expo 2005 Aichi, Japan.
Thinking about how to revive the diversity of stories of the past in the present era
A spotlight on the history of the Earth and humanity, and a reassessment of local contexts from around the worldin light of the contemporary. Up until the Edo period（1603-1868）,Aichi Prefecture was the land of two provinces,
Owari and Mikawa. Subsequently, during the Sengoku and Azuchi Momoyama period（1467-1603）, the region
produced numerous military commanders, including three national heroes who made important contributions to theuniﬁcation of Japan. History is often made up of narratives that have been deemed legitimate and various otherstories, told from diﬀerent perspectives and handed down through the generations. Aichi Triennale 2022 will bring
the worldʼs diverse stories back to life in a present day context.

Revisiting the origins and sources of contemporary art while also focusing on the gaps between
domains that have come to be classed according to ﬁxed categories
Revisiting the origins and sources of contemporary art
The 1970s, when On Kawara began his I Am Still Alive series, were an era that saw the ﬂourishing of conceptual art,
which emphasized the concept and meaning behind the work rather than its visual expression. This approach still
underpins global contemporary art today. While Aichi Prefecture has been the place of origin of internationallyacclaimed conceptual artists such as On Kawara and Shusaku Arakawa, Aichi Triennale 2022 will also showcase
conceptual art from around the world.
Reconsidering traditional crafts and the artistic production of indigenous culture in the context of contemporary art
Aichi Prefecture is home to a number of unique cultural traditions, including local industries, traditional crafts, andculinary practices. The rich natural environment consisting of sea, mountains, and rivers has also led to thedevelopment of its ceramic and textile industries. Since the modern era, ceramics and textiles have come to be
regarded as “crafts” that are distinct from ﬁne art, but recent years have seen a reassessment of the development ofmodern art in a wide range of cultural spheres and a reappraisal of artistic practices that straddle both craft andﬁne art, as well as the artistic production of indigenous peoples. Aichi Triennale 2022 will seek to liberate these
artistic domains from our preconceptions of them, and to reconsider them as living, contemporary forms of artistic
expression.
Reconsidering artistic practices that deploy text and symbols
In addition to his I Am Still Alive series, Kawara also created works that use numbers and texts, such as dates andthe time at which he woke up. In a contemporary society with highly developed social media networks,
communication using short words and symbols has become more prevalent. Aichi Triennale 2022 will also have afocus on poetry and other text-based forms of artistic expression.
Experiencing art through the body and the ﬁve senses
Forms of art experienced through the body and the ﬁve senses are a direct reminder of being alive. Aichi Triennale2022 will pay particular attention to performance art as discussed in the context of contemporary art, while
continuing the legacy of succeeding to past editions, where contemporary art and the performing arts coexisted
alongside each other. Here, too, the festival will explore ways of integrating these two forms in an organic way
without being bound by the frameworks and spaces associated with the respective ﬁelds.

To live is to keep learning. Encountering the unknown, a diversity of values, and overwhelming beauty
Passing on experiences and a sense of emotional excitement to future generations through learning programs
Works of contemporary art are often said to be diﬃcult to understand when one encounters them for the ﬁrst time.
Learning about the stories behind their creation, and the eras and cultures in which the artists lived, however, canhelp us to empathize with the emotions and consciousness of people in distant parts of the world, or those from
diﬀerent generations.
Through a variety of learning programs, Aichi Triennale 2022 will seek to deepen oneʼs understanding of the works
of art and ensure that the experiences and emotions gleaned at the festival will become etched in oneʼs memory,providing one with wisdom, knowledge, and a sense of spirituality that can be applied to the rest of oneʼs life.
Inspiring with beauty
The poet William Wordsworth once proclaimed that his heart leaps with joy when he beholds a rainbow t in thesky. This was a state of mind that he wanted to preserve throughout his life. In the same way, Aichi Triennale 2022
will seek to move and astound through the overwhelming beauty of art, producing inspiring encounters andexperiences and a wellspring of positive energy that will help us to live for tomorrow, in each and every momentthat life brings our way.

Thinking about how to survive in this day and age, in this present moment
The unprecedented health crisis brought about by the 2020 pandemic and the discrimination and inequality withrespect to racial, gender, and ethnic diﬀerences brought to the surface by the COVID-19 pandemic have caused us
to reconsider the gravity of life associated with each and every one of us. The rising number of suicides, especiallywomen and children who are taking their own lives, is another major challenge facing Japanese society. At Aichi
Triennale 2022, we will ponder the meaning of life in these diﬃcult times through powerful expressions where theact of living is strongly linked to artistic creation.

3

Kataoka Mami, Artistic Director, Aichi Triennale 2022
Translated by Darryl Wee

4to the overall shape of Aichi Prefecture and to the contours of Mikawa Bay, encircled
by the Chita and Atsumi peninsulas, and we were also inspired by the image of theheart as symbolizing the “alive” element of the Triennale theme, “STILL ALIVE.”
While examining the logo from this standpoint, we also observed that the kanji
character ai［愛］in Aichi Prefectureʼs name means “love,” and the logo also speaks toour enduring love for this region.

The color fuses multiple shades of red, such as shojo-hi（scarlet）and the characteristic
redware of the Tokoname kiln, which represent Aichi Prefecture. The shojo in shojo-hi

is a monkey-like being with origins in Chinese mythology, and a familiar ﬁgure atCuratorial TeamLogo

In discussions with the artistic director, we noted that the heart shape is similar both

Artistic Director

Kataoka Mami

［Director, Mori Art Museum / President, CIMAM］

Kataoka Mami joined Mori Art Museum（Tokyo, Japan）in 2003, and assumed the position of
Director in 2020. Prior to that, she was Chief Curator at Tokyo Opera City Art Gallery
Photo:
Ito Akinori（1997-2002; Japan）; International Curator at the Hayward Gallery（2007-2009; London, UK）;
Co-Artistic Director for the 9th Gwangju Biennale（2012; South Korea）; and Artistic Director of
the 21st Biennale of Sydney（2018; Australia）. Since 2014 she has served as a Board Member of
CIMAM（International Committee for Museums and Collections of Modern Art）and iscurrently the President（2020-2022）.

festivals especially in the southern part of Nagoya City. It appears alongside the tengu（long-nosed goblin）at the autumn festival at Arimatsu Tenman-sha Shrine in the

Arimatsu district, one of the venues for Aichi Triennale 2022. Also, scarlet rasha（thickclose-woven woolen cloth）has a history of being used for the battle surcoats of militarycommanders such as Oda Nobunaga and Toyotomi Hideyoshi during the Sengoku

Curatorial Adviser

Period（c. 16th century）,another way in which scarlet is tied to Aichi.

Cosmin Costinaç

I aimed to design a symbolic logo that will be loved by the people of Aichi Prefecture［Executive Director, Para Site］

while sending a message that reaches throughout Japan and the world.
Tanaka Yoshihisa
Oﬃcial Designer, Aichi Triennale 2022

Cosmin Costinaș is the Executive Director/Curator of Para Site（since 2011; Hong Kong）and
Artistic Director of Kathmandu Triennale 2021（Nepal）. He was a Guest Curator of Dakar
Photo:
Trevor Yeung

Biennale（2018; Senegal）and of the Dhaka Art Summit（2018; Bangladesh）; Co-curator of the10th Shanghai Biennale（2014; China）and of the 1st Ural Industrial Biennial（2010;
Ekaterinburg, Russia）; Curator of BAK（2008-2011; Utrecht, Netherlands）and Editor of
documenta 12 Magazines（2005-2007; Vienna, Austria/Kassel, Germany）.
At Para Site, Costinaş oversaw the institutionʼs major expansion and relocation to a new homein 2015, and curated: Koloa: Women, Art, and Technology（touring at Langafonua, Nukuʼalofa,

Tonga and Artspace, Auckland, 2019-2021）; A beast, a god, and a line（touring at Dhaka Art

Summit; Myanm/art & The Secretariat, Yangon; Museum of Modern Art in Warsaw; Kunsthall

Trondheim; MAIIAM, Chiang Mai, 2018-2021）; Is the Living Body the Last Thing Left Alive? The
new performance turn, its histories and its institutions（2014）; Great Crescent: Art and Agitation in
the 1960s—Japan, South Korea, and Taiwan（touring at the Mori Art Museum, Tokyo, and
MUAC, Mexico City, 2013-2016）; A Journal of the Plague Year（touring at The Cube, Taipei; Arko
Art Center, Seoul; and Kadist & The Lab, San Francisco, 2013-2015）;a.o.

Rhana Devenport［Director, Art Gallery of South Australia］

Rhana Devenport ONZM is Director of Art Gallery of South Australia in Adelaide, she waspreviously Director of Auckland Art Gallery Toi o Tāmaki（2013-2018）and Govett-Brewster
Art Gallery/Len Lye Centre（2006-2013）, both in Aotearoa New Zealand. Devenportʼs careerspans art museums, biennales and arts festivals. Her curatorial interests include contemporary

Tanaka Yoshihisa
Tanaka Yoshihisa handled VI（visual identity）planning for the 58th Venice Biennale, Pavilion of Japan（2019; Italy）,the Tokyo Art Book Fair（2020; Japan）,and the Tokyo Photographic Art Museum, and has
produced art books with numerous artists. He is also one half of the artist duo Nerhol. Recent exhibitionsin Japan include The Eighth Tsubaki-kai Exhibition, Shiseido Gallery（2021; Tokyo）,New Photographic Objects,

The Museum of Modern Art, Saitama（2020）, and the solo show Promenade, 21st Century Museum ofContemporary Art, Kanazawa（2016）.

art of Asia and the Paciﬁc, time-based media and social practice. She has curated solo
exhibitions with Lee Mingwei, Nalini Malani, Fiona Pardington, Lin Tianmiao, Wang Gongxin,
Zhang Peili and Judith Wright. In 2017 Devenport was curator for the New Zealand Pavilion at
Venice Biennale with Lisa Reihana: Emissaries. She has previously held senior positions with the

Biennale of Sydney, the Sydney Festival, and the Asia Paciﬁc Triennial of Contemporary Art at
the Queensland Art Gallery.（In 2018 she was appointed an Oﬃcer of the New Zealand Order ofMerit.）

Photo: Nomura Sakiko

The members of the Curatorial Team and their proﬁles are as of March 30, 2021. This information will be updated when Aichi Triennale 2022 opens.
56

to the overall shape of Aichi Prefecture and to the contours of Mikawa Bay, encircled
by the Chita and Atsumi peninsulas, and we were also inspired by the image of theheart as symbolizing the “alive” element of the Triennale theme, “STILL ALIVE.”
While examining the logo from this standpoint, we also observed that the kanji
character ai［愛］in Aichi Prefectureʼs name means “love,” and the logo also speaks toour enduring love for this region.

The color fuses multiple shades of red, such as shojo-hi（scarlet）and the characteristic
redware of the Tokoname kiln, which represent Aichi Prefecture. The shojo in shojo-hi

is a monkey-like being with origins in Chinese mythology, and a familiar ﬁgure atCuratorial TeamLogo

In discussions with the artistic director, we noted that the heart shape is similar both

Artistic Director

Kataoka Mami

［Director, Mori Art Museum / President, CIMAM］

Kataoka Mami joined Mori Art Museum（Tokyo, Japan）in 2003, and assumed the position of
Director in 2020. Prior to that, she was Chief Curator at Tokyo Opera City Art Gallery
Photo:
Ito Akinori（1997-2002; Japan）; International Curator at the Hayward Gallery（2007-2009; London, UK）;
Co-Artistic Director for the 9th Gwangju Biennale（2012; South Korea）; and Artistic Director of
the 21st Biennale of Sydney（2018; Australia）. Since 2014 she has served as a Board Member of
CIMAM（International Committee for Museums and Collections of Modern Art）and iscurrently the President（2020-2022）.

festivals especially in the southern part of Nagoya City. It appears alongside the tengu（long-nosed goblin）at the autumn festival at Arimatsu Tenman-sha Shrine in the

Arimatsu district, one of the venues for Aichi Triennale 2022. Also, scarlet rasha（thickclose-woven woolen cloth）has a history of being used for the battle surcoats of militarycommanders such as Oda Nobunaga and Toyotomi Hideyoshi during the Sengoku

Curatorial Adviser

Period（c. 16th century）,another way in which scarlet is tied to Aichi.

Cosmin Costinaç

I aimed to design a symbolic logo that will be loved by the people of Aichi Prefecture［Executive Director, Para Site］

while sending a message that reaches throughout Japan and the world.
Tanaka Yoshihisa
Oﬃcial Designer, Aichi Triennale 2022

Cosmin Costinaș is the Executive Director/Curator of Para Site（since 2011; Hong Kong）and
Artistic Director of Kathmandu Triennale 2021（Nepal）. He was a Guest Curator of Dakar
Photo:
Trevor Yeung

Biennale（2018; Senegal）and of the Dhaka Art Summit（2018; Bangladesh）; Co-curator of the10th Shanghai Biennale（2014; China）and of the 1st Ural Industrial Biennial（2010;
Ekaterinburg, Russia）; Curator of BAK（2008-2011; Utrecht, Netherlands）and Editor of
documenta 12 Magazines（2005-2007; Vienna, Austria/Kassel, Germany）.
At Para Site, Costinaş oversaw the institutionʼs major expansion and relocation to a new homein 2015, and curated: Koloa: Women, Art, and Technology（touring at Langafonua, Nukuʼalofa,

Tonga and Artspace, Auckland, 2019-2021）; A beast, a god, and a line（touring at Dhaka Art

Summit; Myanm/art & The Secretariat, Yangon; Museum of Modern Art in Warsaw; Kunsthall

Trondheim; MAIIAM, Chiang Mai, 2018-2021）; Is the Living Body the Last Thing Left Alive? The
new performance turn, its histories and its institutions（2014）; Great Crescent: Art and Agitation in
the 1960s—Japan, South Korea, and Taiwan（touring at the Mori Art Museum, Tokyo, and
MUAC, Mexico City, 2013-2016）; A Journal of the Plague Year（touring at The Cube, Taipei; Arko
Art Center, Seoul; and Kadist & The Lab, San Francisco, 2013-2015）;a.o.

Rhana Devenport［Director, Art Gallery of South Australia］

Rhana Devenport ONZM is Director of Art Gallery of South Australia in Adelaide, she waspreviously Director of Auckland Art Gallery Toi o Tāmaki（2013-2018）and Govett-Brewster
Art Gallery/Len Lye Centre（2006-2013）, both in Aotearoa New Zealand. Devenportʼs careerspans art museums, biennales and arts festivals. Her curatorial interests include contemporary

Tanaka Yoshihisa
Tanaka Yoshihisa handled VI（visual identity）planning for the 58th Venice Biennale, Pavilion of Japan（2019; Italy）,the Tokyo Art Book Fair（2020; Japan）,and the Tokyo Photographic Art Museum, and has
produced art books with numerous artists. He is also one half of the artist duo Nerhol. Recent exhibitionsin Japan include The Eighth Tsubaki-kai Exhibition, Shiseido Gallery（2021; Tokyo）,New Photographic Objects,

The Museum of Modern Art, Saitama（2020）, and the solo show Promenade, 21st Century Museum ofContemporary Art, Kanazawa（2016）.

art of Asia and the Paciﬁc, time-based media and social practice. She has curated solo
exhibitions with Lee Mingwei, Nalini Malani, Fiona Pardington, Lin Tianmiao, Wang Gongxin,
Zhang Peili and Judith Wright. In 2017 Devenport was curator for the New Zealand Pavilion at
Venice Biennale with Lisa Reihana: Emissaries. She has previously held senior positions with the

Biennale of Sydney, the Sydney Festival, and the Asia Paciﬁc Triennial of Contemporary Art at
the Queensland Art Gallery.（In 2018 she was appointed an Oﬃcer of the New Zealand Order ofMerit.）

Photo: Nomura Sakiko

The members of the Curatorial Team and their proﬁles are as of March 30, 2021. This information will be updated when Aichi Triennale 2022 opens.
56

Victoria Noorthoorn

Martin Germann［Director, Museo de Arte Moderno de Buenos Aires］［Independent Curator］

Victoria Noorthoorn is the Director of the Museo de Arte Moderno de Buenos Aires since 2013.
Under her leadership, the museum has undergone a deep process of development that has

Martin Germann is a curator who lives and works in Cologne. For 2021 works on Another

involved doubling its exhibition spaces, presenting 74 exhibitions and publishing 48 bilingual

Energy（co-curated with Kataoka Mami）at Mori Art Museum（Tokyo, Japan）as well as solo
Photo:
Diana Tamane

exhibitions with Oliver Laric at OCAT Shanghai（China）, Raoul De Keyser at M Woods（Beijing, China）and Thomas Ruﬀ at the National Taiwan Museum of Fine Arts（Taichung）.

Photo:
Federico Romero

publications - mostly of Argentine artists ‒, and escalating its various education programs to
involve 7000 teachers a year. Previously, Noorthoorn worked for MoMA, The Drawing Center,and Malba, and later, as an independent curator she curated the Biennales in Pontevedra（2006;

From 2012-2019 he was leading the artistic department at S.M.A.K.（Ghent, Belgium）where he

Spain）, Mercosul（2009; Porto Alegre, Brazil）and Lyon（2011; France）, as well as the 41 Salón

organized collection and thematic presentations as well as solo shows with Raoul De Keyser,

Nacional de Artistas（2008; Cali, Colombia）. At the Museo Moderno, she has curated exhibitions

Zhang Peili, Hiwa K, Gerhard Richter, Michael E. Smith, Nairy Baghramian, James Welling, Lee

of León Ferrari, Marta Minujín, Tomás Saraceno, Sergio De Loof, Ana Gallardo, Zanele Muholi,

Kit, Michael Buthe, Jordan Wolfson, Rachel Harrison, among others. For Lili Dujourie: Folds inTime（2015, co-organized with Mu.ZEE, Ostend）he received an AICA award for Belgiumʼs best

Tracey Rose, Laura Lima, and Bernardo Ortiz, among others, and group exhibitions such as A

In earlier stages was curator at Kestner Gesellschaft Hanover（Germany）, Büro Friedrich

Since 2019, Noorthoorn is an active Board member of CIMAM.

Tale of Two Worlds（2017-2018）, presented at Museo Moderno and MMK in Frankfurt, Germany.

exhibition.

（Berlin, Germany）, and worked for the Berlin Biennale for Contemporary Art. He publishednumerous exhibition catalogues and monographies, his writing has appeared in magazines such

Tobias Ostrander

as Frieze, Mousse, or 032c. He teaches regularly at HISK Ghent, and is a board member of
Etablissement dʼen Face in Brussels.

［Independent Curator］

Tobias Ostrander is a curator based in Mexico City, Mexico. He is the former Chief Curator and
Deputy Director for Curatorial Aﬀairs at the Pérez Art Museum Miami（2011-2019, USA）.He is afounding member of Tilting Axis, a platform for artists, curators and creatives from the greater

Eungie Joo

Caribbean region（2014-2019）. He has served as the Director at the Museo Experimental El Eco（2009-2011）and the Chief Curator at the Museo Tamayo（2001-2009）,both in Mexico City, and as［Curator of Contemporary Art, San Francisco Museum of Modern Art］

the Associate Curator of inSITE2000 in San Diego, USA/Tijuana, Mexico（1999-2001）. He was a

Photo:
Heinz Peter Knes

Eungie Joo is Curator of Contemporary Art at the San Francisco Museum of Modern Art

founding member of the inter- institutional Museum as Hub initiated by the New Museum（USA）, where she recently organized SOFT POWER（October 2019-February 2020）a group（2007-2012; New York, USA）. He has additionally held positions at XXIV Bienal de São Paulo（Brazil）,El Museo del Barrio and the Brooklyn Museum of Art（New York, USA）.

exhibition looking at the role of artists as citizens and social actors. She was Artistic Directorof the 5th Anyang Public Art Project/APAP 5 in Korea（2016）; Curator of Sharjah Biennial
12: The past, the present, the possible in the United Arab Emirates（2015）; and Director of Art andRalph Rugoﬀ

Cultural Programs at Instituto Inhotim in Brazil（2012-2014）. From 2007-2012, Joo was Keith

Haring Director and Curator of Education and Public Programs at the New Museum（USA）,［Director, Hayward Gallery］

where she spearheaded the Museum as Hub initiative; edited the volume Rethinking

Ralph Rugoﬀ has been Director of Londonʼs Hayward Gallery since 2006. He has curated

Contemporary Art and Multicultural Education（2009）; and organized the 2012 New Museum

numerous group exhibitions at the Hayward, including Psycho Buildings, The Painting of Modern

Generational Triennial: The Ungovernables. She was commissioner of the Korean Pavilion at the53rd Venice Biennale, Condensation: Haegue Yang（2009）. Joo was founding Director andCurator of the Gallery at REDCAT, Los Angeles（2003-2007）.

Life and The Inﬁnite Mix, as well as monographic shows featuring artists such as Ed Ruscha,
Photo:
Sabelo Mlangeni

Tracey Emin, Jeremy Deller and Kader Attia.
Rugoﬀ was Guest Curator of the 2015 Lyon Biennale and Artistic Director of the 58th Venice
Biennale in 2019. Before coming to London, he was director of the Wattis Institute forContemporary Art in San Francisco, where he commissioned solo projects by numerous artists

Gabi Ngcobo［Curatorial Director, Javett Art Centre］

Gabi Ngcobo is an artist, curator and educator living in Johannesburg, South Africa. Since theearly 2000s Ngcobo has been engaged in collaborative artistic, curatorial, and educational
Photo:
Sabelo Mlangeni

projects in South Africa and on an international scope. Recently curatorial projects include All ina Day’s Eye: The Politics of Innocence in the Javett Art Collection, at the Javett Art Centre- Universityof Pretoria（Javett-UP, South Africa）, Mating Birds at the KZNSA Gallery（Durban, South
Africa）. In 2018 she curated the 10th Berlin Biennale titled We don’t need another hero and was
one of the co-curators of the 32nd Sao Paulo Bienal（2016; Brazil）. She is a founding member of
the Johannesburg based collaborative platforms NGO ‒ Nothing Gets Organised（2016-）andCenter for Historical Reenactments（2010-14）. Ngcoboʼs writing have been published in various
publications including The Stronger We Become the catalogue of the South African Pavillion, Venice（2019）, Public Intimacy: Art and Other Ordinary Acts in South Africa, YBCA/SFMOMA（2014）, We

Are Many: Art, the Political and Multiple Truths, Verbier Art Summit（2019）and Texte Zur Kunst,
September 2017. In November 2020 Ngcobo was appointed Curatorial Director at the Javett-UP.

7including Thomas Hirschhorn, Roni Horn, Ann Veronica Jansenns, Mike Kelley and Mike Nelson.
As a writer, Rugoﬀ has contributed essays to numerous catalogs and books on artists includingDavid Hammons, Paul McCarthy, Luc Tuymans, Jean-Luc Mylayne, and the ﬁlmmaker Jean
Painlevé. In 2005, he won the inaugural Ordway Prize for Criticism and Curating from the Penny
McCall Foundation in the USA.

Shimabuku［Artist］

Since the beginning of the 1990s, Shimabuku has been traveling around the world creating
performance and installation works featuring the life of locals and new methods ofcommunication. His creations, both poetic and humorous yet also metaphorically intriguing, havereceived high praise globally. He has recently had solo exhibitions at the New National Museumof Monaco and Kunsthalle Bern, Switzerland. He has exhibited in group shows for the 2003 and2017 Venice Bienniale（Italy）, 2006 São Paulo Art Biennial（Brazil）, Aichi Triennale 2010
（Japan）, 2015 Havana Biennial（Cuba）, and 2017 Lyon Biennale（France）. He served as theCurator for Reborn Art Festival 2019 in Miyagi, Japan.

8

Victoria Noorthoorn

Martin Germann［Director, Museo de Arte Moderno de Buenos Aires］［Independent Curator］

Victoria Noorthoorn is the Director of the Museo de Arte Moderno de Buenos Aires since 2013.
Under her leadership, the museum has undergone a deep process of development that has

Martin Germann is a curator who lives and works in Cologne. For 2021 works on Another

involved doubling its exhibition spaces, presenting 74 exhibitions and publishing 48 bilingual

Energy（co-curated with Kataoka Mami）at Mori Art Museum（Tokyo, Japan）as well as solo
Photo:
Diana Tamane

exhibitions with Oliver Laric at OCAT Shanghai（China）, Raoul De Keyser at M Woods（Beijing, China）and Thomas Ruﬀ at the National Taiwan Museum of Fine Arts（Taichung）.

Photo:
Federico Romero

publications - mostly of Argentine artists ‒, and escalating its various education programs to
involve 7000 teachers a year. Previously, Noorthoorn worked for MoMA, The Drawing Center,and Malba, and later, as an independent curator she curated the Biennales in Pontevedra（2006;

From 2012-2019 he was leading the artistic department at S.M.A.K.（Ghent, Belgium）where he

Spain）, Mercosul（2009; Porto Alegre, Brazil）and Lyon（2011; France）, as well as the 41 Salón

organized collection and thematic presentations as well as solo shows with Raoul De Keyser,

Nacional de Artistas（2008; Cali, Colombia）. At the Museo Moderno, she has curated exhibitions

Zhang Peili, Hiwa K, Gerhard Richter, Michael E. Smith, Nairy Baghramian, James Welling, Lee

of León Ferrari, Marta Minujín, Tomás Saraceno, Sergio De Loof, Ana Gallardo, Zanele Muholi,

Kit, Michael Buthe, Jordan Wolfson, Rachel Harrison, among others. For Lili Dujourie: Folds inTime（2015, co-organized with Mu.ZEE, Ostend）he received an AICA award for Belgiumʼs best

Tracey Rose, Laura Lima, and Bernardo Ortiz, among others, and group exhibitions such as A

In earlier stages was curator at Kestner Gesellschaft Hanover（Germany）, Büro Friedrich

Since 2019, Noorthoorn is an active Board member of CIMAM.

Tale of Two Worlds（2017-2018）, presented at Museo Moderno and MMK in Frankfurt, Germany.

exhibition.

（Berlin, Germany）, and worked for the Berlin Biennale for Contemporary Art. He publishednumerous exhibition catalogues and monographies, his writing has appeared in magazines such

Tobias Ostrander

as Frieze, Mousse, or 032c. He teaches regularly at HISK Ghent, and is a board member of
Etablissement dʼen Face in Brussels.

［Independent Curator］

Tobias Ostrander is a curator based in Mexico City, Mexico. He is the former Chief Curator and
Deputy Director for Curatorial Aﬀairs at the Pérez Art Museum Miami（2011-2019, USA）.He is afounding member of Tilting Axis, a platform for artists, curators and creatives from the greater

Eungie Joo

Caribbean region（2014-2019）. He has served as the Director at the Museo Experimental El Eco（2009-2011）and the Chief Curator at the Museo Tamayo（2001-2009）,both in Mexico City, and as［Curator of Contemporary Art, San Francisco Museum of Modern Art］

the Associate Curator of inSITE2000 in San Diego, USA/Tijuana, Mexico（1999-2001）. He was a

Photo:
Heinz Peter Knes

Eungie Joo is Curator of Contemporary Art at the San Francisco Museum of Modern Art

founding member of the inter- institutional Museum as Hub initiated by the New Museum（USA）, where she recently organized SOFT POWER（October 2019-February 2020）a group（2007-2012; New York, USA）. He has additionally held positions at XXIV Bienal de São Paulo（Brazil）,El Museo del Barrio and the Brooklyn Museum of Art（New York, USA）.

exhibition looking at the role of artists as citizens and social actors. She was Artistic Directorof the 5th Anyang Public Art Project/APAP 5 in Korea（2016）; Curator of Sharjah Biennial
12: The past, the present, the possible in the United Arab Emirates（2015）; and Director of Art andRalph Rugoﬀ

Cultural Programs at Instituto Inhotim in Brazil（2012-2014）. From 2007-2012, Joo was Keith

Haring Director and Curator of Education and Public Programs at the New Museum（USA）,［Director, Hayward Gallery］

where she spearheaded the Museum as Hub initiative; edited the volume Rethinking

Ralph Rugoﬀ has been Director of Londonʼs Hayward Gallery since 2006. He has curated

Contemporary Art and Multicultural Education（2009）; and organized the 2012 New Museum

numerous group exhibitions at the Hayward, including Psycho Buildings, The Painting of Modern

Generational Triennial: The Ungovernables. She was commissioner of the Korean Pavilion at the53rd Venice Biennale, Condensation: Haegue Yang（2009）. Joo was founding Director andCurator of the Gallery at REDCAT, Los Angeles（2003-2007）.

Life and The Inﬁnite Mix, as well as monographic shows featuring artists such as Ed Ruscha,
Photo:
Sabelo Mlangeni

Tracey Emin, Jeremy Deller and Kader Attia.
Rugoﬀ was Guest Curator of the 2015 Lyon Biennale and Artistic Director of the 58th Venice
Biennale in 2019. Before coming to London, he was director of the Wattis Institute forContemporary Art in San Francisco, where he commissioned solo projects by numerous artists

Gabi Ngcobo［Curatorial Director, Javett Art Centre］

Gabi Ngcobo is an artist, curator and educator living in Johannesburg, South Africa. Since theearly 2000s Ngcobo has been engaged in collaborative artistic, curatorial, and educational
Photo:
Sabelo Mlangeni

projects in South Africa and on an international scope. Recently curatorial projects include All ina Day’s Eye: The Politics of Innocence in the Javett Art Collection, at the Javett Art Centre- Universityof Pretoria（Javett-UP, South Africa）, Mating Birds at the KZNSA Gallery（Durban, South
Africa）. In 2018 she curated the 10th Berlin Biennale titled We don’t need another hero and was
one of the co-curators of the 32nd Sao Paulo Bienal（2016; Brazil）. She is a founding member of
the Johannesburg based collaborative platforms NGO ‒ Nothing Gets Organised（2016-）andCenter for Historical Reenactments（2010-14）. Ngcoboʼs writing have been published in various
publications including The Stronger We Become the catalogue of the South African Pavillion, Venice（2019）, Public Intimacy: Art and Other Ordinary Acts in South Africa, YBCA/SFMOMA（2014）, We

Are Many: Art, the Political and Multiple Truths, Verbier Art Summit（2019）and Texte Zur Kunst,
September 2017. In November 2020 Ngcobo was appointed Curatorial Director at the Javett-UP.

7including Thomas Hirschhorn, Roni Horn, Ann Veronica Jansenns, Mike Kelley and Mike Nelson.
As a writer, Rugoﬀ has contributed essays to numerous catalogs and books on artists includingDavid Hammons, Paul McCarthy, Luc Tuymans, Jean-Luc Mylayne, and the ﬁlmmaker Jean
Painlevé. In 2005, he won the inaugural Ordway Prize for Criticism and Curating from the Penny
McCall Foundation in the USA.

Shimabuku［Artist］

Since the beginning of the 1990s, Shimabuku has been traveling around the world creating
performance and installation works featuring the life of locals and new methods ofcommunication. His creations, both poetic and humorous yet also metaphorically intriguing, havereceived high praise globally. He has recently had solo exhibitions at the New National Museumof Monaco and Kunsthalle Bern, Switzerland. He has exhibited in group shows for the 2003 and2017 Venice Bienniale（Italy）, 2006 São Paulo Art Biennial（Brazil）, Aichi Triennale 2010
（Japan）, 2015 Havana Biennial（Cuba）, and 2017 Lyon Biennale（France）. He served as theCurator for Reborn Art Festival 2019 in Miyagi, Japan.

8Chief Curator（Head of Curatorial Team）

Iida Shihoko

Maeda Keizo［Independent Curator］［Art Producer］

Iida Shihoko was born in Tokyo and is based in Nagoya, Japan. She worked as Curator at theMaeda Keizo is a graduate of Tokyoʼs Tama Art University, where he specialized in Art

Tokyo Opera City Art Gallery for 11 years, starting as Assistant Curator in 1998 when it wasStudies. He worked in the curatorial division of Setagaya Art Museum, and later planned andpreparing for opening. From 2009 to 2011, Iida was a Visiting Curator of ACAPA, a research
Photo:ToLoLo studioinstitute within the Queensland Art Gallery/Gallery of Modern Art in Brisbane, Australia. She
stayed in Seoul as a 2011 International Fellowship Researcher, hosted by National Museum of

produced music and performing arts, and managed a record label at Conversation and Company
Photo:
Ryuji Miyamoto

Ltd. Since 2001, he has been involved with managing and editing the web magazine realtokyo.
He oversaw international projects for EXPO 2005 in Aichi. He has held such prominent positions

Modern and Contemporary Art, Korea. Drawing from her interest in co-curation, contemporaryas Production Advisor of Festival/Tokyo 2011, Producer for Performing Arts of Aichi Triennale

art in Asia, and the relationship between society and art institutions, Iida has co-curated

2013, and Program Director of 2014 Roppongi Art Night. Since 2012, he has been instrumental in

exhibitions in Seoul, New Delhi, Jakarta, and multiple cities in Australia. Additionally, sheshowcasing international performing arts as a staﬀ member at Tokyo Metropolitan Theatre ofworked on the 15th Asian Art Biennale Bangladesh 2012, Aichi Triennale 2013, and Sapporo

the Tokyo Metropolitan Foundation for History and Culture.

International Art Festival 2014 as Curator, also served as Chief Curator（Head of Curatorial
Team）of Aichi Triennale 2019. From 2014 to 2018, she was Associate Professor at the Tokyo
University of the Arts. Iida is a member of CIMAM, IBA, and AICA Japan.

Curator（Performing Arts）

Soma Chiaki

Curator（Contemporary Art）

［Art Producer / Representative Director, Arts Commons Tokyo］

Nakamura FumikoSoma Chiaki was born in Iwate. She is the founder and representative director of Arts Commons［Senior Curator, Aichi Prefectural Museum of Art］

Tokyo, an independent arts and theater collective founded in 2014. In roles such as program
director of Festival/Tokyo（2009 ‒ 2013）, curator of Aichi Triennale 2019 or director of Theater

Nakamura Fumiko is a native of Aichi Prefecture and active in the Tokai and Kansai regions ofJapan. A specialist in visual culture studies, photography, and contemporary art, she has beenwith Aichi Prefectural Museum of Art since 2007 and has curated such exhibitions as In The

Photo:
Yurika Kawano

across multiple disciplines, from performance to contemporary art, socially- engaged art and media

Little Playground（2009）, Art As Magic（2012）, and Photography Will Be（2014）. She also founded

art that makes use of technologies like VR and AR. In 2015, Soma was awarded the L'Ordre desemerging artists. She has engaged with Aichi Triennale as a staﬀ member of the main venue

Prize from the Japanese Ministry of Education, Culture, Sports, Science and Technology. In 2021,

Arts et des Lettres by the French government, and in 2021 the Japanese Art Encouragement

the museumʼs solo exhibition series APMoA Project, ARCH（2012-2017）providing a platform forshe became an associate professor at the Tokyo University of Arts. She has been appointed thesince 2010, working on the collaboration between museum activities and the art festival. In 2015

program director of international theater festival Theater der Welt 2023 in Germany.

she served as part of the curatorial team for the Japan Foundationʼs collaborative research
project between Japan and South East Asia titled Condition Report. She also curated Play in theFlow, a 2017 group exhibition presented in Chiang Mai, Thailand.

Curator（Learning）

Aida Daiya

Tsutsumi Takuya

Photo:Kai Maetani

Commons（2017 ‒ ）,she has produced, created and curated a large variety of projects and events［Independent Curator / Graphic Designer］［Artistic Director, Yamaguchi Center for Arts and Media（YCAM）］

Tsutsumi Takuya is based in the Kansai region of Western Japan. Since 2018, he has served as

For 11 years, starting from the inauguration of Yamaguchi Center for Arts and Media（YCAM）in

Program Director for the shared studio space “Yamanaka Suplex.” He was a director and2003, Aida Daiya managed educational development initiatives, developing and executing

curator for an alternative space in Kyoto from 2013 to 2016, working with local cultural

educational content and creating original workshops for media literacy and art education. Frompractitioners. After a yearlong residency in Poznan, Poland, he went on to obtain his MA in

2014 he has served as a Specially Appointed Assistant Professor for the Graduate Program for

Cultural Studies at Adam Mickiewicz University in 2019. Whether he is creating exhibition

Social ICT Global Creative Leaders（GCL）at the University of Tokyo. He served as the Learningspaces or producing printed materials, Tsutsumi constantly experiments with the organicallyCurator for Aichi Triennale 2019, and now is the Artistic Director at YCAM as of 2021.

ﬂuctuating roles and relationships with artists, all while maintaining the speciﬁc purpose of the
projects. Some of his main curatorial projects include The Analogical Mirrors（2020, Shiga, Japan）
and ISDRSI（2020, Hyogo, Japan）.

Yamamoto Takayuki［Artist / Co-Director, School in Progress / Director, Ongoing School］

Performing Arts Adviser

Born in Aichi Prefecture, Yamamoto Takayuki examines the subtle, sometimes unseen

Fujii Akiko

relationships between unique systems or customs, individuals and society, and the hidden
creativity through which children converse and play. He has recently collaborated on projects［Producer, Aichi Prefectural Art Theater］

Fujii Akiko became the Chief Producer of Aichi Prefectural Art Theater, having served asCurator of Music for Aichi Arts Center since 1992. She has planned and produced collaborative
works of contemporary and folk music, ﬁlm, and dance featuring artists who defy categories,
including Nomura Makotoʼs A Concert in a swimming pool（2010）, Takehisa Kosugiʼs MUSICEXPANDED #1, #2（2016）and Miwa Masahiro and Maeda Shinjiroʼs revival of The Monologue
Opera The New Era（2017）. She was the Performing Arts Producer and Curator for the Aichi
Triennale 2010, 2013, and 2016.

9Photo:
Kato Hajime

with local communities, and established an alternative art school program for the public. He has
exhibited in the Sharjah International Biennial 6（2003, Sharjah, UAE）, All About Laughter:

Humor in Contemporary Art at Mori Art Museum（2007; Tokyo, Japan）, Aichi Triennale 2010,
Phantoms of Asia: Contemporary Awakens the Past at Asian Art Museum（2012; San Francisco,USA）,Go-Betweens: The World Seen Through Children at Mori Art Museum（2014-15）,and The 3rd
Kochi-Muziris Biennale（2016; India）. His solo exhibition, Children of Men, took place at Art Lab
Aichi（2017; Japan）.

10

Chief Curator（Head of Curatorial Team）

Iida Shihoko

Maeda Keizo［Independent Curator］［Art Producer］

Iida Shihoko was born in Tokyo and is based in Nagoya, Japan. She worked as Curator at theMaeda Keizo is a graduate of Tokyoʼs Tama Art University, where he specialized in Art

Tokyo Opera City Art Gallery for 11 years, starting as Assistant Curator in 1998 when it wasStudies. He worked in the curatorial division of Setagaya Art Museum, and later planned andpreparing for opening. From 2009 to 2011, Iida was a Visiting Curator of ACAPA, a research
Photo:ToLoLo studioinstitute within the Queensland Art Gallery/Gallery of Modern Art in Brisbane, Australia. She
stayed in Seoul as a 2011 International Fellowship Researcher, hosted by National Museum of

produced music and performing arts, and managed a record label at Conversation and Company
Photo:
Ryuji Miyamoto

Ltd. Since 2001, he has been involved with managing and editing the web magazine realtokyo.
He oversaw international projects for EXPO 2005 in Aichi. He has held such prominent positions

Modern and Contemporary Art, Korea. Drawing from her interest in co-curation, contemporaryas Production Advisor of Festival/Tokyo 2011, Producer for Performing Arts of Aichi Triennale

art in Asia, and the relationship between society and art institutions, Iida has co-curated

2013, and Program Director of 2014 Roppongi Art Night. Since 2012, he has been instrumental in

exhibitions in Seoul, New Delhi, Jakarta, and multiple cities in Australia. Additionally, sheshowcasing international performing arts as a staﬀ member at Tokyo Metropolitan Theatre ofworked on the 15th Asian Art Biennale Bangladesh 2012, Aichi Triennale 2013, and Sapporo

the Tokyo Metropolitan Foundation for History and Culture.

International Art Festival 2014 as Curator, also served as Chief Curator（Head of Curatorial
Team）of Aichi Triennale 2019. From 2014 to 2018, she was Associate Professor at the Tokyo
University of the Arts. Iida is a member of CIMAM, IBA, and AICA Japan.

Curator（Performing Arts）

Soma Chiaki

Curator（Contemporary Art）

［Art Producer / Representative Director, Arts Commons Tokyo］

Nakamura FumikoSoma Chiaki was born in Iwate. She is the founder and representative director of Arts Commons［Senior Curator, Aichi Prefectural Museum of Art］

Tokyo, an independent arts and theater collective founded in 2014. In roles such as program
director of Festival/Tokyo（2009 ‒ 2013）, curator of Aichi Triennale 2019 or director of Theater

Nakamura Fumiko is a native of Aichi Prefecture and active in the Tokai and Kansai regions ofJapan. A specialist in visual culture studies, photography, and contemporary art, she has beenwith Aichi Prefectural Museum of Art since 2007 and has curated such exhibitions as In The

Photo:
Yurika Kawano

across multiple disciplines, from performance to contemporary art, socially- engaged art and media

Little Playground（2009）, Art As Magic（2012）, and Photography Will Be（2014）. She also founded

art that makes use of technologies like VR and AR. In 2015, Soma was awarded the L'Ordre desemerging artists. She has engaged with Aichi Triennale as a staﬀ member of the main venue

Prize from the Japanese Ministry of Education, Culture, Sports, Science and Technology. In 2021,

Arts et des Lettres by the French government, and in 2021 the Japanese Art Encouragement

the museumʼs solo exhibition series APMoA Project, ARCH（2012-2017）providing a platform forshe became an associate professor at the Tokyo University of Arts. She has been appointed thesince 2010, working on the collaboration between museum activities and the art festival. In 2015

program director of international theater festival Theater der Welt 2023 in Germany.

she served as part of the curatorial team for the Japan Foundationʼs collaborative research
project between Japan and South East Asia titled Condition Report. She also curated Play in theFlow, a 2017 group exhibition presented in Chiang Mai, Thailand.

Curator（Learning）

Aida Daiya

Tsutsumi Takuya

Photo:Kai Maetani

Commons（2017 ‒ ）,she has produced, created and curated a large variety of projects and events［Independent Curator / Graphic Designer］［Artistic Director, Yamaguchi Center for Arts and Media（YCAM）］

Tsutsumi Takuya is based in the Kansai region of Western Japan. Since 2018, he has served as

For 11 years, starting from the inauguration of Yamaguchi Center for Arts and Media（YCAM）in

Program Director for the shared studio space “Yamanaka Suplex.” He was a director and2003, Aida Daiya managed educational development initiatives, developing and executing

curator for an alternative space in Kyoto from 2013 to 2016, working with local cultural

educational content and creating original workshops for media literacy and art education. Frompractitioners. After a yearlong residency in Poznan, Poland, he went on to obtain his MA in

2014 he has served as a Specially Appointed Assistant Professor for the Graduate Program for

Cultural Studies at Adam Mickiewicz University in 2019. Whether he is creating exhibition

Social ICT Global Creative Leaders（GCL）at the University of Tokyo. He served as the Learningspaces or producing printed materials, Tsutsumi constantly experiments with the organicallyCurator for Aichi Triennale 2019, and now is the Artistic Director at YCAM as of 2021.

ﬂuctuating roles and relationships with artists, all while maintaining the speciﬁc purpose of the
projects. Some of his main curatorial projects include The Analogical Mirrors（2020, Shiga, Japan）
and ISDRSI（2020, Hyogo, Japan）.

Yamamoto Takayuki［Artist / Co-Director, School in Progress / Director, Ongoing School］

Performing Arts Adviser

Born in Aichi Prefecture, Yamamoto Takayuki examines the subtle, sometimes unseen

Fujii Akiko

relationships between unique systems or customs, individuals and society, and the hidden
creativity through which children converse and play. He has recently collaborated on projects［Producer, Aichi Prefectural Art Theater］

Fujii Akiko became the Chief Producer of Aichi Prefectural Art Theater, having served asCurator of Music for Aichi Arts Center since 1992. She has planned and produced collaborative
works of contemporary and folk music, ﬁlm, and dance featuring artists who defy categories,
including Nomura Makotoʼs A Concert in a swimming pool（2010）, Takehisa Kosugiʼs MUSICEXPANDED #1, #2（2016）and Miwa Masahiro and Maeda Shinjiroʼs revival of The Monologue
Opera The New Era（2017）. She was the Performing Arts Producer and Curator for the Aichi
Triennale 2010, 2013, and 2016.

9Photo:
Kato Hajime

with local communities, and established an alternative art school program for the public. He has
exhibited in the Sharjah International Biennial 6（2003, Sharjah, UAE）, All About Laughter:

Humor in Contemporary Art at Mori Art Museum（2007; Tokyo, Japan）, Aichi Triennale 2010,
Phantoms of Asia: Contemporary Awakens the Past at Asian Art Museum（2012; San Francisco,USA）,Go-Betweens: The World Seen Through Children at Mori Art Museum（2014-15）,and The 3rd
Kochi-Muziris Biennale（2016; India）. His solo exhibition, Children of Men, took place at Art Lab
Aichi（2017; Japan）.

10

Ichinomiya City

The Aichi Arts Center is a cultural complex that was opened in
the center of Nagoya City in 1992 to act as a base for art andculture in Aichi Prefecture. It comprises the following facilities:
the Aichi Prefectural Museum of Art, which houses a richcollection of work from Japan and abroad, with a focus on 20th
century art; the Aichi Prefectural Art Theater, which includes
the Main Theater, Concert Hall, and Mini Theater; and the Aichi
Prefectural Arts Promotion Service, which consists of an Art
Space, Art Library, and Art Plaza.

Ichinomiya City（population approx. 380,000）is located in the
Owari area in northwest Aichi. The cityʼs name, literally “ﬁrstshrine,” comes from Masumida Shrine, which was thehighest-ranked shrine in former Owari Province. In the Edo
period, Ichinomiya ﬂourished as a producer of cotton fabrics,
later converting to silk-cotton fabrics and wool and becoming
known as “Ichinomiya, city of textiles.” Exhibitions will be held in
the Orinasu Ichinomiya and former Ichinomiya Central Nursing
School near Ichinomiya Station, as well as in the Sumi Memorial
Hall, the only Kenzo Tange-designed building in the prefecture,and other venues in the Bisai area.

AccessMain Venues

Aichi Arts Center

Ichinomiya City

Aichi Arts Center
Nagoya City

Arimatsu, Nagoya City

Tokoname City

Tokyo
Aichi
Osaka

Courtesy of the Aichi Arts Center

Tokoname City

Arimatsu, Nagoya City

Tokoname（population approx. 60,000）,located on the west coastof the Chita Peninsula, is one of Japanʼs six ancient pottery kilnsites（along with Seto, Shigaraki, Echizen, Tamba, and Bizen）,
known since the Heian period for its "Kotokoname" pottery.
Changing with the times to produce teapots in the Edo period
and clay pipes and tiles since the Meiji period, ceramics remains
the townʼs main industry. Exhibits are planned for the former
Pottery Factory, the Takita Family Residence（ old shipping
family）,centering on the "Pottery Footpath," which retains theatmosphere of the early Showa period, and the INAX Museums.

Located in southeastern Nagoya City, Arimatsu is a town along
the Tokaido established by the Owari feudal domain in 1608.
Known for Arimatsu-Narumi Shibori, the town retains the feel of
Edo-period ukiyo-e landscapes and conveys traditional culture in
the form of its townscape and festival ﬂoats. Arimatsu has been
designated an important cultural property by the city of Nagoya
and Japanʼs Agency for Cultural Aﬀairs. Exhibits will be held in
historic buildings and workshops along the Tokaido.

Access to Aichi Prefecture（Nagoya Sta.）●By Train
From Tokyo｜Tokyo Sta.
From Osaka｜Shin-Osaka Sta.

［ JR Tokaido-Shinkansen, NOZOMI Super Exp./Approx. 1hr. 40min. ］

Nagoya Sta.

［ JR Tokaido-Shinkansen, NOZOMI Super Exp./Approx. 50min. ］

Nagoya Sta.

●By Air Plane
Chubu Centrair International Airport
Nagoya Airport［

Meitetsu（Nagoya Railroad）Airport Line,］
μ-SKY Limited Exp./Approx. 28min.

Meitetsu Nagoya Sta.

［ Aoi Kotsu（Aoi Traﬃc Corp inc.）,Airport shuttle/ Approx. 30min. ］

Nagoya Sta.

Access from Nagoya Sta. to each venue●To Aichi Arts Center
Nagoya Sta.

［ Subway Higashiyama line/Approx. 5min. ］

Sakae Sta.

●To Ichinomiya City
Meitetsu Nagoya Sta.

［ Meitetsu（Nagoya Railroad）Nagoya Line, Limited Exp./Approx. 14min. ］

Nagoya Sta.

［ JR Tokaido Line, New Rapid/Approx. 9min. ］

Meitetsu Ichinomiya Sta.
Owari-Ichinomiya Sta.

●To Tokoname City
Meitetsu Nagoya Sta.

［ Meitetsu（Nagoya Railroad）Tokoname Line, Limited Exp./Approx. 35min. ］

Tokoname Sta.

●To Arimatsu（Nagoya City）
Meitetsu Nagoya Sta.

11

［ Meitetsu（Nagoya Railroad）Nagoya Line, Local or Semi Exp./Approx. 30min. ］

Arimatsu Sta.

12

Ichinomiya City

The Aichi Arts Center is a cultural complex that was opened in
the center of Nagoya City in 1992 to act as a base for art andculture in Aichi Prefecture. It comprises the following facilities:
the Aichi Prefectural Museum of Art, which houses a richcollection of work from Japan and abroad, with a focus on 20th
century art; the Aichi Prefectural Art Theater, which includes
the Main Theater, Concert Hall, and Mini Theater; and the Aichi
Prefectural Arts Promotion Service, which consists of an Art
Space, Art Library, and Art Plaza.

Ichinomiya City（population approx. 380,000）is located in the
Owari area in northwest Aichi. The cityʼs name, literally “ﬁrstshrine,” comes from Masumida Shrine, which was thehighest-ranked shrine in former Owari Province. In the Edo
period, Ichinomiya ﬂourished as a producer of cotton fabrics,
later converting to silk-cotton fabrics and wool and becoming
known as “Ichinomiya, city of textiles.” Exhibitions will be held in
the Orinasu Ichinomiya and former Ichinomiya Central Nursing
School near Ichinomiya Station, as well as in the Sumi Memorial
Hall, the only Kenzo Tange-designed building in the prefecture,and other venues in the Bisai area.

AccessMain Venues

Aichi Arts Center

Ichinomiya City

Aichi Arts Center
Nagoya City

Arimatsu, Nagoya City

Tokoname City

Tokyo
Aichi
Osaka

Courtesy of the Aichi Arts Center

Tokoname City

Arimatsu, Nagoya City

Tokoname（population approx. 60,000）,located on the west coastof the Chita Peninsula, is one of Japanʼs six ancient pottery kilnsites（along with Seto, Shigaraki, Echizen, Tamba, and Bizen）,
known since the Heian period for its "Kotokoname" pottery.
Changing with the times to produce teapots in the Edo period
and clay pipes and tiles since the Meiji period, ceramics remains
the townʼs main industry. Exhibits are planned for the former
Pottery Factory, the Takita Family Residence（ old shipping
family）,centering on the "Pottery Footpath," which retains theatmosphere of the early Showa period, and the INAX Museums.

Located in southeastern Nagoya City, Arimatsu is a town along
the Tokaido established by the Owari feudal domain in 1608.
Known for Arimatsu-Narumi Shibori, the town retains the feel of
Edo-period ukiyo-e landscapes and conveys traditional culture in
the form of its townscape and festival ﬂoats. Arimatsu has been
designated an important cultural property by the city of Nagoya
and Japanʼs Agency for Cultural Aﬀairs. Exhibits will be held in
historic buildings and workshops along the Tokaido.

Access to Aichi Prefecture（Nagoya Sta.）●By Train
From Tokyo｜Tokyo Sta.
From Osaka｜Shin-Osaka Sta.

［ JR Tokaido-Shinkansen, NOZOMI Super Exp./Approx. 1hr. 40min. ］

Nagoya Sta.

［ JR Tokaido-Shinkansen, NOZOMI Super Exp./Approx. 50min. ］

Nagoya Sta.

●By Air Plane
Chubu Centrair International Airport
Nagoya Airport［

Meitetsu（Nagoya Railroad）Airport Line,］
μ-SKY Limited Exp./Approx. 28min.

Meitetsu Nagoya Sta.

［ Aoi Kotsu（Aoi Traﬃc Corp inc.）,Airport shuttle/ Approx. 30min. ］

Nagoya Sta.

Access from Nagoya Sta. to each venue●To Aichi Arts Center
Nagoya Sta.

［ Subway Higashiyama line/Approx. 5min. ］

Sakae Sta.

●To Ichinomiya City
Meitetsu Nagoya Sta.

［ Meitetsu（Nagoya Railroad）Nagoya Line, Limited Exp./Approx. 14min. ］

Nagoya Sta.

［ JR Tokaido Line, New Rapid/Approx. 9min. ］

Meitetsu Ichinomiya Sta.
Owari-Ichinomiya Sta.

●To Tokoname City
Meitetsu Nagoya Sta.

［ Meitetsu（Nagoya Railroad）Tokoname Line, Limited Exp./Approx. 35min. ］

Tokoname Sta.

●To Arimatsu（Nagoya City）
Meitetsu Nagoya Sta.

11

［ Meitetsu（Nagoya Railroad）Nagoya Line, Local or Semi Exp./Approx. 30min. ］

Arimatsu Sta.

12

Artists will respond to the theme of “STILL ALIVE” and the history of Aichi Prefecture, especially in the
Ichinomiya City, Tokoname City, and the Arimatsu area.
○ : Artists who will also participate in performing arts AC: Aichi Arts Center IC: Ichinomiya City TN: Tokoname City AR: Arimatsu, Nagoya City

Participating Artists ofContemporary Art Exhibition as of March 30, 2022 in alphabetical orderYear of Birth（Death）orYear group formed

Place of Birthor Formation

Place of Activity

Venue

Relevant
Page

Artist NameADACHI Tomomi

1972

Japan

GermanyAC20, 45Hoda AFSHAR

1983

Iran

AustraliaAC

AKI INOMATA

1983

Japan

Japan

1947/1966

USA/Taiwan

1974

Artist Name○NEW

Laurie ANDERSON & HUANG Hsin-Chien
Liliana ANGULO CORTÉS
Leonor ANTUNES

Place of Activity

Venue

Relevant
Page

Misheck MASAMVU

1980

Zimbabwe

Zimbabwe

AC

17

20

MASUYAMA Kazuaki

1967

Japan

Japan

IC

29

AR

40

Barry MCGEE

1966

USA

USA

IC

28

USA/Taiwan

AC

26

mirukusouko（Milk Warehouse）+ The Coconuts

formed 2015

Japan

Japan

AC

23

Colombia

Colombia

AC

22

MIWA Mitsuko

1958

Japan

Japan

AC

18

1972

Portugal

GermanyIC

32

MIYATA Asuka

1985

Japan

Japan

AR

39

Japan/USA

USA

AC

24

Mohammed Sami

1984

Iraq

UK

AC

22

1970

FranceGermanyAC

19

MOMOSE Aya

1988

Japan

Japan

AC

22, 47Lothar BAUMGARTEN

1944（2018）

Germany

Germany/USA

IC

30

Delcy MORELOS

1967

Colombia

ColombiaTN

34

Diedrick BRACKENS

1989

USA

USA

AC

22

MUKAI Eriko

1990

Japan

Japan

IC

32

1926（2011）

USA

France/USA

AC

17

NARA Yoshitomo

1959

Japan

Japan

IC

28

1924（1976）

Belgium

Belgium/
Germany/UK

AC

21

formed 2022

Japan

Japan

AC

26

CAO Fei

1978

China

China

IC

32

Tuan Andrew NGUYEN

1976

VietnamVietnam

TN

35

Jacobus CAPONE

1986

Australia

Australia

AC

25

OBANA Kenichi

1981

Japan

Japan

TN

36

Kate COOPER

1984

UK

UK /Netherlands

AC

21

OIZUMI Kazufumi

1964

Japan

Japan

AC

20

AC

16

Kader ATTIA

Robert BREER
Marcel BROODTHAERS○

NEW

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）

Pablo DÁVILA

1983

MexicoMexicoAC

18

OKUMURA Yuki

1978

Japan

Belgium/
Netherlands

Claudia DEL RÍO

1957

Argentina

Argentina

AC

25

Roman ONDAK

1966

Slovakia

Slovakia

AC

16

Mary DHAPALANY

1950

Australia

Australia

AC

24

ONOZAWA Shun

1996

Japan

Japan

AC

16

ENDO Kaori

1989

Japan

Japan

IC

31

Gabriel OROZCO

1962

MexicoJapan/Mexico

AR

39

Theaster GATES

1973

USA

USA

TN

34

Kaz OSHIRO

1967

Japan

USA

AC

19

HAN Ishu

1987

China

Japan

AC

23

Thierry OUSSOU

1988

Benin

Netherlands

TN

34

1982

Peru

MexicoAC18formed 2001

Germany/Lebanon

Germany

AR

39

HATTORI Bunsho+ISHIKAWA Ryuichi

1969/1984

Japan

Japan

TN

35

Rita PONCE DE LEÓNNikau HINDIN

1991

Aotearoa
New Zealand

Aotearoa
New ZealandTN

35

Prinz Gholam

HSU Chia-Wei

1983

TaiwanTaiwanIC

30

Jimmy ROBERT1975

Guadeloupe, France

GermanyAC

19

Anne IMHOF

1978

Germany

Germany/USA

IC

31

Florencia SADIR

1991

Argentina

Argentina

TN

36

ISHIGURO Kenichi

1986

Japan

Japan

IC

30

SANADA Takehiko

1962

Japan

Japan

IC

28

Mit JAI INN

1960

ThailandThailandAR

38

Fanny SANÍN

1938

Colombia

USA

AC

18

Jackie KARUTI

1987

Kenya

Kenya

IC

30

SASAMOTO Aki

1980

Japan

USA

AC

21

On KAWARA

1932（2014）

Japan

USA

AC

16

Yhonnie SCARCE

1973

Australia

Australia

AR

40

Yuki KIHARA

1975

Sāmoa

Sāmoa

AR

40

SHIOMI Mieko

1938

Japan

Japan

AC

17, 44

Byron KIM

1961

USA

USA

AC

24

SHIOTA Chiharu

1972

Japan

GermanyIC

31

KISHIMOTO Sayako

1939（1988）

Japan

Japan

AC

25

NEW

Shwe Wutt Hmon in collaboration with Kyi Kyi Thar

1986

MyanmarThailandAC

23

KODERA Yoshikazu

1957

Japan

Japan

AC

23

NEW

Diemut STREBE

1982

Germany

USA

AC

21

1938（2020）

Japan

Japan

TN

37

TAMURA Yuichiro

1977

Japan

Japan

TN

36

André KOMATSU

1978

BrazilBrazilAC

19

WAGO Ryoichi

1968

Japan

Japan

AC

17

Abdoulaye KONATÉ

1953

Mali

Mali

AC

24

WATANABE Atsushi（I'm here project）

1978

Japan

Japan

AC

26

KONDO Aki

1987

Japan

Japan

IC

28

Watermelon Sisters

formed 2017

Taiwan/Singapore

Taiwan/GermanyIC

29

Daisuke KOSUGI

1984

Japan

NorwayIC

29

Kaylene WHISKEY

1976

Australia

Australia

IC

29

KURODA Daisuke

1982

Japan

Japan

TN

36

YEE I-Lann

1971

Malaysia

Malaysia

AR

39

Glenda LEÓN

1976

Cuba

Spain

TN

34

YOKONO Asuka

1987

Japan

Japan

AC

20

Tanya LUKIN LINKLATER

1976

USA

CanadaAR

40

Nyakallo MALEKE

1993

South Africa

South Africa

IC

31

KOIE Ryoji

13

Place of Birthor Formation

1936（2010）/
1941（2014）

ARAKAWA and Madeline GINS

NEW

Year of Birth（Death）orYear group formed○

・ Participating artists include names of individuals and groups.
・ In principle, the artists are listed in alphabetical order according to their family names. However, the order of several artists' family names and given names varies
depending on the conventions used in their respective home country, or on the artist's own preference.
・ The years of the artistsʼ birth, and in some cases, death, places of birth, and the locations where they are or were based are listed as references for the social and culturalcontext of their works.

14

Artists will respond to the theme of “STILL ALIVE” and the history of Aichi Prefecture, especially in the
Ichinomiya City, Tokoname City, and the Arimatsu area.
○ : Artists who will also participate in performing arts AC: Aichi Arts Center IC: Ichinomiya City TN: Tokoname City AR: Arimatsu, Nagoya City

Participating Artists ofContemporary Art Exhibition as of March 30, 2022 in alphabetical orderYear of Birth（Death）orYear group formed

Place of Birthor Formation

Place of Activity

Venue

Relevant
Page

Artist NameADACHI Tomomi

1972

Japan

GermanyAC20, 45Hoda AFSHAR

1983

Iran

AustraliaAC

AKI INOMATA

1983

Japan

Japan

1947/1966

USA/Taiwan

1974

Artist Name○NEW

Laurie ANDERSON & HUANG Hsin-Chien
Liliana ANGULO CORTÉS
Leonor ANTUNES

Place of Activity

Venue

Relevant
Page

Misheck MASAMVU

1980

Zimbabwe

Zimbabwe

AC

17

20

MASUYAMA Kazuaki

1967

Japan

Japan

IC

29

AR

40

Barry MCGEE

1966

USA

USA

IC

28

USA/Taiwan

AC

26

mirukusouko（Milk Warehouse）+ The Coconuts

formed 2015

Japan

Japan

AC

23

Colombia

Colombia

AC

22

MIWA Mitsuko

1958

Japan

Japan

AC

18

1972

Portugal

GermanyIC

32

MIYATA Asuka

1985

Japan

Japan

AR

39

Japan/USA

USA

AC

24

Mohammed Sami

1984

Iraq

UK

AC

22

1970

FranceGermanyAC

19

MOMOSE Aya

1988

Japan

Japan

AC

22, 47Lothar BAUMGARTEN

1944（2018）

Germany

Germany/USA

IC

30

Delcy MORELOS

1967

Colombia

ColombiaTN

34

Diedrick BRACKENS

1989

USA

USA

AC

22

MUKAI Eriko

1990

Japan

Japan

IC

32

1926（2011）

USA

France/USA

AC

17

NARA Yoshitomo

1959

Japan

Japan

IC

28

1924（1976）

Belgium

Belgium/
Germany/UK

AC

21

formed 2022

Japan

Japan

AC

26

CAO Fei

1978

China

China

IC

32

Tuan Andrew NGUYEN

1976

VietnamVietnam

TN

35

Jacobus CAPONE

1986

Australia

Australia

AC

25

OBANA Kenichi

1981

Japan

Japan

TN

36

Kate COOPER

1984

UK

UK /Netherlands

AC

21

OIZUMI Kazufumi

1964

Japan

Japan

AC

20

AC

16

Kader ATTIA

Robert BREER
Marcel BROODTHAERS○

NEW

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）

Pablo DÁVILA

1983

MexicoMexicoAC

18

OKUMURA Yuki

1978

Japan

Belgium/
Netherlands

Claudia DEL RÍO

1957

Argentina

Argentina

AC

25

Roman ONDAK

1966

Slovakia

Slovakia

AC

16

Mary DHAPALANY

1950

Australia

Australia

AC

24

ONOZAWA Shun

1996

Japan

Japan

AC

16

ENDO Kaori

1989

Japan

Japan

IC

31

Gabriel OROZCO

1962

MexicoJapan/Mexico

AR

39

Theaster GATES

1973

USA

USA

TN

34

Kaz OSHIRO

1967

Japan

USA

AC

19

HAN Ishu

1987

China

Japan

AC

23

Thierry OUSSOU

1988

Benin

Netherlands

TN

34

1982

Peru

MexicoAC18formed 2001

Germany/Lebanon

Germany

AR

39

HATTORI Bunsho+ISHIKAWA Ryuichi

1969/1984

Japan

Japan

TN

35

Rita PONCE DE LEÓNNikau HINDIN

1991

Aotearoa
New Zealand

Aotearoa
New ZealandTN

35

Prinz Gholam

HSU Chia-Wei

1983

TaiwanTaiwanIC

30

Jimmy ROBERT1975

Guadeloupe, France

GermanyAC

19

Anne IMHOF

1978

Germany

Germany/USA

IC

31

Florencia SADIR

1991

Argentina

Argentina

TN

36

ISHIGURO Kenichi

1986

Japan

Japan

IC

30

SANADA Takehiko

1962

Japan

Japan

IC

28

Mit JAI INN

1960

ThailandThailandAR

38

Fanny SANÍN

1938

Colombia

USA

AC

18

Jackie KARUTI

1987

Kenya

Kenya

IC

30

SASAMOTO Aki

1980

Japan

USA

AC

21

On KAWARA

1932（2014）

Japan

USA

AC

16

Yhonnie SCARCE

1973

Australia

Australia

AR

40

Yuki KIHARA

1975

Sāmoa

Sāmoa

AR

40

SHIOMI Mieko

1938

Japan

Japan

AC

17, 44

Byron KIM

1961

USA

USA

AC

24

SHIOTA Chiharu

1972

Japan

GermanyIC

31

KISHIMOTO Sayako

1939（1988）

Japan

Japan

AC

25

NEW

Shwe Wutt Hmon in collaboration with Kyi Kyi Thar

1986

MyanmarThailandAC

23

KODERA Yoshikazu

1957

Japan

Japan

AC

23

NEW

Diemut STREBE

1982

Germany

USA

AC

21

1938（2020）

Japan

Japan

TN

37

TAMURA Yuichiro

1977

Japan

Japan

TN

36

André KOMATSU

1978

BrazilBrazilAC

19

WAGO Ryoichi

1968

Japan

Japan

AC

17

Abdoulaye KONATÉ

1953

Mali

Mali

AC

24

WATANABE Atsushi（I'm here project）

1978

Japan

Japan

AC

26

KONDO Aki

1987

Japan

Japan

IC

28

Watermelon Sisters

formed 2017

Taiwan/Singapore

Taiwan/GermanyIC

29

Daisuke KOSUGI

1984

Japan

NorwayIC

29

Kaylene WHISKEY

1976

Australia

Australia

IC

29

KURODA Daisuke

1982

Japan

Japan

TN

36

YEE I-Lann

1971

Malaysia

Malaysia

AR

39

Glenda LEÓN

1976

Cuba

Spain

TN

34

YOKONO Asuka

1987

Japan

Japan

AC

20

Tanya LUKIN LINKLATER

1976

USA

CanadaAR

40

Nyakallo MALEKE

1993

South Africa

South Africa

IC

31

KOIE Ryoji

13

Place of Birthor Formation

1936（2010）/
1941（2014）

ARAKAWA and Madeline GINS

NEW

Year of Birth（Death）orYear group formed○

・ Participating artists include names of individuals and groups.
・ In principle, the artists are listed in alphabetical order according to their family names. However, the order of several artists' family names and given names varies
depending on the conventions used in their respective home country, or on the artist's own preference.
・ The years of the artistsʼ birth, and in some cases, death, places of birth, and the locations where they are or were based are listed as references for the social and culturalcontext of their works.

14

Aichi Arts Center

The Aichi Arts Center is the most symbolic venue of the Aichi Triennale 2022 as it
traverses the boundaries between the Contemporary Art and Performing Arts
programs and oﬀers the audience new and unique ways to access art through the

Onozawa Shun
Born 1996 in Gunma, Japan. Based in Tokyo, Japan.

Learning Program. With On Kawara, the Aichi-born conceptual artist who left hismark on the art history of the 20th century, as our starting point, we will movefreely between past, present and future to revisit the origins of conceptual art,
explore poetry and other art forms based on language and the written word, andrethink the concepts of painting and sculpture by tracing the histories of modernism
unfolding around the world.
Another great focus will be performance art in the context of contemporary art.

Onozawa Shun graduated from Gunma Prefectural Maebashi High School and the Department ofInter-Media Art of Tokyo University of the Artsʼ Graduate School of Fine Arts. Inﬂuenced by his
background as a juggling performer, Onozawa pursues phenomena that surpass cultural and regional
barriers to stimulate the fundamental sense of curiosity deep within us all.
His major exhibitions in Japan include Sense Island Sarushima Dark Museum（2022; Kanagawa）, Media
Ambition Tokyo, Shibuya Scramble Square（2020; Tokyo）/ Mori Arts Center Gallery（2021; Tokyo）,
SMART ILLUMINATION YOKOHAMA, Zou-no-hana Terrace（2019; Kanagawa）, tech x art festival,
100BANCH（2019; Tokyo）.

Performing Structure, 2021

Through photography, video, performance and other media, the Aichi Arts Center
exhibitions will reexamine performance art from diverse perspectives such as
posthumanism, the politicized body, race and gender, migration and displacement,

On Kawara
Born in 1932 in Aichi, Japan; lived and worked in New York, USA; died in 2014 in New York, USA.

and forgotten memories of the body. Further, we will confront fundamental questions
about life, living and death from the viewpoints of mental health, healing and prayer,
and contemplate various interpretations of the worlds of natural, supernatural andcosmic spaces.

Artists exhibiting at the Aichi Arts Center
Artist introductions are listed from left to right in the recommended viewing order.

B2F

Onozawa Shun

１０F

On Kawara

Okumura Yuki

Roman Ondak

Wago Ryoichi（8F）Robert Breer

Misheck Masamvu

Shiomi Mieko

Miwa Mitsuko（8F）Rita Ponce de León

Pablo Dávila

Fanny Sanín

André Komatsu

Kaz Oshiro

Kader Attia

Jimmy Robert

Hoda Afshar

Adachi Tomomi

Yokono Asuka

Oizumi Kazufumi
８F

Marcel Broodthaers（10F）

Diemut Strebe

Kate Cooper

Sasamoto Aki

Diedrick Brackens

Momose Aya

Liliana Angulo Cortés

Mohammed SamiHan Ishu

Shwe Wutt Hmon in collaboration with Kyi Kyi Thar

Kodera Yoshikazu

mirukusouko（Milk Warehouse）+The Coconuts

ARAKAWA and Madeline Gins

Mary Dhapalany

Byron Kim

Abdoulaye Konaté

Kishimoto Sayako

Claudia Del Río

Jacobus Capone

Laurie Anderson & Huang Hsin-Chien

Watanabe Atsushi（I'm here project）
B2F

15

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）

Internationally renowned conceptual artist On Kawara has earned high praise for work including theToday series of Date Paintings（1966‒2013）.Adhering to a self-imposed rule that each painting must becompleted on a single day, Kawara painted the date of each pieceʼs creation on nearly 3000
monochrome canvases over a period of 48 years. The artist is also known for his I Am Still Alive series（1970‒2000）,wherein Kawara sent telegrams bearing only the statement, “I AM STILL ALIVE.” Thismessage, which reaﬃrms the transitory existence of both sender and recipient, is the inspiration for
Aichi Triennale 2022ʼs theme and concept.
Major solo exhibitions include On Kawara: Continuity / Discontinuity 1963–1979（1980‒1981, The National
Museum of Art, Osaka, Japan）, On Kawara: Again and Against（1991, ICA, Nagoya, Japan）, and On
Kawara – Silence（2015, Guggenheim, New York, USA）.

Telegram to Sol LeWitt, February 5, 1970
From I Am Still Alive, 1970‒2000

LeWitt Collection, Chester, Connecticut, USA© One Million Years Foundation

Okumura Yuki
Born 1978 in Aomori, Japan. Based in Brussels, Belgium and Maastricht, the Netherlands.

Inspired by the peculiar subjectivity of the translator, Okumura Yuki explores the essential parallelityof worlds and the primary interconnectedness between individuals through overlaps and gaps amongst
diﬀerent artists, often including himself, in terms of work and/or life. Rediscovering the methodology ofconceptual artists of the ʼ60s and ʼ70s to reduce their personality to the limit as a possible way tosimultaneously reveal one's “corporeal self” and regain a state of “self-other unity,” he is now lending his
ear to their voice that resonates from behind the horizon. Projects include The Lone Curator（2021）;The
Man Who（2019）;Welcome Back, Gordon Matta-Clark（2017）;Hisachika Takahashi by Yuki Okumura（2016）;
and Away from the Light of Greenwich: I Met On Kawana（2016）.

The Man Who, 2019

Courtesy of MISAKO & ROSEN, Tokyo and LA MAISON DE RENDEZ-VOUS, Brussels

Roman Ondak
Born 1966 in Žilina, Slovakia. Based in Bratislava, Slovakia.

Almost as an anthropological investigation, daily life and events ﬁnd themselves juxtaposed by Roman
Ondakʼs way of opening up spaces where the rules of the everyday are challenged by slight alterations.
But Ondak does not understand space merely as a physical material entity. Social norms, divisions andregulations shape them and our understanding and perception of them. Nor is our perception absolutely
objective and simultaneous. It is, so to speak, soaked in knowledge, emotions, interests and, which isparticularly important, memories. Space is, furthermore, not static. It is deﬁned with movements,
through space and, for the same token, through time. Space is therefore not merely physical, butessentially temporal. It exists in time, which means that it constantly changes and transforms, and thatmemory is vital for constructing its identity. It is no coincidence, then, that most of Ondakʼs works deal
with space precisely through the point of view of time and memory.

Event Horizon, 2016

Collection of Kunsten Museum of Modern Art Aalborg

Photo: Andy Keate

Courtesy of the artist and Kunsten Museum of Modern Art Aalborg

16

Aichi Arts Center

The Aichi Arts Center is the most symbolic venue of the Aichi Triennale 2022 as it
traverses the boundaries between the Contemporary Art and Performing Arts
programs and oﬀers the audience new and unique ways to access art through the

Onozawa Shun
Born 1996 in Gunma, Japan. Based in Tokyo, Japan.

Learning Program. With On Kawara, the Aichi-born conceptual artist who left hismark on the art history of the 20th century, as our starting point, we will movefreely between past, present and future to revisit the origins of conceptual art,
explore poetry and other art forms based on language and the written word, andrethink the concepts of painting and sculpture by tracing the histories of modernism
unfolding around the world.
Another great focus will be performance art in the context of contemporary art.

Onozawa Shun graduated from Gunma Prefectural Maebashi High School and the Department ofInter-Media Art of Tokyo University of the Artsʼ Graduate School of Fine Arts. Inﬂuenced by his
background as a juggling performer, Onozawa pursues phenomena that surpass cultural and regional
barriers to stimulate the fundamental sense of curiosity deep within us all.
His major exhibitions in Japan include Sense Island Sarushima Dark Museum（2022; Kanagawa）, Media
Ambition Tokyo, Shibuya Scramble Square（2020; Tokyo）/ Mori Arts Center Gallery（2021; Tokyo）,
SMART ILLUMINATION YOKOHAMA, Zou-no-hana Terrace（2019; Kanagawa）, tech x art festival,
100BANCH（2019; Tokyo）.

Performing Structure, 2021

Through photography, video, performance and other media, the Aichi Arts Center
exhibitions will reexamine performance art from diverse perspectives such as
posthumanism, the politicized body, race and gender, migration and displacement,

On Kawara
Born in 1932 in Aichi, Japan; lived and worked in New York, USA; died in 2014 in New York, USA.

and forgotten memories of the body. Further, we will confront fundamental questions
about life, living and death from the viewpoints of mental health, healing and prayer,
and contemplate various interpretations of the worlds of natural, supernatural andcosmic spaces.

Artists exhibiting at the Aichi Arts Center
Artist introductions are listed from left to right in the recommended viewing order.

B2F

Onozawa Shun

１０F

On Kawara

Okumura Yuki

Roman Ondak

Wago Ryoichi（8F）Robert Breer

Misheck Masamvu

Shiomi Mieko

Miwa Mitsuko（8F）Rita Ponce de León

Pablo Dávila

Fanny Sanín

André Komatsu

Kaz Oshiro

Kader Attia

Jimmy Robert

Hoda Afshar

Adachi Tomomi

Yokono Asuka

Oizumi Kazufumi
８F

Marcel Broodthaers（10F）

Diemut Strebe

Kate Cooper

Sasamoto Aki

Diedrick Brackens

Momose Aya

Liliana Angulo Cortés

Mohammed SamiHan Ishu

Shwe Wutt Hmon in collaboration with Kyi Kyi Thar

Kodera Yoshikazu

mirukusouko（Milk Warehouse）+The Coconuts

ARAKAWA and Madeline Gins

Mary Dhapalany

Byron Kim

Abdoulaye Konaté

Kishimoto Sayako

Claudia Del Río

Jacobus Capone

Laurie Anderson & Huang Hsin-Chien

Watanabe Atsushi（I'm here project）
B2F

15

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）

Internationally renowned conceptual artist On Kawara has earned high praise for work including theToday series of Date Paintings（1966‒2013）.Adhering to a self-imposed rule that each painting must becompleted on a single day, Kawara painted the date of each pieceʼs creation on nearly 3000
monochrome canvases over a period of 48 years. The artist is also known for his I Am Still Alive series（1970‒2000）,wherein Kawara sent telegrams bearing only the statement, “I AM STILL ALIVE.” Thismessage, which reaﬃrms the transitory existence of both sender and recipient, is the inspiration for
Aichi Triennale 2022ʼs theme and concept.
Major solo exhibitions include On Kawara: Continuity / Discontinuity 1963–1979（1980‒1981, The National
Museum of Art, Osaka, Japan）, On Kawara: Again and Against（1991, ICA, Nagoya, Japan）, and On
Kawara – Silence（2015, Guggenheim, New York, USA）.

Telegram to Sol LeWitt, February 5, 1970
From I Am Still Alive, 1970‒2000

LeWitt Collection, Chester, Connecticut, USA© One Million Years Foundation

Okumura Yuki
Born 1978 in Aomori, Japan. Based in Brussels, Belgium and Maastricht, the Netherlands.

Inspired by the peculiar subjectivity of the translator, Okumura Yuki explores the essential parallelityof worlds and the primary interconnectedness between individuals through overlaps and gaps amongst
diﬀerent artists, often including himself, in terms of work and/or life. Rediscovering the methodology ofconceptual artists of the ʼ60s and ʼ70s to reduce their personality to the limit as a possible way tosimultaneously reveal one's “corporeal self” and regain a state of “self-other unity,” he is now lending his
ear to their voice that resonates from behind the horizon. Projects include The Lone Curator（2021）;The
Man Who（2019）;Welcome Back, Gordon Matta-Clark（2017）;Hisachika Takahashi by Yuki Okumura（2016）;
and Away from the Light of Greenwich: I Met On Kawana（2016）.

The Man Who, 2019

Courtesy of MISAKO & ROSEN, Tokyo and LA MAISON DE RENDEZ-VOUS, Brussels

Roman Ondak
Born 1966 in Žilina, Slovakia. Based in Bratislava, Slovakia.

Almost as an anthropological investigation, daily life and events ﬁnd themselves juxtaposed by Roman
Ondakʼs way of opening up spaces where the rules of the everyday are challenged by slight alterations.
But Ondak does not understand space merely as a physical material entity. Social norms, divisions andregulations shape them and our understanding and perception of them. Nor is our perception absolutely
objective and simultaneous. It is, so to speak, soaked in knowledge, emotions, interests and, which isparticularly important, memories. Space is, furthermore, not static. It is deﬁned with movements,
through space and, for the same token, through time. Space is therefore not merely physical, butessentially temporal. It exists in time, which means that it constantly changes and transforms, and thatmemory is vital for constructing its identity. It is no coincidence, then, that most of Ondakʼs works deal
with space precisely through the point of view of time and memory.

Event Horizon, 2016

Collection of Kunsten Museum of Modern Art Aalborg

Photo: Andy Keate

Courtesy of the artist and Kunsten Museum of Modern Art Aalborg

16

Wago Ryoichi

Miwa Mitsuko

Born 1968 in Fukushima, Japan. Based in Fukushima, Japan.

Born 1958 in Aichi, Japan. Based in Aichi, Japan.

Wago Ryoichi is a poet. His accolades include the Nakahara Chūya Prize（1999）, the Bansui Prize（2006）,the Hagiwara Sakutaro Award（2019）,and many more.
In 2011, following the Great East Japan Earthquake and Tsunami, Wago used Twitter to publish theserial poem Pebbles of Poetry from Fukushima. In May of the same year, he was invited to read his workat the Royal Concertgebouw in Amsterdam, one of the three largest concert halls in the world. Hispoem Pebbles of Poetry was published in French translation and won the foreign-language poetry
category of the inaugural Prix de Poesie de la Revue Nunc in France in 2017, making Wago the ﬁrst
Japanese poet to win a major award in France. At present, Wago is preparing a new volume of histranslated poetry.
His poetry readings̶nicknamed “Samurai Readings“̶have earned Wago high international acclaim.
Wago also writes for choral music, operas and dramas. He has previously taken part in art events suchas Yamagata Biennale 2016（Japan）.

Since her early career, Miwa Mitsuko has deliberately continued to change the style of her work in thehope of liberating herself from the constrictions of identity. Driven by a desire to highlight the act ofviewing itself, she creates with an awareness of her position as not only the artist but also the ﬁrst to
observe her artworks' completion.
Between 1996 and 1997, she undertook a residency at Künstlerhaus Bethanien（Berlin, Germany）
through a grant with the Philip Morris Foundation, and she was a guest artist at the IASPIS（Stockholm, Sweden）in 1998. Miwa has held solo exhibitions at Longhouse Projects（2014; New York,USA）, Gallery HAM（2009; Nagoya, Japan）. Her group exhibitions include Vanishing Points:
Contemporary Japanese Art（2007; National Gallery of Modern Art, New Delhi and Project 88, Mumbai,
India）.

Installation view of Wago Ryoichi Solo Exhibition, We have not slept in an apple yet,

Maebashi City Museum of Literature, Gunma, Japan

Photo: Kigure Shinya, Courtesy of Maebashi City Museum of Literature

Robert Breer

Rita Ponce de León

Born 1926 in Detroit, USA; lived and worked in Paris, France, and New York, USA; died in 2011 in Tucson, USA.

Born 1982 in Lima, Peru. Based in Mexico City, Mexico.

Robert Breer was a ﬁlmmaker, painter, animator and sculptor whose complex and diverse work was
informed by the dynamic and interplay between his various media. Throughout the more than ﬁfty
years of his career, Breer constantly challenged new realms, explored the dialogue between art andother domains, and embraced the concepts of experimentation and chance with great humor andseriousness.
In 1980, the Whitney Museum held the ﬁrst retrospective exhibition of his work, with others to follow inEurope and the USA. In 1981, Breer was commissioned for a large mural on the outside of the Film
Forum in New York. He won the Max Ernst Prize at the Oberhausen Film Festival in 1969, the Maya
Deren Independent Film and Video Artists' Award in 1987, and the Stan Brakhage Vision Award in2005. Major solo exhibitions of Breerʼs works have been shown in numerous venues, such as CAPC（2010‒2011; Bordeaux, France）, the Tinguely Museum（2011‒2012; Basel, Switzerland）, the Baltic
Contemporary Art Center（2011; Gateshead, UK）, the Sharjah Art Foundation（2016; UAE）, and the
Fondazione Antonio Dalle Nogare（2020‒2021; Bolzano, Italy）.

The artist Rita Ponce de León is currently studying body-mind techniques for human development at
the Argentine organization Río Abierto. She understands working as a way to engage in situations thatallow, through artistic and learning processes, the generation of meaningful human bonds. She haspracticed various forms of movement, including Butoh, a form of Japanese dance theatre, andparticipated in workshops that take body movement as the origin of knowledge and wisdom. She
condenses her experiences in movement and learning with others into drawings, sharing her thoughts
in the form of visual essays.
Her work has been shown at the 32nd São Paulo Biennial（2016; Brazil）, Kunsthalle Basel（2014;
Switzerland）,80M2 Gallery（Lima, Peru）,and Museum of Modern Art（Mexico City, Mexico）,among
other places.
She currently collaborates with Tania Solomonoﬀ（choreographer）, Vacaciones de Trabajo（aself-education project）, Shinnosuke Niiro（poet）, Yaxkin Melchy（poet）, and Esparta Martinez and
Sakiko Yokoo（dancers and kamishibai picture story show narrators/actors）.

FLOAT, 1970

Courtesy of Kate Flax and gb agency, Paris
Commission : Sharjah Art Foundation

Misheck Masamvu

17

Photo: Keizo Kioku Courtesy of the artist

Sin conocernos, sencillamente seguimos（Without knowing each other, we simply continue）,2018

Photo: Juan Pablo Murrugarra

Courtesy of 80M2 Livia Benavides Gallery, Lima, Peru

Pablo Dávila

Born 1980 in Penhalonga, Zimbabwe. Based in Harare, Zimbabwe.

Born 1983 in Mexico City, Mexico. Based in Mexico City, Mexico.

Working predominantly as a painter and sculptor, Misheck Masamvu describes his works as “mutants”
that oscillate between abstraction and ﬁguration. Masamvuʼs practice is a battle against the forced
ideology of government and the breakdown of the pursuit of humanity. His works are understood asmarks of existence, pointing not only to the realities of his lived experience but also to mental andpsychological space, where each layer of paint or brushstroke on the canvas proposes a search toresolve conﬂicted experiences or decisions.
Recent presentations include Masamvuʼs solo exhibition at Goodman Gallery London, titled Talk to me
while I’m eating（2021; UK）,as well as his participation in Allied with Power at the Pérez Art Museum
Miami（USA）and the 22nd Biennale of Sydney（Australia）,titled NIRIN, curated by Brook Andrew in2020. The artist has also represented Zimbabwe at the 54th Venice Biennale（2011; Italy）.

In his multidisciplinary works, Pablo Dávila takes as a starting point the traditional artistic media to question
how they reﬂect the social construction of space and time. In his installations, the Mexico City-based artist
excavates a space for interference and ambiguity through forms both pared-down and rich with animmediate sensorial experience.
His practice explores sentience and subjectivity through investigations in perception, space and time
consciousness. His practice takes many shapes -- encompassing video, electronics, light installation,
photography, conceptual painting and site-speciﬁc interventions. His work traverses the space in between
sensory perception and cognitive understanding. His poetic gestures trigger a questioning of our
expectations in dealing with the passing of time, and the psychological lens with which we process events in
our memory. His work is informed by science, music, poetry, cognitive sciences and physical phenomena, so
as to delve into notions of perception, the ﬂeeting nature of time and historical interpretations.
His works have been exhibited at Museo Tamayo, Mexico City; Museum of Contemporary Art, Monterrey;
José Garcia, México City and Mérida; The Pill, Istanbul; Travesía Cuatro, Guadalajara; and Paul Kasmin, New
York, amongst others.

Shiomi Mieko

STATUE No.6, 2010

Still Still, 2012−present

Courtesy of the artist and Goodman Gallery（Cape Town, Johannesburg, London）

Transference Harmonies（Armonías de transferencia）,2020
Courtesy of the artist

Fanny Sanín

cf. Performing Arts ▶ p.44

Born 1938 in Okayama, Japan. Based in Osaka, Japan.

Born 1938 in Bogotá, Colombia. Based in New York, USA.

Shiomi Mieko graduated from Tokyo University of the Artsʼ Department of Musicology in 1961. During
her student days, she formed Group Ongaku together with fellow students and experimented with tapemusic and improvisation. In 1964, Shiomi moved to the USA and became a member of Fluxus. In 1965,
she started her “Spatial Poem” series. Following her return to Japan, she developed the gesture of the“event” as performance art. In 1970, she relocated to the city of Osaka. Starting with the Fluxus festival
in Venice in 1990, she took part in numerous Fluxus projects held all over the world and in her home ofJapan. Having become interested in electronic technologies in the 1990s, she began to implement theminto her transmedial performances. Shiomi Mieko continues to work in a variety of ﬁelds and genres
today, including visual art, performance art and music compositions. Since 2014, Shiomi is also active asa Distinguished Visiting Scholar at the Archival Research Center in Kyoto City University of the Arts.

Fanny Sanín is considered a preeminent master among the Colombian abstractionists and a signiﬁcantartistic voice of the past 50 years. Sanín embraced non ﬁguration at Universidad de los Andes, Bogotá,
graduating in 1960. After a period at the University of Illinois, moved to Mexico（1963）,where she had
her ﬁrst exhibitions（1964; Monterrey, Mexico/ 1965; Mexico City）, and her ﬁrst museum exhibition,
Museo de Arte Moderno（1965; Bogotá, Colombia）. Living in London（1966）inﬂuenced her more
rigorous abstraction. The Art of the Real, Grand Palais（1968; Paris, France）crystalized Sanin' s later
rigorously geometric style. She resides in New York（1971）.
Sanín's work is in museums in the US, Latin America and Europe: Museum of Fine Arts, Houston;Instiute of Fine Arts, New York; Smithsonian American Art Museum and National Museum of Womenin the Arts, Washington; Los Angeles County Museum of Art; Berkeley Art Museum of Fine Arts,
California, National Museum, Bogotá; Museum of Modern Art of Bogotá and the Museum of Modern
Art（Mexico）. The comprehensive book Fanny Sanín: The Concrete Language of Color and Structure wasreleased in 2019.

Spatial Poem / book, 1976

Acrylic No. 1, 2021

Courtesy of the artist

18

Wago Ryoichi

Miwa Mitsuko

Born 1968 in Fukushima, Japan. Based in Fukushima, Japan.

Born 1958 in Aichi, Japan. Based in Aichi, Japan.

Wago Ryoichi is a poet. His accolades include the Nakahara Chūya Prize（1999）, the Bansui Prize（2006）,the Hagiwara Sakutaro Award（2019）,and many more.
In 2011, following the Great East Japan Earthquake and Tsunami, Wago used Twitter to publish theserial poem Pebbles of Poetry from Fukushima. In May of the same year, he was invited to read his workat the Royal Concertgebouw in Amsterdam, one of the three largest concert halls in the world. Hispoem Pebbles of Poetry was published in French translation and won the foreign-language poetry
category of the inaugural Prix de Poesie de la Revue Nunc in France in 2017, making Wago the ﬁrst
Japanese poet to win a major award in France. At present, Wago is preparing a new volume of histranslated poetry.
His poetry readings̶nicknamed “Samurai Readings“̶have earned Wago high international acclaim.
Wago also writes for choral music, operas and dramas. He has previously taken part in art events suchas Yamagata Biennale 2016（Japan）.

Since her early career, Miwa Mitsuko has deliberately continued to change the style of her work in thehope of liberating herself from the constrictions of identity. Driven by a desire to highlight the act ofviewing itself, she creates with an awareness of her position as not only the artist but also the ﬁrst to
observe her artworks' completion.
Between 1996 and 1997, she undertook a residency at Künstlerhaus Bethanien（Berlin, Germany）
through a grant with the Philip Morris Foundation, and she was a guest artist at the IASPIS（Stockholm, Sweden）in 1998. Miwa has held solo exhibitions at Longhouse Projects（2014; New York,USA）, Gallery HAM（2009; Nagoya, Japan）. Her group exhibitions include Vanishing Points:
Contemporary Japanese Art（2007; National Gallery of Modern Art, New Delhi and Project 88, Mumbai,
India）.

Installation view of Wago Ryoichi Solo Exhibition, We have not slept in an apple yet,

Maebashi City Museum of Literature, Gunma, Japan

Photo: Kigure Shinya, Courtesy of Maebashi City Museum of Literature

Robert Breer

Rita Ponce de León

Born 1926 in Detroit, USA; lived and worked in Paris, France, and New York, USA; died in 2011 in Tucson, USA.

Born 1982 in Lima, Peru. Based in Mexico City, Mexico.

Robert Breer was a ﬁlmmaker, painter, animator and sculptor whose complex and diverse work was
informed by the dynamic and interplay between his various media. Throughout the more than ﬁfty
years of his career, Breer constantly challenged new realms, explored the dialogue between art andother domains, and embraced the concepts of experimentation and chance with great humor andseriousness.
In 1980, the Whitney Museum held the ﬁrst retrospective exhibition of his work, with others to follow inEurope and the USA. In 1981, Breer was commissioned for a large mural on the outside of the Film
Forum in New York. He won the Max Ernst Prize at the Oberhausen Film Festival in 1969, the Maya
Deren Independent Film and Video Artists' Award in 1987, and the Stan Brakhage Vision Award in2005. Major solo exhibitions of Breerʼs works have been shown in numerous venues, such as CAPC（2010‒2011; Bordeaux, France）, the Tinguely Museum（2011‒2012; Basel, Switzerland）, the Baltic
Contemporary Art Center（2011; Gateshead, UK）, the Sharjah Art Foundation（2016; UAE）, and the
Fondazione Antonio Dalle Nogare（2020‒2021; Bolzano, Italy）.

The artist Rita Ponce de León is currently studying body-mind techniques for human development at
the Argentine organization Río Abierto. She understands working as a way to engage in situations thatallow, through artistic and learning processes, the generation of meaningful human bonds. She haspracticed various forms of movement, including Butoh, a form of Japanese dance theatre, andparticipated in workshops that take body movement as the origin of knowledge and wisdom. She
condenses her experiences in movement and learning with others into drawings, sharing her thoughts
in the form of visual essays.
Her work has been shown at the 32nd São Paulo Biennial（2016; Brazil）, Kunsthalle Basel（2014;
Switzerland）,80M2 Gallery（Lima, Peru）,and Museum of Modern Art（Mexico City, Mexico）,among
other places.
She currently collaborates with Tania Solomonoﬀ（choreographer）, Vacaciones de Trabajo（aself-education project）, Shinnosuke Niiro（poet）, Yaxkin Melchy（poet）, and Esparta Martinez and
Sakiko Yokoo（dancers and kamishibai picture story show narrators/actors）.

FLOAT, 1970

Courtesy of Kate Flax and gb agency, Paris
Commission : Sharjah Art Foundation

Misheck Masamvu

17

Photo: Keizo Kioku Courtesy of the artist

Sin conocernos, sencillamente seguimos（Without knowing each other, we simply continue）,2018

Photo: Juan Pablo Murrugarra

Courtesy of 80M2 Livia Benavides Gallery, Lima, Peru

Pablo Dávila

Born 1980 in Penhalonga, Zimbabwe. Based in Harare, Zimbabwe.

Born 1983 in Mexico City, Mexico. Based in Mexico City, Mexico.

Working predominantly as a painter and sculptor, Misheck Masamvu describes his works as “mutants”
that oscillate between abstraction and ﬁguration. Masamvuʼs practice is a battle against the forced
ideology of government and the breakdown of the pursuit of humanity. His works are understood asmarks of existence, pointing not only to the realities of his lived experience but also to mental andpsychological space, where each layer of paint or brushstroke on the canvas proposes a search toresolve conﬂicted experiences or decisions.
Recent presentations include Masamvuʼs solo exhibition at Goodman Gallery London, titled Talk to me
while I’m eating（2021; UK）,as well as his participation in Allied with Power at the Pérez Art Museum
Miami（USA）and the 22nd Biennale of Sydney（Australia）,titled NIRIN, curated by Brook Andrew in2020. The artist has also represented Zimbabwe at the 54th Venice Biennale（2011; Italy）.

In his multidisciplinary works, Pablo Dávila takes as a starting point the traditional artistic media to question
how they reﬂect the social construction of space and time. In his installations, the Mexico City-based artist
excavates a space for interference and ambiguity through forms both pared-down and rich with animmediate sensorial experience.
His practice explores sentience and subjectivity through investigations in perception, space and time
consciousness. His practice takes many shapes -- encompassing video, electronics, light installation,
photography, conceptual painting and site-speciﬁc interventions. His work traverses the space in between
sensory perception and cognitive understanding. His poetic gestures trigger a questioning of our
expectations in dealing with the passing of time, and the psychological lens with which we process events in
our memory. His work is informed by science, music, poetry, cognitive sciences and physical phenomena, so
as to delve into notions of perception, the ﬂeeting nature of time and historical interpretations.
His works have been exhibited at Museo Tamayo, Mexico City; Museum of Contemporary Art, Monterrey;
José Garcia, México City and Mérida; The Pill, Istanbul; Travesía Cuatro, Guadalajara; and Paul Kasmin, New
York, amongst others.

Shiomi Mieko

STATUE No.6, 2010

Still Still, 2012−present

Courtesy of the artist and Goodman Gallery（Cape Town, Johannesburg, London）

Transference Harmonies（Armonías de transferencia）,2020
Courtesy of the artist

Fanny Sanín

cf. Performing Arts ▶ p.44

Born 1938 in Okayama, Japan. Based in Osaka, Japan.

Born 1938 in Bogotá, Colombia. Based in New York, USA.

Shiomi Mieko graduated from Tokyo University of the Artsʼ Department of Musicology in 1961. During
her student days, she formed Group Ongaku together with fellow students and experimented with tapemusic and improvisation. In 1964, Shiomi moved to the USA and became a member of Fluxus. In 1965,
she started her “Spatial Poem” series. Following her return to Japan, she developed the gesture of the“event” as performance art. In 1970, she relocated to the city of Osaka. Starting with the Fluxus festival
in Venice in 1990, she took part in numerous Fluxus projects held all over the world and in her home ofJapan. Having become interested in electronic technologies in the 1990s, she began to implement theminto her transmedial performances. Shiomi Mieko continues to work in a variety of ﬁelds and genres
today, including visual art, performance art and music compositions. Since 2014, Shiomi is also active asa Distinguished Visiting Scholar at the Archival Research Center in Kyoto City University of the Arts.

Fanny Sanín is considered a preeminent master among the Colombian abstractionists and a signiﬁcantartistic voice of the past 50 years. Sanín embraced non ﬁguration at Universidad de los Andes, Bogotá,
graduating in 1960. After a period at the University of Illinois, moved to Mexico（1963）,where she had
her ﬁrst exhibitions（1964; Monterrey, Mexico/ 1965; Mexico City）, and her ﬁrst museum exhibition,
Museo de Arte Moderno（1965; Bogotá, Colombia）. Living in London（1966）inﬂuenced her more
rigorous abstraction. The Art of the Real, Grand Palais（1968; Paris, France）crystalized Sanin' s later
rigorously geometric style. She resides in New York（1971）.
Sanín's work is in museums in the US, Latin America and Europe: Museum of Fine Arts, Houston;Instiute of Fine Arts, New York; Smithsonian American Art Museum and National Museum of Womenin the Arts, Washington; Los Angeles County Museum of Art; Berkeley Art Museum of Fine Arts,
California, National Museum, Bogotá; Museum of Modern Art of Bogotá and the Museum of Modern
Art（Mexico）. The comprehensive book Fanny Sanín: The Concrete Language of Color and Structure wasreleased in 2019.

Spatial Poem / book, 1976

Acrylic No. 1, 2021

Courtesy of the artist18

André Komatsu

Hoda Afshar

Born 1978 in São Paulo, Brazil. Based in São Paulo, Brazil.

Born 1983 in Tehran, Iran. Based in Melbourne, Australia.

André Komatsu grew up with the 1990s Brazilian democratic revival and witnessed the introduction of
neo-liberal economic policies. In the context of these inﬂuences, his works question how people aroundthe world live and approach urban spaces and power. Curator Jacopo Crivelli Visconti: “André
Komatsuʼs views on the latent power and social conﬂict lurking virtually everywhere pervade hisworks. They aﬀect his thematic choices, and in a sense, are the true origin of his sculptures andinstallations. Many of his worksʼ titles are reminiscent of Michel Foucault, whose theory of the
microphysics of power is not only an inﬂuence on Andréʼs titles: you could say it lies at the very core of
his interests and worldview.”
Major exhibitions include Avenida Paulista（2017; Museu de Arte de São Paulo, Brazil）,the 56th Venice
Biennale, Pavilion of Brazil（2015; Italy）, and Beyond the Supersquare（2014; The Bronx Museum of theArts, New York, USA）.

Hoda Afshar explores the nature and possibilities of documentary image-making. Working acrossphotography and moving-image, the artist considers the representation of gender, marginality, anddisplacement. In her artworks, Afshar employs processes that disrupt traditional image-making
practices, play with the presentation of imagery, or merge aspects of conceptual, staged anddocumentary photography.
Recent exhibitions include WE CHANGE THE WORLD, National Gallery of Victoria; PHOTO 2021:
International Festival of Photography（Melbourne, Australia）; Between the Sun and the Moon, Lahore
Biennale 02（2020; Pakistan）; Defining Place/Space: Contemporary Photography from Australia, Museum of
Photographic Arts in San Diego（2019; California, USA）; and Primavera 2018: Young Australian Artists,
Museum of Contemporary Art Australia（Sydney）. In 2015 she received Australiaʼs National
Photographic Portrait Prize, National Portrait Gallery, and in 2018 she won the Bowness Photography
Prize, Monash Gallery of Art, Australia.

Phantom #7, 2017

Photo: Zhang Kai
Courtesy of Galleria Continua

Kaz Oshiro

Adachi Tomomi

Born 1967 in Okinawa, Japan. Based in Los Angeles, USA.

Born 1972 in Ishikawa, Japan. Based in Berlin, Germany.

After graduating high school, Kaz Oshiro moved to Los Angeles and received both his BA and MFAfrom California State University in 1998 and 2002, respectively. Oshiro references and expands uponartistic movements such as pop art, minimalism, and abstract expressionism, while investigating thetrue nature of painting and art through the lenses of various dichotomies, including sculpture/painting,abstraction/ﬁguration, and reality/illusion. He employs trompe l’oeil techniques to faithfully reproduce
cabinets, suitcases, amps, and steel beams on canvas, inviting confusion and intrigue in the viewer.
Oshiro continues to actively participate in solo and group presentations all over the world. In 2014, hissolo exhibition, Chasing Ghosts, was held at the Los Angeles County Museum of Art（California, USA）.

Adachi Tomomi is a performer, composer, sound poet, instrument builder, and visual artist. Known for
his versatile style, he has performed his own voice and electronics pieces, sound poetry, improvised
music and contemporary music works and also presented site-speciﬁc compositions, compositions forclassical instrumental ensembles, and choir pieces for untrained musicians around the world, including
Tate Modern（London, UK）, Maerzmusik（Berlin, Germany）, Hamburger Bahnhof Museum（Berlin,
Germany）, Centre Pompidou（Paris, France）and Poesiefestival Berlin（Germany）. He uses a wide
range of materials in his work, including self-made physical interfaces and instruments, artiﬁcial
intelligence, brain waves, artiﬁcial satellite, Twitter texts, fractures, and even paranormal phenomena.
He was a guest of the DAAD Artists-in-Berlin Program in 2012 and received the Award of Distinction
from Ars Electronica 2019（Linz, Austria）.

Orange Speaker Cabinets and Gray Scale Boxes, 2009
Photo: Naohiro Utagawa

Courtesy of MAKI Gallery

Kader Attia

Réfléchir la Mémoire（Reflecting Memory ）,2016© KaderAttia

Courtesy of the Artist, Collection MACVAL, France, Collection MAC Marseille, France,
Galleria Continua, Galerie Krinzinger, Lehmann Maupin and Galerie Nagel Draxler

Yokono Asuka paints a wide range of motifs in oils, including public buildings such as dams andhighways, and everyday objects such as pots and vases. She is interested in how people see things andfeel the space, which she expresses using the basic elements of painting: composition, touch, thelayering of paints and colors, and so on.
Recent exhibitions include Azamino Contemporary Vol.10 Reality in a Square, Yokohama Civic Art Gallery
Azamino（2019; Kanagawa, Japan）;SETO Contemporary Art Exhibition, Seto site building（2019; Aichi,
Japan）; combination, See Saw gallery + hibit（2018; Aichi, Japan）; and Inconvenient sight, GALLERY
ZERO（2018; Osaka, Japan）.

Oizumi Kazufumi

Born 1975 in Guadeloupe, France. Based in Berlin, Germany.

Born 1964 in Miyagi, Japan. Based in Aichi, Japan.

Reprise, 2010

Collection of Centre National des Arts Plastique, France
Courtesy of the artist; Stigter Van Doesburg, Amsterdam; and Tanya Leighton, Berlinand Los Angeles.

19

cf. Performing Arts ▶ p.45

3D Printed Texts, 2017

Born 1987 in Aichi, Japan. Based in Aichi, Japan.

Jimmy Robert
Jimmy Robert's work explores the politics of spectatorship by reworking seminal avant-garde
performances in ways that complicate their racial and gendered readings. Placing the identity andrepresentation of the black body at the center of his approach since the early 2000s, it is often the bodyand voice of the artist himself that are presented, in installations mixing writing, poetry, dance,
movement and images.
Robert, trained in visual arts at Goldsmiths in London and the Rijksakademie in Amsterdam, has
exhibited at WIELS in Brussels, Palais de Tokyo in Paris, and the Yokohama Triennale（2008; Japan）.
Recent solo exhibitions and performances include KW Institute for Contemporary Art（2019; Germany）,
Museum M（2015; Belgium）,The Power Plant（2013 ; Canada）,Museum of Contemporary Art Chicago（2012; USA）, Jeu de Paume（2012; France）and Center for Contemporary Art, Kitakyushu（2009 ;Japan）. Robert was the subject of a mid-career survey at Nottingham Contemporary in 2020.The
exhibition traveled to Museion Bolzano（Italy）and CRAC Occitanie（France）in 2021.

© the artist and Milani Gallery

Yokono Asuka

Born 1970 in Dugny, France. Based in Berlin, Germany.

Kader Attia is an artist who explores the wide-ranging eﬀects of Western cultural hegemony andcolonialism. Central to his inquiry are the concepts of injury and repair, which he uses to connect
diverse bodies of knowledge, including architecture, music, psychoanalysis, medical science, andtraditional healing and spiritual beliefs. Throughout his multimedia practice ̶ranging from sculpture to
ﬁlm installation̶reparation does not mark a return to an intact state, but instead makes visible theimmaterial scars of psychic injury. This approach is informed by Attiaʼs experience of growing up
between Algeria and the banlieue suburbs of Paris that are home to large immigrant populations.

Remain, 2018

Since 1991, in addition to producing three-dimensional computer models of unbuilt architecture, Oizumi
Kazufumi has also been creating automated drawing machines and large-scale interactive installation
works. Oizumi works with the spaces in which his works are exhibited and sets up temporary
walkways and stages to invite the audience into the experience. His work is remarkable for the physicalmovement of its individual elements, best exempliﬁed by his drawing machines, and Oizumi has
garnered critical attention for his unique aesthetic designs and his intricate hand-made details createdby processing aluminum and acrylic.
Oizumiʼs recent solo exhibitions were held at Standing Pine（2020; Aichi, Japan）and N-Mark 5G（2019/2018; Aichi, Japan）.He also participated in group shows like Ars Electronica 2019（Linz, Austria）,
the Kobe Biennale 2007（Hyogo, Japan）,and others.

Highway landscape, 2019

movable bridge / BH 2.0, 2019

Courtesy of the artist20

André Komatsu

Hoda Afshar

Born 1978 in São Paulo, Brazil. Based in São Paulo, Brazil.

Born 1983 in Tehran, Iran. Based in Melbourne, Australia.

André Komatsu grew up with the 1990s Brazilian democratic revival and witnessed the introduction of
neo-liberal economic policies. In the context of these inﬂuences, his works question how people aroundthe world live and approach urban spaces and power. Curator Jacopo Crivelli Visconti: “André
Komatsuʼs views on the latent power and social conﬂict lurking virtually everywhere pervade hisworks. They aﬀect his thematic choices, and in a sense, are the true origin of his sculptures andinstallations. Many of his worksʼ titles are reminiscent of Michel Foucault, whose theory of the
microphysics of power is not only an inﬂuence on Andréʼs titles: you could say it lies at the very core of
his interests and worldview.”
Major exhibitions include Avenida Paulista（2017; Museu de Arte de São Paulo, Brazil）,the 56th Venice
Biennale, Pavilion of Brazil（2015; Italy）, and Beyond the Supersquare（2014; The Bronx Museum of theArts, New York, USA）.

Hoda Afshar explores the nature and possibilities of documentary image-making. Working acrossphotography and moving-image, the artist considers the representation of gender, marginality, anddisplacement. In her artworks, Afshar employs processes that disrupt traditional image-making
practices, play with the presentation of imagery, or merge aspects of conceptual, staged anddocumentary photography.
Recent exhibitions include WE CHANGE THE WORLD, National Gallery of Victoria; PHOTO 2021:
International Festival of Photography（Melbourne, Australia）; Between the Sun and the Moon, Lahore
Biennale 02（2020; Pakistan）; Defining Place/Space: Contemporary Photography from Australia, Museum of
Photographic Arts in San Diego（2019; California, USA）; and Primavera 2018: Young Australian Artists,
Museum of Contemporary Art Australia（Sydney）. In 2015 she received Australiaʼs National
Photographic Portrait Prize, National Portrait Gallery, and in 2018 she won the Bowness Photography
Prize, Monash Gallery of Art, Australia.

Phantom #7, 2017

Photo: Zhang Kai
Courtesy of Galleria Continua

Kaz Oshiro

Adachi Tomomi

Born 1967 in Okinawa, Japan. Based in Los Angeles, USA.

Born 1972 in Ishikawa, Japan. Based in Berlin, Germany.

After graduating high school, Kaz Oshiro moved to Los Angeles and received both his BA and MFAfrom California State University in 1998 and 2002, respectively. Oshiro references and expands uponartistic movements such as pop art, minimalism, and abstract expressionism, while investigating thetrue nature of painting and art through the lenses of various dichotomies, including sculpture/painting,abstraction/ﬁguration, and reality/illusion. He employs trompe l’oeil techniques to faithfully reproduce
cabinets, suitcases, amps, and steel beams on canvas, inviting confusion and intrigue in the viewer.
Oshiro continues to actively participate in solo and group presentations all over the world. In 2014, hissolo exhibition, Chasing Ghosts, was held at the Los Angeles County Museum of Art（California, USA）.

Adachi Tomomi is a performer, composer, sound poet, instrument builder, and visual artist. Known for
his versatile style, he has performed his own voice and electronics pieces, sound poetry, improvised
music and contemporary music works and also presented site-speciﬁc compositions, compositions forclassical instrumental ensembles, and choir pieces for untrained musicians around the world, including
Tate Modern（London, UK）, Maerzmusik（Berlin, Germany）, Hamburger Bahnhof Museum（Berlin,
Germany）, Centre Pompidou（Paris, France）and Poesiefestival Berlin（Germany）. He uses a wide
range of materials in his work, including self-made physical interfaces and instruments, artiﬁcial
intelligence, brain waves, artiﬁcial satellite, Twitter texts, fractures, and even paranormal phenomena.
He was a guest of the DAAD Artists-in-Berlin Program in 2012 and received the Award of Distinction
from Ars Electronica 2019（Linz, Austria）.

Orange Speaker Cabinets and Gray Scale Boxes, 2009
Photo: Naohiro Utagawa

Courtesy of MAKI Gallery

Kader Attia

Réfléchir la Mémoire（Reflecting Memory ）,2016© KaderAttia

Courtesy of the Artist, Collection MACVAL, France, Collection MAC Marseille, France,
Galleria Continua, Galerie Krinzinger, Lehmann Maupin and Galerie Nagel Draxler

Yokono Asuka paints a wide range of motifs in oils, including public buildings such as dams andhighways, and everyday objects such as pots and vases. She is interested in how people see things andfeel the space, which she expresses using the basic elements of painting: composition, touch, thelayering of paints and colors, and so on.
Recent exhibitions include Azamino Contemporary Vol.10 Reality in a Square, Yokohama Civic Art Gallery
Azamino（2019; Kanagawa, Japan）;SETO Contemporary Art Exhibition, Seto site building（2019; Aichi,
Japan）; combination, See Saw gallery + hibit（2018; Aichi, Japan）; and Inconvenient sight, GALLERY
ZERO（2018; Osaka, Japan）.

Oizumi Kazufumi

Born 1975 in Guadeloupe, France. Based in Berlin, Germany.

Born 1964 in Miyagi, Japan. Based in Aichi, Japan.

Reprise, 2010

Collection of Centre National des Arts Plastique, France
Courtesy of the artist; Stigter Van Doesburg, Amsterdam; and Tanya Leighton, Berlinand Los Angeles.

19

cf. Performing Arts ▶ p.45

3D Printed Texts, 2017

Born 1987 in Aichi, Japan. Based in Aichi, Japan.

Jimmy Robert
Jimmy Robert's work explores the politics of spectatorship by reworking seminal avant-garde
performances in ways that complicate their racial and gendered readings. Placing the identity andrepresentation of the black body at the center of his approach since the early 2000s, it is often the bodyand voice of the artist himself that are presented, in installations mixing writing, poetry, dance,
movement and images.
Robert, trained in visual arts at Goldsmiths in London and the Rijksakademie in Amsterdam, has
exhibited at WIELS in Brussels, Palais de Tokyo in Paris, and the Yokohama Triennale（2008; Japan）.
Recent solo exhibitions and performances include KW Institute for Contemporary Art（2019; Germany）,
Museum M（2015; Belgium）,The Power Plant（2013 ; Canada）,Museum of Contemporary Art Chicago（2012; USA）, Jeu de Paume（2012; France）and Center for Contemporary Art, Kitakyushu（2009 ;Japan）. Robert was the subject of a mid-career survey at Nottingham Contemporary in 2020.The
exhibition traveled to Museion Bolzano（Italy）and CRAC Occitanie（France）in 2021.

© the artist and Milani Gallery

Yokono Asuka

Born 1970 in Dugny, France. Based in Berlin, Germany.

Kader Attia is an artist who explores the wide-ranging eﬀects of Western cultural hegemony andcolonialism. Central to his inquiry are the concepts of injury and repair, which he uses to connect
diverse bodies of knowledge, including architecture, music, psychoanalysis, medical science, andtraditional healing and spiritual beliefs. Throughout his multimedia practice ̶ranging from sculpture to
ﬁlm installation̶reparation does not mark a return to an intact state, but instead makes visible theimmaterial scars of psychic injury. This approach is informed by Attiaʼs experience of growing up
between Algeria and the banlieue suburbs of Paris that are home to large immigrant populations.

Remain, 2018

Since 1991, in addition to producing three-dimensional computer models of unbuilt architecture, Oizumi
Kazufumi has also been creating automated drawing machines and large-scale interactive installation
works. Oizumi works with the spaces in which his works are exhibited and sets up temporary
walkways and stages to invite the audience into the experience. His work is remarkable for the physicalmovement of its individual elements, best exempliﬁed by his drawing machines, and Oizumi has
garnered critical attention for his unique aesthetic designs and his intricate hand-made details createdby processing aluminum and acrylic.
Oizumiʼs recent solo exhibitions were held at Standing Pine（2020; Aichi, Japan）and N-Mark 5G（2019/2018; Aichi, Japan）.He also participated in group shows like Ars Electronica 2019（Linz, Austria）,
the Kobe Biennale 2007（Hyogo, Japan）,and others.

Highway landscape, 2019

movable bridge / BH 2.0, 2019

Courtesy of the artist

20Diedrick Brackens

Marcel Broodthaers

Born 1989 in Mexia, USA. Based in Los Angeles, USA.

Born in 1924 in Brussels, Belgium; lived and worked in Brussels, Belgium/ Düsseldorf, Berlin, Germany/ London, UK;died in 1976 in Cologne, Germany.

Marcel Broodthaers worked mainly as poet until 1963, when, for the last twelve years of his life, hestarted producing a varied, elusive, for future generations of artists highly inﬂuential body of work. His
practice can be linked with major trends and movements of 1960s and 1970s such as Pop Art orConceptual Art, but above all, he playfully exposed the myth of museumsʼ neutrality, which instead isdetermined by rules and protocols towards which the arts automatically relate. From 1969, Broodthaers
started setting up his own museum departments, which he showed in various exhibitions andinstitutions in Europe. His art generally explored the nature and meaning of language, word and image,and rhetoric, and encompasses poetry, writing, ﬁlm, photography, slides, drawing, painting, andsculpture.
Broodthaersʼ work has been shown at Documenta 5（1972; Kassel, Germany）,7（1982）,10（1997）,and
at the Venice Biennial（2015, 1980, 1978, and 1976; Italy）. A recent retrospective was held at theMuseum of Modern Art, New York（2016; USA）and traveled to the Museo Nacional Centro de Arte
Reina Soﬁa（2016; Madrid, Spain）ending at the Kunstsammlung Nordrhein-Westfalen（2017; Düsseldorf,
Germany）.

21

Entrance to the Exhibition（L’entrée de l’exposition）,1974
View of the entrance of the exhibition Catalogue-Catalogus, Palais des Beaux-Arts, Brussels
Photo: Philippe De Gobert Copyright Estate Marcel Broodthaers

Diedrick Brackens is best known for his woven tapestries that explore allegory and narrative throughthe artistʼs autobiography, broader themes of African American and queer identity, as well as American
history. Brackens employs techniques from West African weaving, quilting from the American Southand European tapestry-making to create both abstract and ﬁgurative works. Often depicting momentsof male tenderness, Brackens culls from African and African American literature, poetry and folklore assource. Beginning his process through the hand-dyeing of cotton, a material he deliberately uses inacknowledgement of its brutal history, Brackensʼ oeuvre presents rich, nuanced visions of African
American life and identity, while also alluding to the complicated histories of labor and migration.
Brackens utilizes both commercial dyes and atypical pigments such as wine, tea and bleach to create
his vibrant, intricately-woven tapestries that investigate historical gaps, interlacing the present with his
singular magical realist worldview.
Brackens has had a number of solo and group exhibitions, including Diedrick Brackens: Ark of Bulrushes,
Scottsdale Museum of Contemporary Art（2021; USA）and Diedrick Brackens: darling divined , New
Museum（2019; New York, USA）.

Diemut Strebe

Momose Aya

Born 1982 in Berlin, Germany. Based in Boston, USA.

Born 1988 in Tokyo, Japan. Based in Tokyo, Japan.

Diemut Strebe is a German-born, US based artist who recently completed the Ida Ely Rubin Artist in
Residence at the MIT Center for Art, Science & Technology. She works on the intersection of art andscience to address contemporary issues, which often involve topics that relate to philosophy andliterature. Her artworks are heterogeneous in their appearance and unique in each single conceptual
approach, due to the diversity of the strands in science she works with. They show a broad, yet
profound interest in the variety of disciplines in science seen through the aesthetic and artistic lens. In
working with those subjects, she aﬃrms the Romantic paradigm of “the new” as well as the avant-garde
ambitions of modern art. She works with leading scientists at research institutions such as MIT,Harvard University, Columbia University, NASA, The Roslin Institute of Edinburgh and others.

By employing a self-referential methodology that reconsiders the structure of the moving image via themoving image itself, Momose Ayaʼs work deals with the multi-layered complexity of communication
with the other. Focusing on bodies appearing in moving images, her recent practice further questions
sexuality and gender. Momoseʼs solo exhibitions include I.C.A.N.S.E.E.Y.O.U, EFAG East Factory Art
Gallery（2020 ; Tokyo, Japan）and Voice Samples , Yokohama Museum of Art Art Gallery 1（2014 ;Kanagawa, Japan）. Selected group shows include Listen to Her Song, The University Art Museum,
Tokyo University of the Arts（2020 ; Japan）; Roppongi Crossing 2016: My Body, Your Voice, Mori Art
Museum（2016; Tokyo, Japan）;and Artist File 2015 Next Doors: Contemporary Artists in Japan and Korea,presented at National Art Center（2015 ; Tokyo, Japan）and National Museum of Modern andContemporary Art, Korea（2016 ; Gwacheon）. In 2017, she stayed in New York as an Asian Cultural
Council Fellow.

EL TURCO, 2022

Diemut Strebe in collaboration with Steve DiPaola and Gary Marcus（Scientists）
Image Credits: Courtesy of the Artist Diemut Strebe in collaboration with Steve DiPaola

Liliana Angulo Cortés

Born 1984 in Liverpool, UK. Based in London, UK and Amsterdam, the Netherlands.

Born 1974 in Bogotá, Colombia. Based in Bogotá, Colombia.

Recent solo exhibitions of her work include Symptom Machine, SCAD Museum of Art（2021; Savannah,USA）; Screens Series: Kate Cooper, New Museum（2020; New York, USA）; Symptom Machine, Hayward
Gallery（2019; London UK）; and Sensory Primer, A Tale of a Tub（2019; Rotterdam, the Netherlands）.
Cooperʼs work has been shown in group exhibitions at the Taipei Fine Arts Museum（2021; Taiwan）,
the 2021 New Museum Triennial（New York, USA）, the Kunsthalle Düsseldorf（2021; Germany）, thePalais de Tokyo（2020; Paris, France）, the University of Michigan Museum of Art（2019; Ann Arbor,USA）,the Stedelijk Museum（2018; Amsterdam, the Netherlands）,and the Institute of Contemporary
Art（2018; Boston, USA）.

Artist of African descent. Liliana Angulo Cortés graduated from the National University of Colombia
and has a Master of Fine Arts from the University of Illinois at Chicago. She has worked in diﬀerent
regions of the African diaspora, seeking to contribute to the struggles of Afro-descendantcommunities through collective strategies and a critical art practice.
She explores memory and power from questions of representation, identity, and discourses of raceand post-development. She investigates these issues using the body, the image, and the experiences ofparticipants in projects relating to matters of gender, ethnicity, language, history, and politics. Her
artistic practice encompasses multiple media, performative practices, cultural traditions, historicalreparations, and collaborative work with social organizations. She has had solo and group exhibitions
in Colombia and internationally. Understanding artistic practice as integral, she works in all
dimensions of the artistic ﬁeld. She has worked with the Culture Sector for the city of Bogotá.

Image courtesy of the artist

Sasamoto Aki

Mohammed Sami

Born 1980 Kanagawa, Japan. Based in New York, USA.

Born 1984 in Bagdad, Iraq. Based in London, UK.

Sasamoto Aki is a New York-based, Japanese artist, who works in performance, sculpture, dance, andvideo. Her works have been shown both in performing art and visual art venues in New York andabroad. She frequently collaborates with musicians, choreographers, scientists and scholars, and plays
multiple roles as dancer, sculptor and director in her own projects as well as those of other artists.
Currently, Sasamoto works as an Assistant Professor in Sculpture, the Yale School of Art.
Sasamoto's performance/installation works revolve around gestures on nothing and everything. Her
installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her
improvisational performances create feedback, responding to sound, objects, and moving bodies. The
constructed stories seem personal at ﬁrst, yet oddly open to variant degrees of access, relation, and reﬂection.
Her exhibitions include the solo show Delicate Cycle at SculptureCenter（2016; New York, USA）, andgroup exhibitions such as Travelers: Stepping into the Unknown– NMAO's 40th Anniversary Exhibition at
The National Museum of Art, Osaka（2018; Japan）and the Whitney Biennial 2010（Whitney Museum of
American Art, New York, USA）.

Mohammed Sami studied drawing and painting at the Institute of Fine Arts, Baghdad, Iraq in 2005. He
immigrated to Sweden in 2007. Later, in 2015, he earned a ﬁrst-class honours degree from Ulster
Universityʼs Belfast School of Art, Northern Ireland, UK. He completed his masterʼs degree in ﬁne art at
Goldsmiths College, London, UK, in 2018.
Mohammed Sami approaches painting as an allegorical representation against the striking image of
conﬂict and violence. His paintings explore belated memories triggered by common everyday objects
and the banal, from when he immigrated to Sweden as a refugee from his native Iraq.

random memo random, 2017
© Aki Sasamoto

Courtesy of Take Ninagawa, Tokyo© Diedrick Brackens. Courtesy of the artist, Jack Shainman Gallery,
New York and Various Small Fires, Los Angeles.

cf. Performing Arts ▶ p.47

Kate Cooper

Infection Drivers, 2018

summer somewhere（for Danez）,2020 Private collection, New York, NY.

Jokanaan, 2019

Collection of Aichi Prefectural Museum of Art"Porters Wigs” series from the project Un negro es un negro, 1997-2001

Courtesy of the artist

Refugee Camp, 2020

Courtesy of the artist and Modern Art, London

22Diedrick Brackens

Marcel Broodthaers

Born 1989 in Mexia, USA. Based in Los Angeles, USA.

Born in 1924 in Brussels, Belgium; lived and worked in Brussels, Belgium/ Düsseldorf, Berlin, Germany/ London, UK;died in 1976 in Cologne, Germany.

Marcel Broodthaers worked mainly as poet until 1963, when, for the last twelve years of his life, hestarted producing a varied, elusive, for future generations of artists highly inﬂuential body of work. His
practice can be linked with major trends and movements of 1960s and 1970s such as Pop Art orConceptual Art, but above all, he playfully exposed the myth of museumsʼ neutrality, which instead isdetermined by rules and protocols towards which the arts automatically relate. From 1969, Broodthaers
started setting up his own museum departments, which he showed in various exhibitions andinstitutions in Europe. His art generally explored the nature and meaning of language, word and image,and rhetoric, and encompasses poetry, writing, ﬁlm, photography, slides, drawing, painting, andsculpture.
Broodthaersʼ work has been shown at Documenta 5（1972; Kassel, Germany）,7（1982）,10（1997）,and
at the Venice Biennial（2015, 1980, 1978, and 1976; Italy）. A recent retrospective was held at theMuseum of Modern Art, New York（2016; USA）and traveled to the Museo Nacional Centro de Arte
Reina Soﬁa（2016; Madrid, Spain）ending at the Kunstsammlung Nordrhein-Westfalen（2017; Düsseldorf,
Germany）.

21

Entrance to the Exhibition（L’entrée de l’exposition）,1974
View of the entrance of the exhibition Catalogue-Catalogus, Palais des Beaux-Arts, Brussels
Photo: Philippe De Gobert Copyright Estate Marcel Broodthaers

Diedrick Brackens is best known for his woven tapestries that explore allegory and narrative throughthe artistʼs autobiography, broader themes of African American and queer identity, as well as American
history. Brackens employs techniques from West African weaving, quilting from the American Southand European tapestry-making to create both abstract and ﬁgurative works. Often depicting momentsof male tenderness, Brackens culls from African and African American literature, poetry and folklore assource. Beginning his process through the hand-dyeing of cotton, a material he deliberately uses inacknowledgement of its brutal history, Brackensʼ oeuvre presents rich, nuanced visions of African
American life and identity, while also alluding to the complicated histories of labor and migration.
Brackens utilizes both commercial dyes and atypical pigments such as wine, tea and bleach to create
his vibrant, intricately-woven tapestries that investigate historical gaps, interlacing the present with his
singular magical realist worldview.
Brackens has had a number of solo and group exhibitions, including Diedrick Brackens: Ark of Bulrushes,
Scottsdale Museum of Contemporary Art（2021; USA）and Diedrick Brackens: darling divined , New
Museum（2019; New York, USA）.

Diemut Strebe

Momose Aya

Born 1982 in Berlin, Germany. Based in Boston, USA.

Born 1988 in Tokyo, Japan. Based in Tokyo, Japan.

Diemut Strebe is a German-born, US based artist who recently completed the Ida Ely Rubin Artist in
Residence at the MIT Center for Art, Science & Technology. She works on the intersection of art andscience to address contemporary issues, which often involve topics that relate to philosophy andliterature. Her artworks are heterogeneous in their appearance and unique in each single conceptual
approach, due to the diversity of the strands in science she works with. They show a broad, yet
profound interest in the variety of disciplines in science seen through the aesthetic and artistic lens. In
working with those subjects, she aﬃrms the Romantic paradigm of “the new” as well as the avant-garde
ambitions of modern art. She works with leading scientists at research institutions such as MIT,Harvard University, Columbia University, NASA, The Roslin Institute of Edinburgh and others.

By employing a self-referential methodology that reconsiders the structure of the moving image via themoving image itself, Momose Ayaʼs work deals with the multi-layered complexity of communication
with the other. Focusing on bodies appearing in moving images, her recent practice further questions
sexuality and gender. Momoseʼs solo exhibitions include I.C.A.N.S.E.E.Y.O.U, EFAG East Factory Art
Gallery（2020 ; Tokyo, Japan）and Voice Samples , Yokohama Museum of Art Art Gallery 1（2014 ;Kanagawa, Japan）. Selected group shows include Listen to Her Song, The University Art Museum,
Tokyo University of the Arts（2020 ; Japan）; Roppongi Crossing 2016: My Body, Your Voice, Mori Art
Museum（2016; Tokyo, Japan）;and Artist File 2015 Next Doors: Contemporary Artists in Japan and Korea,presented at National Art Center（2015 ; Tokyo, Japan）and National Museum of Modern andContemporary Art, Korea（2016 ; Gwacheon）. In 2017, she stayed in New York as an Asian Cultural
Council Fellow.

EL TURCO, 2022

Diemut Strebe in collaboration with Steve DiPaola and Gary Marcus（Scientists）
Image Credits: Courtesy of the Artist Diemut Strebe in collaboration with Steve DiPaola

Liliana Angulo Cortés

Born 1984 in Liverpool, UK. Based in London, UK and Amsterdam, the Netherlands.

Born 1974 in Bogotá, Colombia. Based in Bogotá, Colombia.

Recent solo exhibitions of her work include Symptom Machine, SCAD Museum of Art（2021; Savannah,USA）; Screens Series: Kate Cooper, New Museum（2020; New York, USA）; Symptom Machine, Hayward
Gallery（2019; London UK）; and Sensory Primer, A Tale of a Tub（2019; Rotterdam, the Netherlands）.
Cooperʼs work has been shown in group exhibitions at the Taipei Fine Arts Museum（2021; Taiwan）,
the 2021 New Museum Triennial（New York, USA）, the Kunsthalle Düsseldorf（2021; Germany）, thePalais de Tokyo（2020; Paris, France）, the University of Michigan Museum of Art（2019; Ann Arbor,USA）,the Stedelijk Museum（2018; Amsterdam, the Netherlands）,and the Institute of Contemporary
Art（2018; Boston, USA）.

Artist of African descent. Liliana Angulo Cortés graduated from the National University of Colombia
and has a Master of Fine Arts from the University of Illinois at Chicago. She has worked in diﬀerent
regions of the African diaspora, seeking to contribute to the struggles of Afro-descendantcommunities through collective strategies and a critical art practice.
She explores memory and power from questions of representation, identity, and discourses of raceand post-development. She investigates these issues using the body, the image, and the experiences ofparticipants in projects relating to matters of gender, ethnicity, language, history, and politics. Her
artistic practice encompasses multiple media, performative practices, cultural traditions, historicalreparations, and collaborative work with social organizations. She has had solo and group exhibitions
in Colombia and internationally. Understanding artistic practice as integral, she works in all
dimensions of the artistic ﬁeld. She has worked with the Culture Sector for the city of Bogotá.

Image courtesy of the artist

Sasamoto Aki

Mohammed Sami

Born 1980 Kanagawa, Japan. Based in New York, USA.

Born 1984 in Bagdad, Iraq. Based in London, UK.

Sasamoto Aki is a New York-based, Japanese artist, who works in performance, sculpture, dance, andvideo. Her works have been shown both in performing art and visual art venues in New York andabroad. She frequently collaborates with musicians, choreographers, scientists and scholars, and plays
multiple roles as dancer, sculptor and director in her own projects as well as those of other artists.
Currently, Sasamoto works as an Assistant Professor in Sculpture, the Yale School of Art.
Sasamoto's performance/installation works revolve around gestures on nothing and everything. Her
installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her
improvisational performances create feedback, responding to sound, objects, and moving bodies. The
constructed stories seem personal at ﬁrst, yet oddly open to variant degrees of access, relation, and reﬂection.
Her exhibitions include the solo show Delicate Cycle at SculptureCenter（2016; New York, USA）, andgroup exhibitions such as Travelers: Stepping into the Unknown– NMAO's 40th Anniversary Exhibition at
The National Museum of Art, Osaka（2018; Japan）and the Whitney Biennial 2010（Whitney Museum of
American Art, New York, USA）.

Mohammed Sami studied drawing and painting at the Institute of Fine Arts, Baghdad, Iraq in 2005. He
immigrated to Sweden in 2007. Later, in 2015, he earned a ﬁrst-class honours degree from Ulster
Universityʼs Belfast School of Art, Northern Ireland, UK. He completed his masterʼs degree in ﬁne art at
Goldsmiths College, London, UK, in 2018.
Mohammed Sami approaches painting as an allegorical representation against the striking image of
conﬂict and violence. His paintings explore belated memories triggered by common everyday objects
and the banal, from when he immigrated to Sweden as a refugee from his native Iraq.

random memo random, 2017
© Aki Sasamoto

Courtesy of Take Ninagawa, Tokyo© Diedrick Brackens. Courtesy of the artist, Jack Shainman Gallery,
New York and Various Small Fires, Los Angeles.

cf. Performing Arts ▶ p.47

Kate Cooper

Infection Drivers, 2018

summer somewhere（for Danez）,2020 Private collection, New York, NY.

Jokanaan, 2019

Collection of Aichi Prefectural Museum of Art"Porters Wigs” series from the project Un negro es un negro, 1997-2001

Courtesy of the artist

Refugee Camp, 2020

Courtesy of the artist and Modern Art, London

22

Han Ishu

ARAKAWA and Madeline Gins

Born 1987 in Shanghai, China. Based in Tokyo, Japan.

ARAKAWA Born in 1936 in Aichi, Japan; lived and worked in New York, USA; died in 2010 in New York, USA.
Madeline Gins Born in 1941 in New York, USA; lived and worked in New York, USA; died in 2014 in New York, USA.

Moving from Shanghai to Aomori at a young age sparked Han Ishuʼs interest in interrogating theinvisible relationships between land and people, and between community and individuals, that havearisen in diﬀerent environments. Using his body as a focal point, he works in various media, including
video, performance, installation, and photography.
Han has exhibited at institutions across Japan, such as the Art Tower Mito, Hirosaki Museum ofContemporary Art, and the Museum of Contemporary Art, Tokyo. His international exhibitions include
shows at Museum of Fine Arts, Boston（USA）,The Jewish Museum（New York, USA）,and Museumof Contemporary Art Shanghai（China）,and he has participated in artist residencies in Australia andthe USA. He won the Grand Prix at the Nissan Art Award 2020.

The Day Spinaches Dream in Japanese, 2020, Kobe Art Village Center, Japan

Photo：Nobutada Omote

Shwe Wutt Hmonin collaboration with Kyi Kyi Thar

The artist ARAKAWA and the poet Madeline Gins collaborated as “coordinologists”, a term they coined
to describe creators unifying the ﬁeld of philosophy, art, and science. From his early sculptures todiagram paintings, and later in architecture together with Gins, Arakawa continually searched forvarious ways to perceive the world by creating environments centered around the body. Along with
their major works The Mechanism of Meaning（1963‒）and The Bridge of Reversible Destiny（1973 ‒ 89）,
Arakawa and Madeline Gins are known for their architectural works Ubiquitous Site, Nagi’s Ryoanji,Architectural Body at the Nagi Museum of Contemporary Art, Okayama（1994）, Site of Reversible
Destiny—Yoro, Gifu（1995）, and Reversible Destiny Lofts — Mitaka（In Memory of Helen Keller）, Tokyo（2005）,among others.
Major exhibitions include: The Exhibition of Shusaku Arakawa（1979 ; The Seibu Museum of Art, Tokyo）;
Constructing the Perceiver — Arakawa: Experimental Works（toured Japan in 1991‒ 92 ; The National
Museum of Modern Art, Tokyo, etc.）, Reversible Destiny—Arakawa/Gins（1997; Guggenheim Museum,
New York, USA）.

The Process in Question/Bridge of Reversible Destiny, 1973 - 89
Photo: Norihiro Ueno

©2016 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins.

Mary Dhapalany
Born 1950 in Gulpilil, Australia. Ramingining, Australia.

Born 1986 in Yangon, Myanmar. Based in Chiang Mai, Thailand.

Shwe Wutt Hmon is a Burmese photographer and artist whose works focus on feminism, collective
identity, human relationships, exploring mental health, and telling intimate stories of people and places thatare close to her heart, using photography as her main medium and incorporating videos, texts, poems,
paintings and drawings of her own or the result of collaborating with others.
A collaborative journey with the artist's sister Kyi Kyi Thar, Noise and Cloud and Us includes photographic
and mixed media work. It explores trauma, empathy, and kinship, emerging out of personal experiencecaring for a loved one struggling with mental illness, aﬀected by the pandemic and the political climate.
Shwe is the recipent of respected art and photography awards including the Objectifs DocumentaryAward 2020（Open Category）and the Julius Baer Next Generation Art Prize. Her works have been
exhibited in art spaces and festivals in Myanmar, Thailand, Singapore, Bangladesh, India, and Switzerland.

Collection of Shwe Wutt Hmon and Kyi Kyi Thar
Courtesy of the artist

Kodera Yoshikazu

Byron Kim

Born 1957 in Aichi, Japan. Based in Aichi, Japan.

Born 1961 in San Diego, USA. Based in New York, USA.

Kodera Yoshikazu has been creating ceramic art for almost forty years while living in a welfare
institution. He started his long-running series of bomb-shaped works after being deeply shocked by war
news footage. His Bakudan（“Bombs”）series are remarkable for conveying an attitude of bold humor
rather than mere dread. The pieces feature holes and bumps that make them look akin to tree roots ormarine lifeforms. Kodera Yoshikazu participated in each edition of Inochi no Geijutsu Fleur（“Art of Life
Fleur”）（1999-2008; Aichi, Japan）,an annual exhibition organized by the NPO Fleur. In 2016 and 2017,
he won the Nagoya City Welfare Associationʼs Chairman Award of the open call exhibition Fureai Art
Exhibition（2008 ‒ ; Aichi, Japan）,hosted by the Aichi Prefecture Assisted Living Association, and theGrand Prize in 2018. His works have been repeatedly selected for the Aichi Art Brut Superior Works
exhibition（2014 ‒ ; Japan）.

Byron Kim often works in an area one might call the abstract sublime. His work sits at the threshold of
abstraction and representation, between conceptualism and pure painting. His ongoing series of “Sunday
Paintings,” in which he records the appearance of the sky every week, continually contrasts the cosmos
with the artistʼs life, vast and small and always changing. The “Sunday Paintings,” which number over a
thousand works and have endured over 20 years, are very much inﬂuenced by On Kawaraʼs Date
Paintings from his Today series（1966-2013）as well as his I Got Up postcards（1968-1979）.
Kim is perhaps best known for his ongoing painting Synecdoche, which was included in the 1993 Whitney
Biennial（now in the collection of the National Gallery in Washington, D.C., USA）.Comprising a grid of
hundreds of panels depicting human skin color, Synecdoche is both an abstract monochrome and a group
portrait.

Bakudan（“Bombs”）,Production year unknown

Photo: Kido Tamotsu

mirukusouko（Milk Warehouse）+The Coconuts

Abdoulaye Konaté

Formed 2015 in Tokyo, Japan.
Based in Tokyo Japan.
Members: Naotaka Miyazaki（b. 1974）,Naoki Matsumoto（b. 1982）,Kota Sakagawa（b. 1976）,Eisuke Shinozaki（b. 1980）,
Takuma Nishihama（b. 1978）, Zenichi Tanakamaru（b. 1984）,Hiroaki Takiguchi（1974‒2016）

Born 1953 in Diré, Mali. Based in Bamako, Mali.

mirukusouko（Milk Warehouse）was formed in 2009. The artist unit Coconuts joined in 2015 and now
there are seven members working together as mirukusouko + The Coconuts.
With each member possessing specialized skills, in areas such as architectural design, electricalinstallation technology, music, and editorial design, the group operates much like a medieval guild,drawing no boundaries between artists and technicians. Their works are characterized by thediscovery of potential functions of things and inspired by connections between tools and the body. From2011 to 2016, they ran the alternative space "milkyeast" in Hatchobori, Tokyo, where exhibitions andevents were held.
Major exhibitions include TIMELINE: Multiple measures to touch time, The Kyoto University Museum（2019; Japan）,and Plans for TOKYO 2019 vol. 4 scratch tonguetable, gallery αM（2019; Tokyo, Japan）.

23

Noise and Cloud and Us, 2021

Mary Dhapalany is a proud Mandhalpuy woman who has been a practicing artist for four decades, andher weaving artwork is representative of traditional craft passed down through generations of women
weavers in her family. The artist in her 70s uses natural dyes, extracted from earth pigment or plantroots, to color the pandanus leaf（gunga）used in her work. Maryʼs artwork is held in numerous
collections, including those of the National Gallery of Victoria（Melbourne, Australia）,Artbank（Sydney,
Australia）and The University of Chicago Booth School of Business（USA）.

scratch tonguetable, 2019, Plans for TOKYO 2019 vol.4 mirukusouko + The Coconuts
scratch tonguetable, gallery αM [Curated by Yabumae Tomoko]
Photo: Kenji Morita

Abdoulaye Konaté creates large-scale textile installations using woven and dyed clothes, materials
originating from his homeland, Mali, and from other countries of the world. Konaté's abstract andﬁgurative tableaux explore both aesthetic language and various socio-political and environmental issues.
Referencing the West African tradition of using textiles as a means of communication, the artist
balances global issues with an intimate reference to his own life and country. His work often questions
the ways in which societies and individuals have been aﬀected by such factors as war, struggle forpower, religion, globalization, ecological change and AIDS.
He has participated in biennials such as 57th Venice Biennale（2017; Italy）and documenta 12（2007;
Kassel, Germany）. His works have been shown internationally including solo exhibition at Arken
Museum for Moderne Kunst（2016; Copenhagen, Denmark）,group exhibitions at National Museum of
African Art, Smithsonian Institute（2015; Washington D.C., USA）, Centre Georges Pompidou（2007;
Paris, France）,Mori Art Museum（2007; Tokyo, Japan）and others.

Mat, 2020

Courtesy of BulaʼBula Arts

Installation view of Sunday Paintings, 1/7/01 to 2/11/18
January 5‒February 17, 2018

Courtesy of the artist and James Cohan

A kite for the children of my country, 2019

Courtesy of the artist, Primo Marella Gallery and STANDING PINE

24

Han Ishu

ARAKAWA and Madeline Gins

Born 1987 in Shanghai, China. Based in Tokyo, Japan.

ARAKAWA Born in 1936 in Aichi, Japan; lived and worked in New York, USA; died in 2010 in New York, USA.
Madeline Gins Born in 1941 in New York, USA; lived and worked in New York, USA; died in 2014 in New York, USA.

Moving from Shanghai to Aomori at a young age sparked Han Ishuʼs interest in interrogating theinvisible relationships between land and people, and between community and individuals, that havearisen in diﬀerent environments. Using his body as a focal point, he works in various media, including
video, performance, installation, and photography.
Han has exhibited at institutions across Japan, such as the Art Tower Mito, Hirosaki Museum ofContemporary Art, and the Museum of Contemporary Art, Tokyo. His international exhibitions include
shows at Museum of Fine Arts, Boston（USA）,The Jewish Museum（New York, USA）,and Museumof Contemporary Art Shanghai（China）,and he has participated in artist residencies in Australia andthe USA. He won the Grand Prix at the Nissan Art Award 2020.

The Day Spinaches Dream in Japanese, 2020, Kobe Art Village Center, Japan

Photo：Nobutada Omote

Shwe Wutt Hmonin collaboration with Kyi Kyi Thar

The artist ARAKAWA and the poet Madeline Gins collaborated as “coordinologists”, a term they coined
to describe creators unifying the ﬁeld of philosophy, art, and science. From his early sculptures todiagram paintings, and later in architecture together with Gins, Arakawa continually searched forvarious ways to perceive the world by creating environments centered around the body. Along with
their major works The Mechanism of Meaning（1963‒）and The Bridge of Reversible Destiny（1973 ‒ 89）,
Arakawa and Madeline Gins are known for their architectural works Ubiquitous Site, Nagi’s Ryoanji,Architectural Body at the Nagi Museum of Contemporary Art, Okayama（1994）, Site of Reversible
Destiny—Yoro, Gifu（1995）, and Reversible Destiny Lofts — Mitaka（In Memory of Helen Keller）, Tokyo（2005）,among others.
Major exhibitions include: The Exhibition of Shusaku Arakawa（1979 ; The Seibu Museum of Art, Tokyo）;
Constructing the Perceiver — Arakawa: Experimental Works（toured Japan in 1991‒ 92 ; The National
Museum of Modern Art, Tokyo, etc.）, Reversible Destiny—Arakawa/Gins（1997; Guggenheim Museum,
New York, USA）.

The Process in Question/Bridge of Reversible Destiny, 1973 - 89
Photo: Norihiro Ueno

©2016 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins.

Mary Dhapalany
Born 1950 in Gulpilil, Australia. Ramingining, Australia.

Born 1986 in Yangon, Myanmar. Based in Chiang Mai, Thailand.

Shwe Wutt Hmon is a Burmese photographer and artist whose works focus on feminism, collective
identity, human relationships, exploring mental health, and telling intimate stories of people and places thatare close to her heart, using photography as her main medium and incorporating videos, texts, poems,
paintings and drawings of her own or the result of collaborating with others.
A collaborative journey with the artist's sister Kyi Kyi Thar, Noise and Cloud and Us includes photographic
and mixed media work. It explores trauma, empathy, and kinship, emerging out of personal experiencecaring for a loved one struggling with mental illness, aﬀected by the pandemic and the political climate.
Shwe is the recipent of respected art and photography awards including the Objectifs DocumentaryAward 2020（Open Category）and the Julius Baer Next Generation Art Prize. Her works have been
exhibited in art spaces and festivals in Myanmar, Thailand, Singapore, Bangladesh, India, and Switzerland.

Collection of Shwe Wutt Hmon and Kyi Kyi Thar
Courtesy of the artist

Kodera Yoshikazu

Byron Kim

Born 1957 in Aichi, Japan. Based in Aichi, Japan.

Born 1961 in San Diego, USA. Based in New York, USA.

Kodera Yoshikazu has been creating ceramic art for almost forty years while living in a welfare
institution. He started his long-running series of bomb-shaped works after being deeply shocked by war
news footage. His Bakudan（“Bombs”）series are remarkable for conveying an attitude of bold humor
rather than mere dread. The pieces feature holes and bumps that make them look akin to tree roots ormarine lifeforms. Kodera Yoshikazu participated in each edition of Inochi no Geijutsu Fleur（“Art of Life
Fleur”）（1999-2008; Aichi, Japan）,an annual exhibition organized by the NPO Fleur. In 2016 and 2017,
he won the Nagoya City Welfare Associationʼs Chairman Award of the open call exhibition Fureai Art
Exhibition（2008 ‒ ; Aichi, Japan）,hosted by the Aichi Prefecture Assisted Living Association, and theGrand Prize in 2018. His works have been repeatedly selected for the Aichi Art Brut Superior Works
exhibition（2014 ‒ ; Japan）.

Byron Kim often works in an area one might call the abstract sublime. His work sits at the threshold of
abstraction and representation, between conceptualism and pure painting. His ongoing series of “Sunday
Paintings,” in which he records the appearance of the sky every week, continually contrasts the cosmos
with the artistʼs life, vast and small and always changing. The “Sunday Paintings,” which number over a
thousand works and have endured over 20 years, are very much inﬂuenced by On Kawaraʼs Date
Paintings from his Today series（1966-2013）as well as his I Got Up postcards（1968-1979）.
Kim is perhaps best known for his ongoing painting Synecdoche, which was included in the 1993 Whitney
Biennial（now in the collection of the National Gallery in Washington, D.C., USA）.Comprising a grid of
hundreds of panels depicting human skin color, Synecdoche is both an abstract monochrome and a group
portrait.

Bakudan（“Bombs”）,Production year unknown

Photo: Kido Tamotsu

mirukusouko（Milk Warehouse）+The Coconuts

Abdoulaye Konaté

Formed 2015 in Tokyo, Japan.
Based in Tokyo Japan.
Members: Naotaka Miyazaki（b. 1974）,Naoki Matsumoto（b. 1982）,Kota Sakagawa（b. 1976）,Eisuke Shinozaki（b. 1980）,
Takuma Nishihama（b. 1978）, Zenichi Tanakamaru（b. 1984）,Hiroaki Takiguchi（1974‒2016）

Born 1953 in Diré, Mali. Based in Bamako, Mali.

mirukusouko（Milk Warehouse）was formed in 2009. The artist unit Coconuts joined in 2015 and now
there are seven members working together as mirukusouko + The Coconuts.
With each member possessing specialized skills, in areas such as architectural design, electricalinstallation technology, music, and editorial design, the group operates much like a medieval guild,drawing no boundaries between artists and technicians. Their works are characterized by thediscovery of potential functions of things and inspired by connections between tools and the body. From2011 to 2016, they ran the alternative space "milkyeast" in Hatchobori, Tokyo, where exhibitions andevents were held.
Major exhibitions include TIMELINE: Multiple measures to touch time, The Kyoto University Museum（2019; Japan）,and Plans for TOKYO 2019 vol. 4 scratch tonguetable, gallery αM（2019; Tokyo, Japan）.

23

Noise and Cloud and Us, 2021

Mary Dhapalany is a proud Mandhalpuy woman who has been a practicing artist for four decades, andher weaving artwork is representative of traditional craft passed down through generations of women
weavers in her family. The artist in her 70s uses natural dyes, extracted from earth pigment or plantroots, to color the pandanus leaf（gunga）used in her work. Maryʼs artwork is held in numerous
collections, including those of the National Gallery of Victoria（Melbourne, Australia）,Artbank（Sydney,
Australia）and The University of Chicago Booth School of Business（USA）.

scratch tonguetable, 2019, Plans for TOKYO 2019 vol.4 mirukusouko + The Coconuts
scratch tonguetable, gallery αM [Curated by Yabumae Tomoko]
Photo: Kenji Morita

Abdoulaye Konaté creates large-scale textile installations using woven and dyed clothes, materials
originating from his homeland, Mali, and from other countries of the world. Konaté's abstract andﬁgurative tableaux explore both aesthetic language and various socio-political and environmental issues.
Referencing the West African tradition of using textiles as a means of communication, the artist
balances global issues with an intimate reference to his own life and country. His work often questions
the ways in which societies and individuals have been aﬀected by such factors as war, struggle forpower, religion, globalization, ecological change and AIDS.
He has participated in biennials such as 57th Venice Biennale（2017; Italy）and documenta 12（2007;
Kassel, Germany）. His works have been shown internationally including solo exhibition at Arken
Museum for Moderne Kunst（2016; Copenhagen, Denmark）,group exhibitions at National Museum of
African Art, Smithsonian Institute（2015; Washington D.C., USA）, Centre Georges Pompidou（2007;
Paris, France）,Mori Art Museum（2007; Tokyo, Japan）and others.

Mat, 2020

Courtesy of BulaʼBula Arts

Installation view of Sunday Paintings, 1/7/01 to 2/11/18
January 5‒February 17, 2018

Courtesy of the artist and James Cohan

A kite for the children of my country, 2019

Courtesy of the artist, Primo Marella Gallery and STANDING PINE

24

Kishimoto Sayako

Laurie Anderson & Huang Hsin-Chien

Born 1939 in Aichi Prefecture, Japan. Died in 1988. Based in Tokyo and Aichi Prefecture, Japan.

Having moved to Tokyo for university, Kishimoto Sayako joined the art collective Neo-Dada Organizers（Neo-Dada）, formed in part by her former high-school seniors Akasegawa Genpei and Arakawa
Shūsaku . Throughout the 1960s Kishimoto was a highly active ﬁgure in the avant-garde art scene. She
moved back to Nagoya in 1979 and focused on creating large picture scrolls that proclaimed socialchange through love. In addition to painting, Kishimoto also staged numerous bold performances that
expressed her unique world-view. Notably, these performances were not restricted to conventional art
spaces but took place in public locations such as parks or on the streets. In 1988, Kishimoto Sayako
passed away aged 49.
In recent years, her energetic artistic practice that spanned genres from painting to performance has
been the subject of renewed attention.

To the Moon is one of the latest collaborations by Anderson & Huang commissioned by Louisiana
Museum of Modern Art in Humlebæk, Denmark, which provides the visitors with a VR experience.
The immersive installation version incorporating the VR was ﬁrst presented at the Manchester
International Festival（2019 ; UK）.

Laurie Anderson
Born 1947 in Chicago, USA. Based in New York, USA.
Documentary Photography of KISHIMOTO Sayako's performance, the Second Red Cat

Revolution, 1980

Collection of Aichi Prefectural Museum of Art Photo: IRIYOSHI Monshiro

Laurie Anderson is a performer, musician, writer, director and visual artist who has created groundbreaking works
that span the worlds of art, theater, experimental music, and technology since the 1970s, inspired by minimal art andInstallation view at Manchester International Festival
Photo: Michael Pollard

conceptual art. She has incorporated the relations between language, speech, physical expression and technology. Her
career, launched by ʻO Supermanʼ in 1981, includes Home of the Brave（1986）and Life on a String（2001）.Her ﬁrst visit toJapan took place in 1984 , touring venues including Tokyo and Kansai area.

In 2002, Anderson was appointed the ﬁrst artist-in-residence of NASA, which eventually culminated in To the Moon. In

Claudia Del Río

2005, she created the commissioned outdoor installation Walk and the performance piece 10 Postcards as part of theWorld Expo 2005 in Aichi. The same year, Anderson held her ﬁrst solo exhibition in Japan, The Record of the Time at

Born 1957 in Rosario, Argentina. Based in Rosario, Argentina.

Claudia Del Río works at the intersection of art, poetry and education. While her artistic projects span abroad and multifaceted range, her underlying focus remains constant: the diﬀerent ways in which art istied to public happiness. Her vast body of work is informed by the tensions between the local and theglobal as well as national and gender identities and their potential for transformation. Originally trained
as a painter, Del Ríoʼs interest in communication, connections and collective networks ﬁnds expression
through performance, mail art and other related genres and scenes. At once political and humorous, hercollages, drawings, embroidery works and photomontages address the eﬀects of social imaginaries（e.g.,
consumerism, education, newspapers）on collective life. In 2002, her engagement with other artists,
institutions and the public blossomed into her co-founding the Club del Dibujo（Drawing Club）as an
ongoing venue for reﬂection and action. Claudia Del Río was invited as an Argentinian representative tothe biennials of Salto（2014; Uruguay）,Medellín（2013; Colombia）,Mercosur（2012; Brazil）and Havana（1997; Cuba）.

NTT InterCommunication Center [ICC]. Most recently Anderson opened her largest solo exhibition at The
Smithsonian's Hirshhorn Museum in Washington D.C. in 2022, titled The Weather.

Huang Hsin-Chien
Born 1966 in Taipei, Taiwan. Based in Taipei, Taiwan.
Huang Hsin-Chien is a new media creator with backgrounds in art, design, engineering and electronic gaming. His
projects involve large-scale interdisciplinary interaction, performing, mechanical apparatus, algorithmic computationsand video installations. While being a professor at the Design Department of National Taiwan Normal University,
Huang is committed to interdisciplinary collaborative STEAM education and publication. He collaborated with Laurie
Anderson on projects, including the EXPO 2005 in Aichi and To the Moon.

Huangʼs artworks have been exhibited in galleries and art museums throughout the world, including Venice Film
Corn Kids, 2015 Photo: Viviana Gil

Courtesy of Museo de Arte Moderno de Buenos Aires, Argentina

Festival, Festival de Cannes, Taipei Fine Art Museum, National Taiwan Museum of Fine Art, Shanghai Biennale,
Venice Biennale, New York MoMA, Ars Electronica Festival, among others.

Jacobus Capone

Watanabe Atsushi（Iʼm here project）

Born 1986 in Perth, Australia. Based in Fremantle, Australia.

Born 1978 in Kanagawa. Based in Kanagawa.

Jacobus Capone maintains a practice that incorporates performance, photography, video installation,
painting and site-speciﬁc work. Characteristically poetic there is a holistic nature to his undertakings
which increasingly attempt to integrate all action, however perceived by others, into the wholeness of
one lived experience. In 2007, he traversed Australia by foot, in order to pour water from the Indian
Ocean into the Paciﬁc.
His work has been shown in a range of institutions both nationally and internationally including
Taipei Fine Arts Museum（Taiwan）, TerraWarra Museum of Art（Australia）, Momentum Berlin（Germany）, The Perth Institute of Contemporary Art（Australia）, which housed his solo exhibition,
Forgiving Night for Day as part of the 2017 Perth International Arts Festival. He has participated innumerous international festivals, fellowships, and residencies and is the recipient of the 2016 John
Stringer Prize.

Since his student days, Watanabe Atsushiʼs artistic practice has involved channeling his own
experiences to critically approach themes that may be deemed shameful or taboo by society. Watanabe,
who suﬀered from the hikikomori aﬄiction（complete social withdrawal）in the past, established the“Iʼm here project” as a way to highlight the voices and feelings of people living in isolation andloneliness through collaborative creative processes, and continues to push the potential of art to directly
aﬀect wider society.
His recent major exhibitions and projects include The Day We Saw the Same Moon, R16 studio（2021;
Kanagawa, Japan）,and Monument of Recovery, BankART SILK（2020; Kanagawa, Japan）.Recent groupexhibitions include his participation in Looking for Another Family, National Museum of Modern andContemporary Art（2020; Seoul, South Korea）.
In 2020, Watanabe received the Yokohama Culture Awardʼs Culture and Art Encouragement Prize.

Forewarning, Act 2（Sincerity & Symbiosis）, 2019

Courtesy of the artist and Moore Contemporary

The Moon Will Rise Again from the project “The Day We Saw the Same Moon”, 2021
Photographs of the Moon by “I'm here project” members

The Day We Saw the Same Moon, R16 studio（Kanagawa, Japan）
Photo: Keisuke Inoue

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）
Formed 2022 in Aichi, Japan. Based in Aichi, Japan.

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）is a collective of students and young artists
associated with Aichi University of the Arts（shortened to “Kengei”）, Nara Yoshitomoʼs alma mater.
The formation of Nawa（Japanese for “rope”）was inspired by Aichi Triennale 2022ʼs theme “STILLALIVE” and the historical “Three Uniﬁers of Japan,” suggested by participating artist Nara Yoshitomo.
The young members of the collective will use their diﬀerent sensibilities to explore new ideas related tothese themes and attempt an artistic practice that integrates their diverse forms of expression. Bytying together diﬀerent strands of creative expression, Nawa will unite the story of the fabled Three
Heroes with the present.

25

26

Kishimoto Sayako

Laurie Anderson & Huang Hsin-Chien

Born 1939 in Aichi Prefecture, Japan. Died in 1988. Based in Tokyo and Aichi Prefecture, Japan.

Having moved to Tokyo for university, Kishimoto Sayako joined the art collective Neo-Dada Organizers（Neo-Dada）, formed in part by her former high-school seniors Akasegawa Genpei and Arakawa
Shūsaku . Throughout the 1960s Kishimoto was a highly active ﬁgure in the avant-garde art scene. She
moved back to Nagoya in 1979 and focused on creating large picture scrolls that proclaimed socialchange through love. In addition to painting, Kishimoto also staged numerous bold performances that
expressed her unique world-view. Notably, these performances were not restricted to conventional art
spaces but took place in public locations such as parks or on the streets. In 1988, Kishimoto Sayako
passed away aged 49.
In recent years, her energetic artistic practice that spanned genres from painting to performance has
been the subject of renewed attention.

To the Moon is one of the latest collaborations by Anderson & Huang commissioned by Louisiana
Museum of Modern Art in Humlebæk, Denmark, which provides the visitors with a VR experience.
The immersive installation version incorporating the VR was ﬁrst presented at the Manchester
International Festival（2019 ; UK）.

Laurie Anderson
Born 1947 in Chicago, USA. Based in New York, USA.
Documentary Photography of KISHIMOTO Sayako's performance, the Second Red Cat

Revolution, 1980

Collection of Aichi Prefectural Museum of Art Photo: IRIYOSHI Monshiro

Laurie Anderson is a performer, musician, writer, director and visual artist who has created groundbreaking works
that span the worlds of art, theater, experimental music, and technology since the 1970s, inspired by minimal art andInstallation view at Manchester International Festival
Photo: Michael Pollard

conceptual art. She has incorporated the relations between language, speech, physical expression and technology. Her
career, launched by ʻO Supermanʼ in 1981, includes Home of the Brave（1986）and Life on a String（2001）.Her ﬁrst visit toJapan took place in 1984 , touring venues including Tokyo and Kansai area.

In 2002, Anderson was appointed the ﬁrst artist-in-residence of NASA, which eventually culminated in To the Moon. In

Claudia Del Río

2005, she created the commissioned outdoor installation Walk and the performance piece 10 Postcards as part of theWorld Expo 2005 in Aichi. The same year, Anderson held her ﬁrst solo exhibition in Japan, The Record of the Time at

Born 1957 in Rosario, Argentina. Based in Rosario, Argentina.

Claudia Del Río works at the intersection of art, poetry and education. While her artistic projects span abroad and multifaceted range, her underlying focus remains constant: the diﬀerent ways in which art istied to public happiness. Her vast body of work is informed by the tensions between the local and theglobal as well as national and gender identities and their potential for transformation. Originally trained
as a painter, Del Ríoʼs interest in communication, connections and collective networks ﬁnds expression
through performance, mail art and other related genres and scenes. At once political and humorous, hercollages, drawings, embroidery works and photomontages address the eﬀects of social imaginaries（e.g.,
consumerism, education, newspapers）on collective life. In 2002, her engagement with other artists,
institutions and the public blossomed into her co-founding the Club del Dibujo（Drawing Club）as an
ongoing venue for reﬂection and action. Claudia Del Río was invited as an Argentinian representative tothe biennials of Salto（2014; Uruguay）,Medellín（2013; Colombia）,Mercosur（2012; Brazil）and Havana（1997; Cuba）.

NTT InterCommunication Center [ICC]. Most recently Anderson opened her largest solo exhibition at The
Smithsonian's Hirshhorn Museum in Washington D.C. in 2022, titled The Weather.

Huang Hsin-Chien
Born 1966 in Taipei, Taiwan. Based in Taipei, Taiwan.
Huang Hsin-Chien is a new media creator with backgrounds in art, design, engineering and electronic gaming. His
projects involve large-scale interdisciplinary interaction, performing, mechanical apparatus, algorithmic computationsand video installations. While being a professor at the Design Department of National Taiwan Normal University,
Huang is committed to interdisciplinary collaborative STEAM education and publication. He collaborated with Laurie
Anderson on projects, including the EXPO 2005 in Aichi and To the Moon.

Huangʼs artworks have been exhibited in galleries and art museums throughout the world, including Venice Film
Corn Kids, 2015 Photo: Viviana Gil

Courtesy of Museo de Arte Moderno de Buenos Aires, Argentina

Festival, Festival de Cannes, Taipei Fine Art Museum, National Taiwan Museum of Fine Art, Shanghai Biennale,
Venice Biennale, New York MoMA, Ars Electronica Festival, among others.

Jacobus Capone

Watanabe Atsushi（Iʼm here project）

Born 1986 in Perth, Australia. Based in Fremantle, Australia.

Born 1978 in Kanagawa. Based in Kanagawa.

Jacobus Capone maintains a practice that incorporates performance, photography, video installation,
painting and site-speciﬁc work. Characteristically poetic there is a holistic nature to his undertakings
which increasingly attempt to integrate all action, however perceived by others, into the wholeness of
one lived experience. In 2007, he traversed Australia by foot, in order to pour water from the Indian
Ocean into the Paciﬁc.
His work has been shown in a range of institutions both nationally and internationally including
Taipei Fine Arts Museum（Taiwan）, TerraWarra Museum of Art（Australia）, Momentum Berlin（Germany）, The Perth Institute of Contemporary Art（Australia）, which housed his solo exhibition,
Forgiving Night for Day as part of the 2017 Perth International Arts Festival. He has participated innumerous international festivals, fellowships, and residencies and is the recipient of the 2016 John
Stringer Prize.

Since his student days, Watanabe Atsushiʼs artistic practice has involved channeling his own
experiences to critically approach themes that may be deemed shameful or taboo by society. Watanabe,
who suﬀered from the hikikomori aﬄiction（complete social withdrawal）in the past, established the“Iʼm here project” as a way to highlight the voices and feelings of people living in isolation andloneliness through collaborative creative processes, and continues to push the potential of art to directly
aﬀect wider society.
His recent major exhibitions and projects include The Day We Saw the Same Moon, R16 studio（2021;
Kanagawa, Japan）,and Monument of Recovery, BankART SILK（2020; Kanagawa, Japan）.Recent groupexhibitions include his participation in Looking for Another Family, National Museum of Modern andContemporary Art（2020; Seoul, South Korea）.
In 2020, Watanabe received the Yokohama Culture Awardʼs Culture and Art Encouragement Prize.

Forewarning, Act 2（Sincerity & Symbiosis）, 2019

Courtesy of the artist and Moore Contemporary

The Moon Will Rise Again from the project “The Day We Saw the Same Moon”, 2021
Photographs of the Moon by “I'm here project” members

The Day We Saw the Same Moon, R16 studio（Kanagawa, Japan）
Photo: Keisuke Inoue

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）
Formed 2022 in Aichi, Japan. Based in Aichi, Japan.

Nawa（Aichi Kengei Team initiated by Nara Yoshitomo）is a collective of students and young artists
associated with Aichi University of the Arts（shortened to “Kengei”）, Nara Yoshitomoʼs alma mater.
The formation of Nawa（Japanese for “rope”）was inspired by Aichi Triennale 2022ʼs theme “STILLALIVE” and the historical “Three Uniﬁers of Japan,” suggested by participating artist Nara Yoshitomo.
The young members of the collective will use their diﬀerent sensibilities to explore new ideas related tothese themes and attempt an artistic practice that integrates their diverse forms of expression. Bytying together diﬀerent strands of creative expression, Nawa will unite the story of the fabled Three
Heroes with the present.

25

26

Ichinomiya City

The exhibitions in Ichinomiya, the “city of textiles” at the heart of thehistoric Owari domain, will be hosted in various venues along the roadleading up to the famous Masumida shrine, including Orinasu Ichinomiya on

Nara Yoshitomo
Born 1959 in Aomori, Japan. Based in Tochigi, Japan.

Honmachi-Dori and the City Hall, the former Ichinomiya Central Nursing
School behind the shrine, and the former Ichinomiya City Ice Skate Rink.
Here, Aichi Triennale 2022ʼs concept “STILL ALIVE” is channelled bycontemplating the connected themes of birth, death, sickness, prayer, mental
health, wellbeing, LGBTQ, gender, and our human relationships with thenatural world through art.
The exhibitions in Ichinomiyaʼs Bisai district take place in unique venues like

After graduating with a Master of Fine Arts from Aichi University of the Arts in Nagakute, Japan,
Nara moved to Germany. He began his career during the decade he spent in Cologne, and from themid-1990s exhibited widely in Europe, the United States, Japan, and other Asian countries. While he isprimarily a painter, his practice also encompasses drawing; sculptures made of wood, ﬁbre-reinforced
plastic, ceramic, and bronze; installations that incorporate scrap materials; and photographs that
document everyday landscapes and encounters he has during his travels.
Naraʼs work is in the collections of museums around the world, including the Museum of Modern Art,
New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art,
Washington, DC; and the National Gallery, London.

Fountain of Life, 2001/2014
Yoshitomo Nara for better or worse Works:1987-2017, Toyota Municipal Museum of Art, 2017
©Yoshitomo Nara Photo：Mie Morimoto

saw-tooth roof factories and the Sumi Memorial Hall, the only Kenzo Tangebuilding in Aichi, and feature dynamic installations, performances and video
works that respond to the architectural spaces of their respective venues

Barry McGee
Born 1966 in San Francisco, USA. Based in San Francisco, USA.

and delve into the history of Ichinomiyaʼs textile industry, commerce,
modernism as well as the topography and geography of Aichi.

Artists exhibiting in Ichinomiya City
Artist introductions are listed in order of recommended viewing route.

Orinasu Ichinomiya

Nara Yoshitomo

Tsumugi Road

Barry McGee

Ichinomiya City Hall

Sanada TakehikoFormer Ichinomiya Central Nursing School

Kondo Aki
Daisuke Kosugi
Watermelon Sisters
Masuyama Kazuaki
Kaylene Whiskey
Jackie Karuti
Lothar Baumgarten
Hsu Chia-Wei
Ishiguro Kenichi
Nyakallo Maleke

Former Ichinomiya City Ice Skate Rink

Anne Imhof

Ichinomiya City Toyoshima Memorial Museum

Endo Kaori

Nokogiri2/Former Ichinomiya Central Nursing School

Shiota Chiharu

KUNISHIMA CO., LTD.

Cao Fei

Sumi Memorial Hall

Mukai Eriko
Leonor Antunes

27

Barry McGee received his BFA in painting and printmaking from the San Francisco Art Institute, andwas associated with the Mission School, a movement primarily inﬂuenced by urban realism, graﬃti, andAmerican folk art, focusing on social activism. McGeeʼs works have always displayed a candid andinsightful observation of modern society, and his purpose of actively contributing to marginalized
communities has remained the same throughout his career, from his days as “Twist”（his graﬃtimoniker）to his current position as a global artist.
McGeeʼs work has been the subject of solo exhibitions at Fondazione Prada, Milan; the Hammer
Museum, Los Angeles; the UC Berkeley Art Museum and Paciﬁc Film Archive, Berkeley, California; theInstitute of Contemporary Art, Boston; the Modern Art Museum of Fort Worth, Texas; the WatariMuseum of Contemporary Art, Tokyo; and the Museum of Contemporary Art Santa Barbara, California.

Installation view at Reborn Art Festival 2019, Miyagi, Japan
Photo: Nori Ushio© Barry McGee; Courtesy of the artist, Perrotin, and Reborn Art Festival

Sanada Takehiko
Born 1962 in Tokyo, Japan. Based in Tokyo, Japan.

Sanada Takehiko ﬁrst learned design at ISSEY MIYAKE, before moving to the UK to study art under
sculptor Richard Deacon and later establishing his own studio in Tokyo. While visiting Greenland at age
30, he encountered the death of a hunter, leading him to grapple with the fundamental meaning ofexistence and life. Using ﬁber as his medium, he has since exhibited his sculptures at galleries andmuseums in and outside of Japan.
He also researches ﬁbers, from the traditional to the cutting-edge, shedding light on the history andculture of Japanese fabrics. He works with local municipalities and textile corporations to organize social
aid programs that use clothing to raise awareness around themes such as disaster mitigation andeducation. Major works include Angin Project（2002-present）, which aims to revive Japanʼs oldest
weaving method in Echigo region, and Cotton Project（2008-present）, which follows the worksʼ entire
creation process, beginning with growing cotton across Japan.

Image of the exhibited work
Courtesy of the artist

Kondo Aki
Born 1987 in Hokkaido, Japan. Based in Yamagata, Japan.

Since graduating from Tohoku University of Art and Designʼs Graduate School, Kondo Aki has
participated in numerous exhibitions in Japan and abroad. Her vibrant brushwork and strong colors aswell as her wide-ranging unconventional artistic practice have earned her critical attention. She has
produced works such as the short-ﬁlm HIKARI（2015）, which mixes live action with animated oil
paintings, or the Otafuku Face room（2015）at the Park Hotel Tokyo, and she regularly conducts live
painting events in collaboration with musicians.
In March 2021, Kondo published her ﬁrst monograph titled The Happiness that Exists Here（T&M
Projects）. She has been selected for the Vision of Contemporary Art（VOCA）2022 exhibition at The
Ueno Royal Museum in Tokyo.
Recent exhibitions include Aki Kondo―Stars, Sparkling, Yamagata Museum of Art（2021; Japan）, The
Happiness that Exists Here, ShugoArts/PHILLIPS Tokyo/Contemporary Art Foundation/Daikanyama
Tsutaya Books（2021; Tokyo, Japan）, and Takamatsu Art Museum Collection + Body and Movement,
Takamatsu Art Museum（2020; Kagawa, Japan）.

Stars, Sparkling, 2021

Photo：Shigetoshi Okuyama ©Aki Kondo, Courtesy of ShugoArts

28

Ichinomiya City

The exhibitions in Ichinomiya, the “city of textiles” at the heart of thehistoric Owari domain, will be hosted in various venues along the roadleading up to the famous Masumida shrine, including Orinasu Ichinomiya on

Nara Yoshitomo
Born 1959 in Aomori, Japan. Based in Tochigi, Japan.

Honmachi-Dori and the City Hall, the former Ichinomiya Central Nursing
School behind the shrine, and the former Ichinomiya City Ice Skate Rink.
Here, Aichi Triennale 2022ʼs concept “STILL ALIVE” is channelled bycontemplating the connected themes of birth, death, sickness, prayer, mental
health, wellbeing, LGBTQ, gender, and our human relationships with thenatural world through art.
The exhibitions in Ichinomiyaʼs Bisai district take place in unique venues like

After graduating with a Master of Fine Arts from Aichi University of the Arts in Nagakute, Japan,
Nara moved to Germany. He began his career during the decade he spent in Cologne, and from themid-1990s exhibited widely in Europe, the United States, Japan, and other Asian countries. While he isprimarily a painter, his practice also encompasses drawing; sculptures made of wood, ﬁbre-reinforced
plastic, ceramic, and bronze; installations that incorporate scrap materials; and photographs that
document everyday landscapes and encounters he has during his travels.
Naraʼs work is in the collections of museums around the world, including the Museum of Modern Art,
New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art,
Washington, DC; and the National Gallery, London.

Fountain of Life, 2001/2014
Yoshitomo Nara for better or worse Works:1987-2017, Toyota Municipal Museum of Art, 2017
©Yoshitomo Nara Photo：Mie Morimoto

saw-tooth roof factories and the Sumi Memorial Hall, the only Kenzo Tangebuilding in Aichi, and feature dynamic installations, performances and video
works that respond to the architectural spaces of their respective venues

Barry McGee
Born 1966 in San Francisco, USA. Based in San Francisco, USA.

and delve into the history of Ichinomiyaʼs textile industry, commerce,
modernism as well as the topography and geography of Aichi.

Artists exhibiting in Ichinomiya City
Artist introductions are listed in order of recommended viewing route.

Orinasu Ichinomiya

Nara Yoshitomo

Tsumugi Road

Barry McGee

Ichinomiya City Hall

Sanada TakehikoFormer Ichinomiya Central Nursing School

Kondo Aki
Daisuke Kosugi
Watermelon Sisters
Masuyama Kazuaki
Kaylene Whiskey
Jackie Karuti
Lothar Baumgarten
Hsu Chia-Wei
Ishiguro Kenichi
Nyakallo Maleke

Former Ichinomiya City Ice Skate Rink

Anne Imhof

Ichinomiya City Toyoshima Memorial Museum

Endo Kaori

Nokogiri2/Former Ichinomiya Central Nursing School

Shiota Chiharu

KUNISHIMA CO., LTD.

Cao Fei

Sumi Memorial Hall

Mukai Eriko
Leonor Antunes

27

Barry McGee received his BFA in painting and printmaking from the San Francisco Art Institute, andwas associated with the Mission School, a movement primarily inﬂuenced by urban realism, graﬃti, andAmerican folk art, focusing on social activism. McGeeʼs works have always displayed a candid andinsightful observation of modern society, and his purpose of actively contributing to marginalized
communities has remained the same throughout his career, from his days as “Twist”（his graﬃtimoniker）to his current position as a global artist.
McGeeʼs work has been the subject of solo exhibitions at Fondazione Prada, Milan; the Hammer
Museum, Los Angeles; the UC Berkeley Art Museum and Paciﬁc Film Archive, Berkeley, California; theInstitute of Contemporary Art, Boston; the Modern Art Museum of Fort Worth, Texas; the WatariMuseum of Contemporary Art, Tokyo; and the Museum of Contemporary Art Santa Barbara, California.

Installation view at Reborn Art Festival 2019, Miyagi, Japan
Photo: Nori Ushio© Barry McGee; Courtesy of the artist, Perrotin, and Reborn Art Festival

Sanada Takehiko
Born 1962 in Tokyo, Japan. Based in Tokyo, Japan.

Sanada Takehiko ﬁrst learned design at ISSEY MIYAKE, before moving to the UK to study art under
sculptor Richard Deacon and later establishing his own studio in Tokyo. While visiting Greenland at age
30, he encountered the death of a hunter, leading him to grapple with the fundamental meaning ofexistence and life. Using ﬁber as his medium, he has since exhibited his sculptures at galleries andmuseums in and outside of Japan.
He also researches ﬁbers, from the traditional to the cutting-edge, shedding light on the history andculture of Japanese fabrics. He works with local municipalities and textile corporations to organize social
aid programs that use clothing to raise awareness around themes such as disaster mitigation andeducation. Major works include Angin Project（2002-present）, which aims to revive Japanʼs oldest
weaving method in Echigo region, and Cotton Project（2008-present）, which follows the worksʼ entire
creation process, beginning with growing cotton across Japan.

Image of the exhibited work
Courtesy of the artist

Kondo Aki
Born 1987 in Hokkaido, Japan. Based in Yamagata, Japan.

Since graduating from Tohoku University of Art and Designʼs Graduate School, Kondo Aki has
participated in numerous exhibitions in Japan and abroad. Her vibrant brushwork and strong colors aswell as her wide-ranging unconventional artistic practice have earned her critical attention. She has
produced works such as the short-ﬁlm HIKARI（2015）, which mixes live action with animated oil
paintings, or the Otafuku Face room（2015）at the Park Hotel Tokyo, and she regularly conducts live
painting events in collaboration with musicians.
In March 2021, Kondo published her ﬁrst monograph titled The Happiness that Exists Here（T&M
Projects）. She has been selected for the Vision of Contemporary Art（VOCA）2022 exhibition at The
Ueno Royal Museum in Tokyo.
Recent exhibitions include Aki Kondo―Stars, Sparkling, Yamagata Museum of Art（2021; Japan）, The
Happiness that Exists Here, ShugoArts/PHILLIPS Tokyo/Contemporary Art Foundation/Daikanyama
Tsutaya Books（2021; Tokyo, Japan）, and Takamatsu Art Museum Collection + Body and Movement,
Takamatsu Art Museum（2020; Kagawa, Japan）.

Stars, Sparkling, 2021

Photo：Shigetoshi Okuyama ©Aki Kondo, Courtesy of ShugoArts

28

Daisuke Kosugi

Jackie Karuti

Born 1984 in Tokyo, Japan. Based in Oslo, Norway.

Born 1987 in Nairobi, Kenya. Based in Nairobi, Kenya.

Daisuke Kosugi graduated from Oslo National Academy of the Arts. Incorporating performance, text,
sound, and sculpture, Kosugi utilizes video as his primary medium to produce work that focuses on
dislocated subjectivity in a normalized social milieu. Questioning the communicability of physical andmental aﬄictions, his work avoids representing speciﬁc narratives or triggering visceral emotions.
Rather, it depicts sceneries that traverse through reality, memory, and the imagination. Through them,
Kosugi attempts to access the subjective space and time in which individuals live, while alluding to theinternal sphere that remains out of reach.
Recently, Kosugi has held a solo exhibition at Jeu de Paume（2019; Paris, France）.His work has beenpresented at 11th Gwangju Biennale（2016; South Korea）and in MOT Annual 2021: A sea, a living room
and a sea at the Museum of Contemporary Art, Tokyo（2021; Japan）.

Jackie Karuti is an artist based in Nairobi, Kenya. Her practice employs the working ways of How
Clouds Are Formed which is a method that oﬀers multiple angles of entry and a way to produce a site

Good Name（Bad Phrase）, 2017

Photo: Kjell Ove Storvik/LIAF 2017
Courtesy of the artist

Watermelon Sisters

29

Shapeshifting and the Impossibility of Weathered Wood, 2021（Site speciﬁc installation）

Photo: Christian Lauer
Courtesy of the artist

Lothar Baumgarten

Formed in 2017 in Taipei, Taiwan. Based in Taipei, Taiwan and Berlin, Germany.
Yu Cheng-Ta, born 1983 in Tainan, Taiwan.
Ming Wong, born 1971 in Singapore.

A collaboration between Taiwanese artist Yu Cheng-Ta and Berlin-based Singaporean artist Ming Wong,
where they present their alter egos as the Watermelon Sisters, a pair of gender-ﬂuid butch/femme
ghetto queer sisters who want to help humankind to ʻtwerkʼ their way to sexual liberation. Inspired by
Chinese Opera cinema from the 1960s as well as the ﬁlms of Taiwanese ﬁlmmaker Tsai Ming-Liang, thisproject consists of a rap music video, a photographic series and a live performance and wascommissioned to commemorate the ﬁrst major survey of LGBTQ-themed art in a national museum inAsia, co-presented by Sunpride Foundation and the Museum of Contemporary Art, Taipei in Sep. 2017.
Recent exhibitions and events include Queering Now: Dreamality, Chinese Arts Now（2021; London, UK）;
Diagonal, Magician Space（2020; Beijing, China）; Queering Umwelt, Tao Art Space（2020; Taipei,
Taiwan）;and Watermelon Sisters Go Camping in Paris, Centre national de la danse（2019; Paris, France）.

where something emerges. It assembles objects, spare parts and movements across diﬀerent locations
and oﬀers a reading of geographic and social climates through weather & whether instruments incorrespondence with the Machine, Maps, Blueprints & Library Card as tools and collaborators. Karuti
was the recipient of the Henrike Grohs Award and the Follow Fluxus-After Fluxus scholarship in 2020
& 2021 respectively. Other projects that respond to her practice include the library project; In The
Case of Books and the online workspace, I’ve been working on some MAGIC.

Born1944 in Rheinsberg, Germany; lived and worked in Berlin, Germany, and New York, USA;
died in 2018 in Berlin, Germany.

Watermelon Love, 2017

Courtesy of the artist

The artistic work of Lothar Baumgarten explores ethnological and anthropological subjects to create
situations of attention and encounter. He has been using a wide range of media to reﬂect on visual andlanguage-based systems of memory and representation: from ephemeral sculptures to photography,
slide projections, ﬁlms, recordings, prints, books, short stories, as well as site-speciﬁc interventions andwall drawings. In 1977 Baumgarten traveled to South America where he lived with two tribes of the
Yanomami people in the border region of Venezuela and Brazil, with whom he stayed until 1980. Those
events mark a transition from the imaginary travels and landscapes in the late 1960s and early 1970s toformally precise artistic investigations of cultural diﬀerence of his later works.
Baumgarten represented Germany at the 41st Venice Biennale（1984, Italy）,where he was awarded theGolden Lion. He also held solo exhibitions in the worldʼs leading museums, and participated, a.o., atdocumenta 5（1972; Kassel, Germany）,documenta 7（1982）,9（1992）,and documenta X（1997）.

Masuyama Kazuaki

Hsu Chia-Wei

Born 1967 in Gifu, Japan. Based in Aichi, Japan.

Born 1983 in Taichung, Taiwan. Based in Taipei, Taiwan.

Masuyama Kazuaki is an artist known for his colorful collage works. One of his main motifs is inspiredby the department store Shimizuya, which used to exist in the city of Inuyama in Aichi Prefecture, withmany of his works featuring images of the storeʼs exterior, of taxis, or his own name. With support fromhis surroundings, Masuyama creates his artworks through a complex process that involves drawing,
cutting, pasting and again drawing his motifs, resulting in artworks that brim with color and texture
and let it seem as if the images of cars and department stores ﬂoat freely in the air. Masuyama has
participated in several open call exhibitions in Aichi, such as Aichi Art Brut and Fureai Art. In 2018, he
won the Council Award at the 59th Komaki Citizen Art Exhibition（Aichi, Japan）. Recently, heparticipated in the exhibition Art Brut "Humanity And Nature In Japan" In Niigata, Musée Yukikomachi（2020; Niigata, Japan）.

A graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsuʼs work as an
artist, ﬁlmmaker and curator merges the languages of ﬁlm and contemporary art and unearths thecomplex mechanisms behind the production of images. Through his artistic practice, Hsu weaves
connections between humans, materials and places that have been overlooked or omitted inconventional historical narratives.
Hsu has had solo exhibitions at Liang Gallery（2021; Taipei, Taiwan）, Tung Chung Art Award: Giant
Panda, Deer, Malayan Tapir and East India Company, Museum of National Taipei University of Education（2019; Taiwan）, MAM Screen 009: Hsu Chia-Wei, Mori Art Museum（2018; Tokyo, Japan）. He has
participated in group shows such as the Singapore Biennale（2019）, A Tale of Hidden Histories, Eye
Filmmuseum（2019; Amsterdam, the Netherlands）,and the Biennials of Shanghai, Gwangju, Busan andSydney（2018）.He is also the curator of Taiwan International Video Art Exhibition, Hong-Gah Museum（2018; Taipei, Taiwan）, and a co-curator of the 2019 Asian Art Biennial, National Taiwan Museum ofFine Arts（Taichung）together with Ho Tzu Nyen.

SHIMIZUYA TAXI ２, 2017
Photo：Ikumasa Hayashi

Kaylene Whiskey

Ishiguro Kenichi

Born 1976 in Mparntwe（Alice Springs）,Australia. Based in Indulkana, Australia.

Born 1986 in Kanagawa, Japan. Based in Kyoto and in Shiga, Japan.

The art of Kaylene Whiskey incorporates pop culture references alongside traditional Anangu culture,
in a playful interpretation of the artistʼs personal experience of contemporary life in a remote Central
Australian Indigenous community.
Kayleneʼs practice links the traditional culture of her communityʼs Elders with the experience of theyounger generation who have grown up with contemporary outside inﬂuences like Coca Cola and music
videos.
Kaylene portrays iconic ﬁgures such as Dolly Parton and Tina Turner, in a celebration of heroic womenand the sisterhood. These pop culture icons are frequently transplanted into remote desert community
landscapes, interacting with native plants and wildlife and engaging in traditional Anangu activities likehunting, collecting bush tucker and cultivating mingkulpa（native tobacco plant）. Created to asoundtrack of classic rock, pop and country music, Kayleneʼs artworks are rich in irreverent humour,with the artist bringing together two very diﬀerent cultures and generations, inviting everyone to cometogether to have some fun.

Ishiguro Kenichi creates sculptures and video works using region-speciﬁc events and conditions, such as
historical subjects and materials, as a raw resource. Based on his interest in vanishing technologies andminerals, Ishiguroʼs installations facilitate new relations between objects that have not previously
encountered each other.
His recent exhibitions include Light of My World, Former Ginrei Building（2021; Kyoto, Japan）; Soft
Territory, The Museum of Modern Art Shiga（2021; Shiga, Japan）;Sustainable Sculpture, Komagome Soko
（2021; Tokyo, Japan）,and Hon no kirinuki（“A Clipping from a Book”）,Zuiunan（2020; Kyoto, Japan）.
In 2014, he co-founded the “Yamanaka Suplex,” which also functions as his studio space today, locatedon the border between the prefectures of Kyoto and Shiga.

Seven Sisters Song, 2021

Collection of National Gallery of Victoria
Courtesy of the artist, Iwantja Arts and Roslyn Oxley9 Gallery

Tetrahedron, 1968

©Lothar Baumgarten Estate, VG Bild Kunst

Mineral Crafts, 2018

Image courtesy of the artist / Provided by Hsu Chia Wei Studio

The Island of Stone Money and My Sculpture, 2020
Photo：Nicholas Locke

30

Daisuke Kosugi

Jackie Karuti

Born 1984 in Tokyo, Japan. Based in Oslo, Norway.

Born 1987 in Nairobi, Kenya. Based in Nairobi, Kenya.

Daisuke Kosugi graduated from Oslo National Academy of the Arts. Incorporating performance, text,
sound, and sculpture, Kosugi utilizes video as his primary medium to produce work that focuses on
dislocated subjectivity in a normalized social milieu. Questioning the communicability of physical andmental aﬄictions, his work avoids representing speciﬁc narratives or triggering visceral emotions.
Rather, it depicts sceneries that traverse through reality, memory, and the imagination. Through them,
Kosugi attempts to access the subjective space and time in which individuals live, while alluding to theinternal sphere that remains out of reach.
Recently, Kosugi has held a solo exhibition at Jeu de Paume（2019; Paris, France）.His work has beenpresented at 11th Gwangju Biennale（2016; South Korea）and in MOT Annual 2021: A sea, a living room
and a sea at the Museum of Contemporary Art, Tokyo（2021; Japan）.

Jackie Karuti is an artist based in Nairobi, Kenya. Her practice employs the working ways of How
Clouds Are Formed which is a method that oﬀers multiple angles of entry and a way to produce a site

Good Name（Bad Phrase）, 2017

Photo: Kjell Ove Storvik/LIAF 2017
Courtesy of the artist

Watermelon Sisters

29

Shapeshifting and the Impossibility of Weathered Wood, 2021（Site speciﬁc installation）

Photo: Christian Lauer
Courtesy of the artist

Lothar Baumgarten

Formed in 2017 in Taipei, Taiwan. Based in Taipei, Taiwan and Berlin, Germany.
Yu Cheng-Ta, born 1983 in Tainan, Taiwan.
Ming Wong, born 1971 in Singapore.

A collaboration between Taiwanese artist Yu Cheng-Ta and Berlin-based Singaporean artist Ming Wong,
where they present their alter egos as the Watermelon Sisters, a pair of gender-ﬂuid butch/femme
ghetto queer sisters who want to help humankind to ʻtwerkʼ their way to sexual liberation. Inspired by
Chinese Opera cinema from the 1960s as well as the ﬁlms of Taiwanese ﬁlmmaker Tsai Ming-Liang, thisproject consists of a rap music video, a photographic series and a live performance and wascommissioned to commemorate the ﬁrst major survey of LGBTQ-themed art in a national museum inAsia, co-presented by Sunpride Foundation and the Museum of Contemporary Art, Taipei in Sep. 2017.
Recent exhibitions and events include Queering Now: Dreamality, Chinese Arts Now（2021; London, UK）;
Diagonal, Magician Space（2020; Beijing, China）; Queering Umwelt, Tao Art Space（2020; Taipei,
Taiwan）;and Watermelon Sisters Go Camping in Paris, Centre national de la danse（2019; Paris, France）.

where something emerges. It assembles objects, spare parts and movements across diﬀerent locations
and oﬀers a reading of geographic and social climates through weather & whether instruments incorrespondence with the Machine, Maps, Blueprints & Library Card as tools and collaborators. Karuti
was the recipient of the Henrike Grohs Award and the Follow Fluxus-After Fluxus scholarship in 2020
& 2021 respectively. Other projects that respond to her practice include the library project; In The
Case of Books and the online workspace, I’ve been working on some MAGIC.

Born1944 in Rheinsberg, Germany; lived and worked in Berlin, Germany, and New York, USA;
died in 2018 in Berlin, Germany.

Watermelon Love, 2017

Courtesy of the artist

The artistic work of Lothar Baumgarten explores ethnological and anthropological subjects to create
situations of attention and encounter. He has been using a wide range of media to reﬂect on visual andlanguage-based systems of memory and representation: from ephemeral sculptures to photography,
slide projections, ﬁlms, recordings, prints, books, short stories, as well as site-speciﬁc interventions andwall drawings. In 1977 Baumgarten traveled to South America where he lived with two tribes of the
Yanomami people in the border region of Venezuela and Brazil, with whom he stayed until 1980. Those
events mark a transition from the imaginary travels and landscapes in the late 1960s and early 1970s toformally precise artistic investigations of cultural diﬀerence of his later works.
Baumgarten represented Germany at the 41st Venice Biennale（1984, Italy）,where he was awarded theGolden Lion. He also held solo exhibitions in the worldʼs leading museums, and participated, a.o., atdocumenta 5（1972; Kassel, Germany）,documenta 7（1982）,9（1992）,and documenta X（1997）.

Masuyama Kazuaki

Hsu Chia-Wei

Born 1967 in Gifu, Japan. Based in Aichi, Japan.

Born 1983 in Taichung, Taiwan. Based in Taipei, Taiwan.

Masuyama Kazuaki is an artist known for his colorful collage works. One of his main motifs is inspiredby the department store Shimizuya, which used to exist in the city of Inuyama in Aichi Prefecture, withmany of his works featuring images of the storeʼs exterior, of taxis, or his own name. With support fromhis surroundings, Masuyama creates his artworks through a complex process that involves drawing,
cutting, pasting and again drawing his motifs, resulting in artworks that brim with color and texture
and let it seem as if the images of cars and department stores ﬂoat freely in the air. Masuyama has
participated in several open call exhibitions in Aichi, such as Aichi Art Brut and Fureai Art. In 2018, he
won the Council Award at the 59th Komaki Citizen Art Exhibition（Aichi, Japan）. Recently, heparticipated in the exhibition Art Brut "Humanity And Nature In Japan" In Niigata, Musée Yukikomachi（2020; Niigata, Japan）.

A graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsuʼs work as an
artist, ﬁlmmaker and curator merges the languages of ﬁlm and contemporary art and unearths thecomplex mechanisms behind the production of images. Through his artistic practice, Hsu weaves
connections between humans, materials and places that have been overlooked or omitted inconventional historical narratives.
Hsu has had solo exhibitions at Liang Gallery（2021; Taipei, Taiwan）, Tung Chung Art Award: Giant
Panda, Deer, Malayan Tapir and East India Company, Museum of National Taipei University of Education（2019; Taiwan）, MAM Screen 009: Hsu Chia-Wei, Mori Art Museum（2018; Tokyo, Japan）. He has
participated in group shows such as the Singapore Biennale（2019）, A Tale of Hidden Histories, Eye
Filmmuseum（2019; Amsterdam, the Netherlands）,and the Biennials of Shanghai, Gwangju, Busan andSydney（2018）.He is also the curator of Taiwan International Video Art Exhibition, Hong-Gah Museum（2018; Taipei, Taiwan）, and a co-curator of the 2019 Asian Art Biennial, National Taiwan Museum ofFine Arts（Taichung）together with Ho Tzu Nyen.

SHIMIZUYA TAXI ２, 2017
Photo：Ikumasa Hayashi

Kaylene Whiskey

Ishiguro Kenichi

Born 1976 in Mparntwe（Alice Springs）,Australia. Based in Indulkana, Australia.

Born 1986 in Kanagawa, Japan. Based in Kyoto and in Shiga, Japan.

The art of Kaylene Whiskey incorporates pop culture references alongside traditional Anangu culture,
in a playful interpretation of the artistʼs personal experience of contemporary life in a remote Central
Australian Indigenous community.
Kayleneʼs practice links the traditional culture of her communityʼs Elders with the experience of theyounger generation who have grown up with contemporary outside inﬂuences like Coca Cola and music
videos.
Kaylene portrays iconic ﬁgures such as Dolly Parton and Tina Turner, in a celebration of heroic womenand the sisterhood. These pop culture icons are frequently transplanted into remote desert community
landscapes, interacting with native plants and wildlife and engaging in traditional Anangu activities likehunting, collecting bush tucker and cultivating mingkulpa（native tobacco plant）. Created to asoundtrack of classic rock, pop and country music, Kayleneʼs artworks are rich in irreverent humour,with the artist bringing together two very diﬀerent cultures and generations, inviting everyone to cometogether to have some fun.

Ishiguro Kenichi creates sculptures and video works using region-speciﬁc events and conditions, such as
historical subjects and materials, as a raw resource. Based on his interest in vanishing technologies andminerals, Ishiguroʼs installations facilitate new relations between objects that have not previously
encountered each other.
His recent exhibitions include Light of My World, Former Ginrei Building（2021; Kyoto, Japan）; Soft
Territory, The Museum of Modern Art Shiga（2021; Shiga, Japan）;Sustainable Sculpture, Komagome Soko
（2021; Tokyo, Japan）,and Hon no kirinuki（“A Clipping from a Book”）,Zuiunan（2020; Kyoto, Japan）.
In 2014, he co-founded the “Yamanaka Suplex,” which also functions as his studio space today, locatedon the border between the prefectures of Kyoto and Shiga.

Seven Sisters Song, 2021

Collection of National Gallery of Victoria
Courtesy of the artist, Iwantja Arts and Roslyn Oxley9 Gallery

Tetrahedron, 1968

©Lothar Baumgarten Estate, VG Bild Kunst

Mineral Crafts, 2018

Image courtesy of the artist / Provided by Hsu Chia Wei Studio

The Island of Stone Money and My Sculpture, 2020
Photo：Nicholas Locke

30

Nyakallo Maleke

Cao Fei

Born 1993 in Johannesburg, South Africa. Based in Johannesburg, South Africa.

Born 1978 in Guangzhou, China. Based in Beijing, China.

Nyakallo Maleke is an artist and writer based in Johannesburg. Her practice is grounded in an
expanded concept of drawing, which she views as a means to tell stories about space, movement, andwalking. Maleke's drawings take shape through various media, techniques, and disciplines, and are
manifested as installations, performances, sound pieces, prints, or sculptures. Her recent works areinvested with materiality, often combining traditional drawing media with meticulous embroidery-likestitching and unconventional materials such as wax paper.
Maleke earned her Master of Art degree（with distinction）in Public Sphere at École de design ethaute école dʼart du Valais（édhéa）in Switzerland（2019）,where her research utilised the medium ofdrawing to think through notions of migration, vulnerability, and writing about public space. She has abachelorʼs degree in Fine Arts from Wits University in South Africa（2015）and has participated ingroup exhibitions at venues including NGO ‒ Nothing Gets Organised（Johannesburg, South Africa）,
Stevenson（Cape Town, South Africa）,and Modzi Arts Gallery（Lusaka, Zambia）.

Cao Fei is an internationally-renowned Chinese contemporary artist. Currently living in Beijing, shemixes social commentary, popular aesthetics, references to Surrealism, and documentary conventionsin her ﬁlms and installations. Her works reﬂect on the rapid and developmental changes that are
occurring in Chinese society today.
Cao Fei's major projects in recent years include a solo exhibition at MoMA PS1（2016; New York, USA）,
the Tai Kwun Contemporary（2018; Hong Kong）,K21 Düsseldorf（2018; Germany）,the Centre Pompidou（2019; Paris, France）,the Serpentine Galleries（2020; London, UK）,the UCCA Center for Contemporary
Art（2021; Beijing, China）, and the MAXXI, the National Museum of 21st Century Arts（2021; Rome,
Italy）.Her works have been exhibited at a number of international biennales and triennales, including
Shanghai Biennale（2004; China）;Moscow Biennale（2005; Russia）;Taipei Biennial（2006; Taiwan）;15th& 17th Biennale of Sydney（2006 and 2010; Australia）; Istanbul Biennial（2007; Turkey）; Yokohama
Triennale（2008; Japan）and 50th, 52nd & 56th Venice Biennale（2003, 2007 and 2015; Italy）.

Enclosed, 2020

Photo ：Andrew Wessels
Courtesy of the artist

Mukai Eriko

Anne Imhof
Born 1978 in Gießen, Germany. Based in Berlin, Germany, and New York, USA.

Born 1990 in Hyogo, Japan. Based in Akita, Japan.

Anne Imhof has emerged over the past decade as one of the most acclaimed artists of her generation.
Today based between Berlin and New York, Imhof spent her formative years in Frankfurt am Main,
where she taught herself to draw and make music while working as a bouncer at a local night club.
Before eventually enrolling at the cityʼs academy of ﬁne arts, Städelschule, she staged what she later
designated the ﬁrst entry to her catalogue raisonné: a one-night only performance in a red light districtbar. She invited two boxers to take part and recruited a band. The boxers were told that the ﬁght
should last for as long as the music was playing, while the band were instructed to play for as long as
the boxers were ﬁghting. Imhof explained: “It was all pretty red ̶ the table dance bar and the noses.
Looking back on it I realized that it had been one way to create a picture.”

The motifs of Mukai Erikoʼs performances are based on systems that are certain but outside the realmof the visible, for example livestock slaughter, oil extraction, systems of government bonds or global
water vapor circulation. Mukai treats elements that let us feel the materiality of her motifs as a kind of
sculpture and converts the inherent mechanisms of their systems into life-sized devices which she
operates. In this way, she creates spaces that enable a close approach to her intangible subjects while
traversing sensuous perceptions and speculations towards abstracted performance.
Mukai Erikoʼs main exhibitions include Arts and Routes, Akita Museum of Modern Art（2020; Japan）;
Impurity/Immunity, Tokyo Arts and Space Hongo（2017; Japan）; and New Rube Goldberg Machine,
KAYOKOYUKI and Komagome Soko（2016; Tokyo, Japan）.

Natures Mortes, 2021

Palais de Tokyo, Paris Cast: Eliza Douglas Photo: Nadine Fraczkowski
Courtesy of the artist and Palais de Tokyo

Endo Kaori

approach 6.1, 2020

Photo: Yu Kusanagi

Leonor Antunes

Born 1989 in Osaka, Japan. Based in Osaka and Okinawa, Japan.

Endo Kaori obtained a bachelorʼs degree in textiles from the Okinawa Prefectural University of Arts in
2013. In 2016, she graduated from Ars Shimura, a school run by Shimura Fukumi, a Living National
Treasure for tsumugi（pongee）weaving. Based in Vietnam, Okinawa, Tokyo, and other regions in Japan,
she uses weaving and dyeing to unpack the political relations rooted in the crafts, histories, andlivelihoods within each place. At its core, her practice is about expanding the potential of crafts; she
produces materials like rags, parachutes, and sails to performatively trace the vitality of textiles andpeople through her body.
Recent exhibitions include the 13th shiseido art egg（2019; Shiseido Gallery, Tokyo, Japan）, for which
she won the art egg prize, and Welcome, Stranger, to this Place（2021; The University Art Museum, Tokyo
University of the Arts, Japan）.

Nova, 2019

Courtesy of the artist, Vitamin Creative Space and Sprüth Magers

Born 1972 in Lisbon, Portugal. Based in Berlin, Germany.

Flash and Parachute, 2020, Aomori Contemporary Art Centre, Japan

Photo: Delphine Parodi

Engaging with the histories of 20th century architecture, design and art, the work of Leonor Antunes
reﬂects on the functions of everyday objects, contemplating the potential of Modernist forms to bematerialized as sculptures. Antunes investigates the coded values and invisible ﬂow of ideas embedded
within objects, transforming them into reimagined abstract structures. Borrowing from vernacular
traditions of craftsmanship from locations such as South America, Mexico and Portugal, Antunes seeks
to understand the construction principles behind rational designs, as well as the process of abstracting
reality through its reduction to geometry. Her source of inspiration is provided mostly by the practiceof female artists ‒ not only through their radical social and political stances, but also in their practicalaspiration to improve peopleʼs everyday lives through art and design.
Recent solo exhibitions have been shown at Mudam（2019; Luxembourg）,The Box（2019; Plymouth）,
and São Paulo Museum of Art（2019; Brazil）.Antunes represented the Pavilion of Portugal at the 58th
Venice Biennale（2019; Italy）and has participated in the Festival dʼAutomne in Paris（2021; France）.

the homemaker and her domain, 2021

Ecole des Beaux-Arts de Paris, Festival dʼAutomne, France
Photo: Nick Ash Courtesy of the artist; Air de Paris, Romainville andMarian Goodman Gallery, New York, Paris, London

Shiota Chiharu
Born 1972 in Osaka, Japan. Based in Berlin, Germany.

Shiota Chiharuʼs inspiration often emerges from a personal experience or emotion that she expands into
universal human concerns such as life, death, and relationships. She has redeﬁned the concepts ofmemory and consciousness by collecting shoes, keys, beds, chairs, dresses, and other ordinary objects
and engulﬁng them in immense structures of thread. She explores the sensation of a presence withinabsence with her installations, also presenting intangible emotions in her sculptures, drawings,
performance videos, photographs, and canvases.
In 2008, she was awarded the Minister of Education, Culture, Sports, Science and Technologyʼs Art
Encouragement Prize for New Artists, Japan. In 2015, Shiota was selected to represent Japan at the56th Venice Biennale（Italy）. Her work has been displayed at international institutions worldwide
including the Museum of New Zealand Te Papa Tongarewa（2020; Wellington）; Mori Art Museum（2019; Tokyo, Japan）;Art Gallery of South Australia（2018; Adelaide）;Yorkshire Sculpture Park（2018;
UK）;and The National Museum of Art, Osaka（2008; Japan）

31

Uncertain Journey, 2016/2019
The Soul Trembles（solo）,Mori Art Museum, Tokyo, Japan
Photo: Sunhi Mang, Courtesy of Mori Art Museum©JASPAR, Tokyo, 2021 and Chiharu Shiota

32

Nyakallo Maleke

Cao Fei

Born 1993 in Johannesburg, South Africa. Based in Johannesburg, South Africa.

Born 1978 in Guangzhou, China. Based in Beijing, China.

Nyakallo Maleke is an artist and writer based in Johannesburg. Her practice is grounded in an
expanded concept of drawing, which she views as a means to tell stories about space, movement, andwalking. Maleke's drawings take shape through various media, techniques, and disciplines, and are
manifested as installations, performances, sound pieces, prints, or sculptures. Her recent works areinvested with materiality, often combining traditional drawing media with meticulous embroidery-likestitching and unconventional materials such as wax paper.
Maleke earned her Master of Art degree（with distinction）in Public Sphere at École de design ethaute école dʼart du Valais（édhéa）in Switzerland（2019）,where her research utilised the medium ofdrawing to think through notions of migration, vulnerability, and writing about public space. She has abachelorʼs degree in Fine Arts from Wits University in South Africa（2015）and has participated ingroup exhibitions at venues including NGO ‒ Nothing Gets Organised（Johannesburg, South Africa）,
Stevenson（Cape Town, South Africa）,and Modzi Arts Gallery（Lusaka, Zambia）.

Cao Fei is an internationally-renowned Chinese contemporary artist. Currently living in Beijing, shemixes social commentary, popular aesthetics, references to Surrealism, and documentary conventionsin her ﬁlms and installations. Her works reﬂect on the rapid and developmental changes that are
occurring in Chinese society today.
Cao Fei's major projects in recent years include a solo exhibition at MoMA PS1（2016; New York, USA）,
the Tai Kwun Contemporary（2018; Hong Kong）,K21 Düsseldorf（2018; Germany）,the Centre Pompidou（2019; Paris, France）,the Serpentine Galleries（2020; London, UK）,the UCCA Center for Contemporary
Art（2021; Beijing, China）, and the MAXXI, the National Museum of 21st Century Arts（2021; Rome,
Italy）.Her works have been exhibited at a number of international biennales and triennales, including
Shanghai Biennale（2004; China）;Moscow Biennale（2005; Russia）;Taipei Biennial（2006; Taiwan）;15th& 17th Biennale of Sydney（2006 and 2010; Australia）; Istanbul Biennial（2007; Turkey）; Yokohama
Triennale（2008; Japan）and 50th, 52nd & 56th Venice Biennale（2003, 2007 and 2015; Italy）.

Enclosed, 2020

Photo ：Andrew Wessels
Courtesy of the artist

Mukai Eriko

Anne Imhof
Born 1978 in Gießen, Germany. Based in Berlin, Germany, and New York, USA.

Born 1990 in Hyogo, Japan. Based in Akita, Japan.

Anne Imhof has emerged over the past decade as one of the most acclaimed artists of her generation.
Today based between Berlin and New York, Imhof spent her formative years in Frankfurt am Main,
where she taught herself to draw and make music while working as a bouncer at a local night club.
Before eventually enrolling at the cityʼs academy of ﬁne arts, Städelschule, she staged what she later
designated the ﬁrst entry to her catalogue raisonné: a one-night only performance in a red light districtbar. She invited two boxers to take part and recruited a band. The boxers were told that the ﬁght
should last for as long as the music was playing, while the band were instructed to play for as long as
the boxers were ﬁghting. Imhof explained: “It was all pretty red ̶ the table dance bar and the noses.
Looking back on it I realized that it had been one way to create a picture.”

The motifs of Mukai Erikoʼs performances are based on systems that are certain but outside the realmof the visible, for example livestock slaughter, oil extraction, systems of government bonds or global
water vapor circulation. Mukai treats elements that let us feel the materiality of her motifs as a kind of
sculpture and converts the inherent mechanisms of their systems into life-sized devices which she
operates. In this way, she creates spaces that enable a close approach to her intangible subjects while
traversing sensuous perceptions and speculations towards abstracted performance.
Mukai Erikoʼs main exhibitions include Arts and Routes, Akita Museum of Modern Art（2020; Japan）;
Impurity/Immunity, Tokyo Arts and Space Hongo（2017; Japan）; and New Rube Goldberg Machine,
KAYOKOYUKI and Komagome Soko（2016; Tokyo, Japan）.

Natures Mortes, 2021

Palais de Tokyo, Paris Cast: Eliza Douglas Photo: Nadine Fraczkowski
Courtesy of the artist and Palais de Tokyo

Endo Kaori

approach 6.1, 2020

Photo: Yu Kusanagi

Leonor Antunes

Born 1989 in Osaka, Japan. Based in Osaka and Okinawa, Japan.

Endo Kaori obtained a bachelorʼs degree in textiles from the Okinawa Prefectural University of Arts in
2013. In 2016, she graduated from Ars Shimura, a school run by Shimura Fukumi, a Living National
Treasure for tsumugi（pongee）weaving. Based in Vietnam, Okinawa, Tokyo, and other regions in Japan,
she uses weaving and dyeing to unpack the political relations rooted in the crafts, histories, andlivelihoods within each place. At its core, her practice is about expanding the potential of crafts; she
produces materials like rags, parachutes, and sails to performatively trace the vitality of textiles andpeople through her body.
Recent exhibitions include the 13th shiseido art egg（2019; Shiseido Gallery, Tokyo, Japan）, for which
she won the art egg prize, and Welcome, Stranger, to this Place（2021; The University Art Museum, Tokyo
University of the Arts, Japan）.

Nova, 2019

Courtesy of the artist, Vitamin Creative Space and Sprüth Magers

Born 1972 in Lisbon, Portugal. Based in Berlin, Germany.

Flash and Parachute, 2020, Aomori Contemporary Art Centre, Japan

Photo: Delphine Parodi

Engaging with the histories of 20th century architecture, design and art, the work of Leonor Antunes
reﬂects on the functions of everyday objects, contemplating the potential of Modernist forms to bematerialized as sculptures. Antunes investigates the coded values and invisible ﬂow of ideas embedded
within objects, transforming them into reimagined abstract structures. Borrowing from vernacular
traditions of craftsmanship from locations such as South America, Mexico and Portugal, Antunes seeks
to understand the construction principles behind rational designs, as well as the process of abstracting
reality through its reduction to geometry. Her source of inspiration is provided mostly by the practiceof female artists ‒ not only through their radical social and political stances, but also in their practicalaspiration to improve peopleʼs everyday lives through art and design.
Recent solo exhibitions have been shown at Mudam（2019; Luxembourg）,The Box（2019; Plymouth）,
and São Paulo Museum of Art（2019; Brazil）.Antunes represented the Pavilion of Portugal at the 58th
Venice Biennale（2019; Italy）and has participated in the Festival dʼAutomne in Paris（2021; France）.

the homemaker and her domain, 2021

Ecole des Beaux-Arts de Paris, Festival dʼAutomne, France
Photo: Nick Ash Courtesy of the artist; Air de Paris, Romainville andMarian Goodman Gallery, New York, Paris, London

Shiota Chiharu
Born 1972 in Osaka, Japan. Based in Berlin, Germany.

Shiota Chiharuʼs inspiration often emerges from a personal experience or emotion that she expands into
universal human concerns such as life, death, and relationships. She has redeﬁned the concepts ofmemory and consciousness by collecting shoes, keys, beds, chairs, dresses, and other ordinary objects
and engulﬁng them in immense structures of thread. She explores the sensation of a presence withinabsence with her installations, also presenting intangible emotions in her sculptures, drawings,
performance videos, photographs, and canvases.
In 2008, she was awarded the Minister of Education, Culture, Sports, Science and Technologyʼs Art
Encouragement Prize for New Artists, Japan. In 2015, Shiota was selected to represent Japan at the56th Venice Biennale（Italy）. Her work has been displayed at international institutions worldwide
including the Museum of New Zealand Te Papa Tongarewa（2020; Wellington）; Mori Art Museum（2019; Tokyo, Japan）;Art Gallery of South Australia（2018; Adelaide）;Yorkshire Sculpture Park（2018;
UK）;and The National Museum of Art, Osaka（2008; Japan）

31

Uncertain Journey, 2016/2019
The Soul Trembles（solo）,Mori Art Museum, Tokyo, Japan
Photo: Sunhi Mang, Courtesy of Mori Art Museum©JASPAR, Tokyo, 2021 and Chiharu Shiota

32Tokoname City

Tokoname City has been a vital pottery center famous for its Tokoname
Ware since the late Heian era a thousand years ago. Like Seto in Aichiʼsnorth, Tokoname is one of Japanʼs Six Ancient Kilns and has been designateda Japanese heritage site. Its close proximity to the sea also enabled the local
shipping industry to ﬂourish.
In Tokoname City, the exhibitions will be held in various venues along the“pottery footpath” that preserves the charm of Japanʼs 20th century Showaera, including the former residence of the Takita shipping family from the1850s and the INAX Museums where visitors can connect with Tokonameʼshistory and experience cultural relics.

Delcy Morelos
Born 1967 in Córdoba, Colombia. Based in Bogotá, Colombia.

During her childhood in Tierralta in northern Colombia, Delcy Morelos witnessed the horrible violenceand oppression perpetrated as part of the drug war. Her paternal grandmother, an indigenous woman,taught Morelos how to tend to plants and soil. Morelosʼ work as an artist is characterized by her
empathy, by her focus on the relationships between humans and their surroundings, and by her
urgency to seek out the origins of violence. Morelosʼ installations involve the use of earth, honey,
cinnamon and other primal materials, as well as motifs from ancestral cosmogonies and theirconceptions of life and death. The artist regards her work, which integrate painting, sculpture andinstallation, as womb-like spaces that showcase the potency of the earth and its raw natural materials.
Morelosʼ art has been presented at Röda Sten Konsthall（2018; Gothenburg, Sweden）and N-C arte（2018; Bogotá, Colombia）.A new project will be exhibited at Dia Chelsea, New York during the fall of2023.

Enie（“Earth” in Uitoto language）,2018

Photo: Ernesto Monsalve
Courtesy of the artist

Pottery is created using the forces and blessing from the natural elements ofearth, water, ﬁre and air. In Tokoname City, “STILL ALIVE” means focusing
on artworks that are considerate of lifeʼs many forms and fundamental
elements, and exploring ways to facilitate new dialogues across the worldʼsdiverse cultures and histories. The exhibitions will feature a number of newworks that investigate the industrial history of Tokoname and the complex
relationships of art and pottery, human and nature, and labor, industry andpolitics. Further, given Tokonameʼs background as a shipping center, we will
unravel various stories and histories behind human migration ‒ bothvoluntary and forced.

Thierry Oussou
Born 1988 in Allada, Benin. Based in Amsterdam, the Netherlands.

Visual-conceptual artist Thierry Oussou is the creator of the “Impossible Is Nothing” project. Central tothis artwork is a very special chair: the throne of King Béhanzin（1845‒1906）,the last king of Dahomey,
the kingdom now known as Benin.
The throne embodies the kingʼs position, but it also symbolizes how the colonial powers removed King
Béhanzin from the throne at the end of the nineteenth century. In “Impossible Is Nothing”, the chairrepresents power, and Oussou poses questions about access to and ownership of cultural heritage andabout craftsmanship and scholarship.
For Aichi Triennale 2022, Oussou will present the project “Equilibrium Wind”, which takes as its theme
the production of cotton in Benin, the largest producer of cotton in Africa. In this work, the artist
explores the industrialization of Africa by shining a light on people who work in the cotton plantations
using artisanal methods. He traces the history of the slave trade, visually showing the impact that the
taking of land from slaves has in our societies today.

White Gold from the project “Equilibrium Wind”, 2021

Courtesy of the artist

Glenda León
Born in 1976, La Habana, Cuba. Based in Madrid, Spain.

Artists exhibiting in Tokoname City
Artist introductions are listed in order of recommended viewing route.

Former Earthenware Pipe Factory（Maruri-Toukan）

Delcy Morelos
Thierry Oussou
Glenda León
Theaster Gates
Hattori Bunsho+Ishikawa Ryuichi

33

Takita Family Residence（Old Shipping Family）

Tuan Andrew Nguyen

Former Teapot Store & Former Fishmonger

Obana Kenichi

Former Pottery Factory（Aoki- Seitoujyo）

Kuroda Daisuke

TSUNEZUNE

Tamura Yuichiro

INAX Museums

Koie Ryoji

Nikau Hindin

Florencia Sadir

Glenda Leónʼs visionary sense of art has grown out of a multidisciplinary background and spiritual
explorations. Her early interest in dance and choreography deepened her comprehension of a “whole”
that combines mind, body, space, sound, and silence. Art History gave her a domain for investigation
and widened her sources of inﬂuence. Her masterʼs degree in New Media at The Academy of Media
Arts Cologne（KHM）broadened her repertoire of media and materials and made her more open toexperimentation. Incessantly defying our perceptions of the world, at times by making the laws ofnature visible, at other times by emphasizing the act of listening as a necessary step in order tocontinue evolving, her work has been extensively exhibited and is included in important public
collections around the world.
León recently held a solo exhibition, Música de las formas, at the Museo de Arte Contemporánea de Vigo
（2021; Pontevedra, Spain）, and she represented her home country at the Cuba Pavilion at the 55th
Venice Biennale（2013; Italy）.

Música concreta（Concrete Music）,2015

Installation view in Centro de Desarrollo de las Artes Visuales（CDAV）,

Ⅻ Bienal de La Habana, 2015
Courtesy of Estudio Glenda León

Theaster Gates
Born 1973 in Chicago, USA. Based in Chicago, USA.

Theaster Gates creates works that engage with space theory and land development, sculpture, andperformance. His work contends with the notion of Black space as a formal exercise ‒ one deﬁned bycollective desire, artistic agency, and the tactics of a pragmatist.
Gates has exhibited widely, and he is the recipient of numerous awards including an Honorary
Fellowship from the Royal Institute of British Architects（2021）;the 26th Annual Crystal Award（2020;
Switzerland）; J.C. Nichols Prize for Visionaries in Urban Development（2018; USA）; and the Nasher
Sculpture Prize（2018; USA）. Gates is a professor at the University of Chicago in the Department ofVisual Arts and serves as the Senior Advisor for Cultural Innovation.
In 2010, Gates created the Rebuild Foundation, a non-proﬁt platform for art, cultural development, andneighborhood transformation that supports artists and strengthens communities through free arts
programming and innovative cultural amenities on Chicagoʼs South Side.

Afro Ikebana, 2019

© Theaster Gates Photo: Theo Christelis, Image courtesy of White Cube

34

Tokoname City

Tokoname City has been a vital pottery center famous for its Tokoname
Ware since the late Heian era a thousand years ago. Like Seto in Aichiʼsnorth, Tokoname is one of Japanʼs Six Ancient Kilns and has been designateda Japanese heritage site. Its close proximity to the sea also enabled the local
shipping industry to ﬂourish.
In Tokoname City, the exhibitions will be held in various venues along the“pottery footpath” that preserves the charm of Japanʼs 20th century Showaera, including the former residence of the Takita shipping family from the1850s and the INAX Museums where visitors can connect with Tokonameʼshistory and experience cultural relics.

Delcy Morelos
Born 1967 in Córdoba, Colombia. Based in Bogotá, Colombia.

During her childhood in Tierralta in northern Colombia, Delcy Morelos witnessed the horrible violenceand oppression perpetrated as part of the drug war. Her paternal grandmother, an indigenous woman,taught Morelos how to tend to plants and soil. Morelosʼ work as an artist is characterized by her
empathy, by her focus on the relationships between humans and their surroundings, and by her
urgency to seek out the origins of violence. Morelosʼ installations involve the use of earth, honey,
cinnamon and other primal materials, as well as motifs from ancestral cosmogonies and theirconceptions of life and death. The artist regards her work, which integrate painting, sculpture andinstallation, as womb-like spaces that showcase the potency of the earth and its raw natural materials.
Morelosʼ art has been presented at Röda Sten Konsthall（2018; Gothenburg, Sweden）and N-C arte（2018; Bogotá, Colombia）.A new project will be exhibited at Dia Chelsea, New York during the fall of2023.

Enie（“Earth” in Uitoto language）,2018

Photo: Ernesto Monsalve
Courtesy of the artist

Pottery is created using the forces and blessing from the natural elements ofearth, water, ﬁre and air. In Tokoname City, “STILL ALIVE” means focusing
on artworks that are considerate of lifeʼs many forms and fundamental
elements, and exploring ways to facilitate new dialogues across the worldʼsdiverse cultures and histories. The exhibitions will feature a number of newworks that investigate the industrial history of Tokoname and the complex
relationships of art and pottery, human and nature, and labor, industry andpolitics. Further, given Tokonameʼs background as a shipping center, we will
unravel various stories and histories behind human migration ‒ bothvoluntary and forced.

Thierry Oussou
Born 1988 in Allada, Benin. Based in Amsterdam, the Netherlands.

Visual-conceptual artist Thierry Oussou is the creator of the “Impossible Is Nothing” project. Central tothis artwork is a very special chair: the throne of King Béhanzin（1845‒1906）,the last king of Dahomey,
the kingdom now known as Benin.
The throne embodies the kingʼs position, but it also symbolizes how the colonial powers removed King
Béhanzin from the throne at the end of the nineteenth century. In “Impossible Is Nothing”, the chairrepresents power, and Oussou poses questions about access to and ownership of cultural heritage andabout craftsmanship and scholarship.
For Aichi Triennale 2022, Oussou will present the project “Equilibrium Wind”, which takes as its theme
the production of cotton in Benin, the largest producer of cotton in Africa. In this work, the artist
explores the industrialization of Africa by shining a light on people who work in the cotton plantations
using artisanal methods. He traces the history of the slave trade, visually showing the impact that the
taking of land from slaves has in our societies today.

White Gold from the project “Equilibrium Wind”, 2021

Courtesy of the artist

Glenda León
Born in 1976, La Habana, Cuba. Based in Madrid, Spain.

Artists exhibiting in Tokoname City
Artist introductions are listed in order of recommended viewing route.

Former Earthenware Pipe Factory（Maruri-Toukan）

Delcy Morelos
Thierry Oussou
Glenda León
Theaster Gates
Hattori Bunsho+Ishikawa Ryuichi

33

Takita Family Residence（Old Shipping Family）

Tuan Andrew Nguyen

Former Teapot Store & Former Fishmonger

Obana Kenichi

Former Pottery Factory（Aoki- Seitoujyo）

Kuroda Daisuke

TSUNEZUNE

Tamura Yuichiro

INAX Museums

Koie Ryoji

Nikau Hindin

Florencia Sadir

Glenda Leónʼs visionary sense of art has grown out of a multidisciplinary background and spiritual
explorations. Her early interest in dance and choreography deepened her comprehension of a “whole”
that combines mind, body, space, sound, and silence. Art History gave her a domain for investigation
and widened her sources of inﬂuence. Her masterʼs degree in New Media at The Academy of Media
Arts Cologne（KHM）broadened her repertoire of media and materials and made her more open toexperimentation. Incessantly defying our perceptions of the world, at times by making the laws ofnature visible, at other times by emphasizing the act of listening as a necessary step in order tocontinue evolving, her work has been extensively exhibited and is included in important public
collections around the world.
León recently held a solo exhibition, Música de las formas, at the Museo de Arte Contemporánea de Vigo
（2021; Pontevedra, Spain）, and she represented her home country at the Cuba Pavilion at the 55th
Venice Biennale（2013; Italy）.

Música concreta（Concrete Music）,2015

Installation view in Centro de Desarrollo de las Artes Visuales（CDAV）,

Ⅻ Bienal de La Habana, 2015
Courtesy of Estudio Glenda León

Theaster Gates
Born 1973 in Chicago, USA. Based in Chicago, USA.

Theaster Gates creates works that engage with space theory and land development, sculpture, andperformance. His work contends with the notion of Black space as a formal exercise ‒ one deﬁned bycollective desire, artistic agency, and the tactics of a pragmatist.
Gates has exhibited widely, and he is the recipient of numerous awards including an Honorary
Fellowship from the Royal Institute of British Architects（2021）;the 26th Annual Crystal Award（2020;
Switzerland）; J.C. Nichols Prize for Visionaries in Urban Development（2018; USA）; and the Nasher
Sculpture Prize（2018; USA）. Gates is a professor at the University of Chicago in the Department ofVisual Arts and serves as the Senior Advisor for Cultural Innovation.
In 2010, Gates created the Rebuild Foundation, a non-proﬁt platform for art, cultural development, andneighborhood transformation that supports artists and strengthens communities through free arts
programming and innovative cultural amenities on Chicagoʼs South Side.

Afro Ikebana, 2019

© Theaster Gates Photo: Theo Christelis, Image courtesy of White Cube

34

Hattori Bunsho + Ishikawa Ryuichi

Obana Kenichi
Born 1981 in Gunma, Japan. Based in Akita, Japan.

In 2015, Hattori Bunsho, a survivalist mountain climber who travels with minimal equipment and hunts
and ﬁshes for food, went on a mountain climbing trip together with the photographer Ishikawa Ryuichi.
（2016）and
Hattori published his experience of the trip in the books Emono Yama（“Prey Mountain”）
Emono Yama II（“Prey Mountain II”）
（2019）, and Ishikawa shared his perspective through the photo
exhibition Camp（2016）and the photobook The Inside of Life（2021）. For the Aichi Triennale 2022,
Hattori and Ishikawa have once again teamed up and present new work based on a joint survival
mountain climbing trip in southwest Hokkaido in 2021.

Hattori Bunsho

Hattori Bunsho, Toppu River at the Masike mountain massif, Hokkaido, 2016
Photo: Masato Kameda

Obana Kenichi takes inspiration from a placeʼs history and landscape, and from peopleʼs occupations andstories to produce drawings and sculptures. In his practice, Obana pursues artworks that allow theaudience to experience stories as an interplay between truth and ﬁction.
His recent major exhibitions include Cultivating Successive Wisdoms, Akita City Cultural Creation Center（2021; Japan）, Oku-Noto Triennale 2020+ , Otani Region（2021; Ishikawa, Japan）, The Vision ofContemporary Art（VOCA）2021 , Ueno Royal Museum（2021; Tokyo, Japan）, and The Ecology ofExpression, Arts Maebashi（2019; Gunma , Japan）.
Obana is the recipient of the 2021 VOCA Award.

Uenoyama Cosmology, 2021

Photo：Norihiro Ueno

Born 1969 in Kanagawa. Based in Kanagawa.
Hattori ﬁrst embarked on serious mountain climbs during his student days at Tokyo Metropolitan University. In 1996,
Hattori ascended the K2 in Nepal（8611m）and soon began to undertake trips that he labeled “survival mountainclimbing.” He was the ﬁrst person to climb Mt.Tsurugi in Japanʼs Northern Alps during winter. His 2016 publication

Kuroda Daisuke
Born in 1982 in Kyoto, Japan. Based in Kyoto, Japan.

Tundra Survival won the 5th Umesao Tadao Literary Prize for Mountain & Exploration, and his novel Musuko to Shuryoni（“Hunting with my Son”）（2017）was shortlisted for the 31st Mishima Yukio Prize. Hattoriʼs recent publications
include Survival Kazoku（“Survival Family”）（2020）and the essay collection You Are What You Read（2021）.

Ishikawa Ryuichi
Born 1984 in Okinawa, Japan. Based in Okinawa, Japan.
Ishikawa Ryuichi encountered photography while studying at Okinawa International Universityʼs Department of Society
and Regional Culture. In 2010, he apprenticed under photographer Yuzaki Tetsushi. In 2011, he participated in the
Shomai Tomatsu Digital Photography Workshop. His work received an Honorable Mention at the 35th New Cosmos of
Photography Award in 2012. In 2015, Ishikawa won the 40th Kimura Ihei Photography Award.
Recent exhibitions include Nissan Art Award 2017: Exhibition of New Works by Five Finalists, BankART Studio NYK（Kanagawa, Japan）,Oh! Matsuri☆Goto Showa / Heisei Heroes and People in the Japanese Contemporary Art, Hyogo Prefectural
Museum of Art（2019; Japan）and Reborn Art Festival 2019（Miyagi; Japan）.

35

Ishikawa Ryuichi, Back and Tail of Pheasant, Hokkaido from “The Inside of Life”, 2018
Courtesy of the artist

Through various research activities, Kuroda Daisuke searches for various specter-like presences buried
and forgotten by society and gives them new shape in the form of video artworks and installations. In
recent years, Kuroda has been conducting research sculpture, a medium which he studied at length atuniversity and uses as the base of his creation process, and which he now seeks to reinterpret.
Kurodaʼs main exhibitions include Laïcité Forestalled, Through the Eyes of Dogeza, 3331 Arts Chiyoda（2019;
Tokyo, Japan）, Hyper Ghost Sculpture, Kanzan Gallery（2019; Tokyo, Japan）, and The Absent History of
Sculpture 2, 3331 Arts Chiyoda（2019; Tokyo, Japan）.Group exhibitions include Tsushima Art Fantasia
2020‒21, Tsushima（2021; Nagasaki, Japan）,Hon no kirinuki（“A Clipping from a Book”）,Zuiunan（2020;
Kyoto, Japan）,and the Setouchi Triennale 2016, Shodo Island（2016; Kagawa, Japan）.

Tuan Andrew Nguyen

Florencia Sadir

Born 1976 in Saigon, Vietnam. Based in Ho Chi Minh City, Vietnam.

Born 1991 in San Miguel de Tucumán（Tucumán）,Argentina. Based in Cafayate（Salta）,Argentina.

Tuan Andrew Nguyenʼs practice explores strategies of political resistance enacted throughcounter-memory and post-memory. Extracting and re-working narratives via history andsupernaturalisms is an essential part of Nguyenʼs video works and sculptures, where fact and ﬁction areboth held accountable.
Nguyenʼs works have been included in recent major international festivals, biennials, and exhibitions
including Manifesta 13, Marseilles（2020）; Sharjah Architecture Triennial（2019）; SOFT POWER,SFMOMA, San Francisco（2019）;Sharjah Biennial 14（2019）;and the 2017 Whitney Biennial. His work
is included in institutions including Carré dʼArt, Nîmes, France; Queensland Art Gallery | Gallery ofModern Art, Brisbane; SFMOMA; Museum of Modern Art, New York; Solomon R. Guggenheim
Museum and the Whitney Museum of American Art.

Florencia Sadir grew up in Cafayate（Salta Province）, Argentina. She is studying Fine Arts at the
National University of Tucumán（Argentina）. She completed the 2020 / 21 Artists Program at the
University Torcuato Di Tella（Buenos Aires, Argentina）and a study program at the Flora Ars +Natura School（Bogotá, Colombia）.
Florencia's work is grounded in a dialogue with her homeland（Valles Calchaquíes）where she
currently lives and works, about inherited knowledge and learning in community. Her installations,sculptures and drawings are composed with natural materials, from clay in diﬀerent states forconstruction to the use of basketry woven with vegetable ﬁbers to create objects that accentuate their
dysfunctionality. Her works invite the audience to reﬂect on how production, work and consumption
times have been decoupled from life cycles. Sadirʼs art work proposes a correction of the false
dissociation between man and nature. Her works form part of numerous public and private collections
in Argentina, Chile and Colombia.

The Boat People, 2020

© Tuan Andrew Nguyen 2022
Courtesy of the artist and James Cohan, New York

Nikau Hindin

Tamura Yuichiro

Born 1991 in Tāmaki Makaurau（Auckland）,Aotearoa New Zealand.
Based in Turanganui a Kiwa（Gisborne）,Aotearoa New Zealand.

Born 1977 in Toyama, Japan. Based in Kyoto, Japan.

Nikau Hindin（Ngai Tūpoto hāpū, Te Rarawa, Ngāpuhi）is a bark cloth maker who works with aute
（mulberry paper）. She grounds her practice, the Māori Lunar calendar, language, genealogy, andrelationships with knowledge holders, the land, plants, and water.
Hindin was inﬂuenced by her time in Hawaiʼi with teachers and students of voyaging, celestialnavigation, and kapa（Hawaiian tapa cloth）. She returned to Aotearoa in 2018 to revive the practice ofaute , a tradition that had not been practiced in over a century. Hindin straddles the worlds ofindigenous practice and contemporary art. Her solo show Kōkōrangi ki Kōkōwai at The Dowse Art
Museum, New Zealand, in 2020, was based on the movement of celestial bodies as signs that not only
indicate direction but also delineate time as an important element of our lunar-stellar calendrical system.
Her recent exhibitions include pasapkedjinawong, Mackenzie Art Gallery（2021; Saskatchewan, Canada）,
Naadohbii, Winnipeg Art Gallery（2021-22; Manitoba, Canada）,and Kathmandu Triennial 2021（Nepal）.

Tamura Yuichiroʼs work unfolds from existing images and objects, and reﬂects an interdisciplinary
approach to various media, including photography, video, installation, performance, and theater. He
creates multilayered narratives containing a mixture of fact and ﬁction and based on a wide range ofsources, from indigenous historical themes to well-known popular subjects. New interpretations andreadings are bestowed upon original histories and memories, transcending spaces and time and asking
what it means to be “contemporary.”
Recently, Tamura has held solo exhibitions at the Govett-Brewster Art Gallery（2019; New Plymouth,
Aotearoa New Zealand）, Kyoto City University of Arts Art Gallery @KCUA（2018; Japan）andparticipated in international exhibitions such as Yokohama Triennale 2020（Japan）, 2019 Asian Art
Biennial（Taichung, Taiwan）,Busan Biennale 2018（South Korea）,and SeMA Biennale Mediacity Seoul
2014（South Korea）.

Mutuwhenua. Te Ngahurumātoru o Ruahanui.

（New Moon in the 13th moon cycle of the star Sheratan）［detail］,2020

Practice for DOGEZA, 2020

Caminar sobre lo rojo（Walk on the red ）, 2021

The Spider’s Threads, 2018
Courtesy of the artist36

Hattori Bunsho + Ishikawa Ryuichi

Obana Kenichi
Born 1981 in Gunma, Japan. Based in Akita, Japan.

In 2015, Hattori Bunsho, a survivalist mountain climber who travels with minimal equipment and hunts
and ﬁshes for food, went on a mountain climbing trip together with the photographer Ishikawa Ryuichi.
（2016）and
Hattori published his experience of the trip in the books Emono Yama（“Prey Mountain”）
Emono Yama II（“Prey Mountain II”）
（2019）, and Ishikawa shared his perspective through the photo
exhibition Camp（2016）and the photobook The Inside of Life（2021）. For the Aichi Triennale 2022,
Hattori and Ishikawa have once again teamed up and present new work based on a joint survival
mountain climbing trip in southwest Hokkaido in 2021.

Hattori Bunsho

Hattori Bunsho, Toppu River at the Masike mountain massif, Hokkaido, 2016
Photo: Masato Kameda

Obana Kenichi takes inspiration from a placeʼs history and landscape, and from peopleʼs occupations andstories to produce drawings and sculptures. In his practice, Obana pursues artworks that allow theaudience to experience stories as an interplay between truth and ﬁction.
His recent major exhibitions include Cultivating Successive Wisdoms, Akita City Cultural Creation Center（2021; Japan）, Oku-Noto Triennale 2020+ , Otani Region（2021; Ishikawa, Japan）, The Vision ofContemporary Art（VOCA）2021 , Ueno Royal Museum（2021; Tokyo, Japan）, and The Ecology ofExpression, Arts Maebashi（2019; Gunma , Japan）.
Obana is the recipient of the 2021 VOCA Award.

Uenoyama Cosmology, 2021

Photo：Norihiro Ueno

Born 1969 in Kanagawa. Based in Kanagawa.
Hattori ﬁrst embarked on serious mountain climbs during his student days at Tokyo Metropolitan University. In 1996,
Hattori ascended the K2 in Nepal（8611m）and soon began to undertake trips that he labeled “survival mountainclimbing.” He was the ﬁrst person to climb Mt.Tsurugi in Japanʼs Northern Alps during winter. His 2016 publication

Kuroda Daisuke
Born in 1982 in Kyoto, Japan. Based in Kyoto, Japan.

Tundra Survival won the 5th Umesao Tadao Literary Prize for Mountain & Exploration, and his novel Musuko to Shuryoni（“Hunting with my Son”）（2017）was shortlisted for the 31st Mishima Yukio Prize. Hattoriʼs recent publications
include Survival Kazoku（“Survival Family”）（2020）and the essay collection You Are What You Read（2021）.

Ishikawa Ryuichi
Born 1984 in Okinawa, Japan. Based in Okinawa, Japan.
Ishikawa Ryuichi encountered photography while studying at Okinawa International Universityʼs Department of Society
and Regional Culture. In 2010, he apprenticed under photographer Yuzaki Tetsushi. In 2011, he participated in the
Shomai Tomatsu Digital Photography Workshop. His work received an Honorable Mention at the 35th New Cosmos of
Photography Award in 2012. In 2015, Ishikawa won the 40th Kimura Ihei Photography Award.
Recent exhibitions include Nissan Art Award 2017: Exhibition of New Works by Five Finalists, BankART Studio NYK（Kanagawa, Japan）,Oh! Matsuri☆Goto Showa / Heisei Heroes and People in the Japanese Contemporary Art, Hyogo Prefectural
Museum of Art（2019; Japan）and Reborn Art Festival 2019（Miyagi; Japan）.

35

Ishikawa Ryuichi, Back and Tail of Pheasant, Hokkaido from “The Inside of Life”, 2018
Courtesy of the artist

Through various research activities, Kuroda Daisuke searches for various specter-like presences buried
and forgotten by society and gives them new shape in the form of video artworks and installations. In
recent years, Kuroda has been conducting research sculpture, a medium which he studied at length atuniversity and uses as the base of his creation process, and which he now seeks to reinterpret.
Kurodaʼs main exhibitions include Laïcité Forestalled, Through the Eyes of Dogeza, 3331 Arts Chiyoda（2019;
Tokyo, Japan）, Hyper Ghost Sculpture, Kanzan Gallery（2019; Tokyo, Japan）, and The Absent History of
Sculpture 2, 3331 Arts Chiyoda（2019; Tokyo, Japan）.Group exhibitions include Tsushima Art Fantasia
2020‒21, Tsushima（2021; Nagasaki, Japan）,Hon no kirinuki（“A Clipping from a Book”）,Zuiunan（2020;
Kyoto, Japan）,and the Setouchi Triennale 2016, Shodo Island（2016; Kagawa, Japan）.

Tuan Andrew Nguyen

Florencia Sadir

Born 1976 in Saigon, Vietnam. Based in Ho Chi Minh City, Vietnam.

Born 1991 in San Miguel de Tucumán（Tucumán）,Argentina. Based in Cafayate（Salta）,Argentina.

Tuan Andrew Nguyenʼs practice explores strategies of political resistance enacted throughcounter-memory and post-memory. Extracting and re-working narratives via history andsupernaturalisms is an essential part of Nguyenʼs video works and sculptures, where fact and ﬁction areboth held accountable.
Nguyenʼs works have been included in recent major international festivals, biennials, and exhibitions
including Manifesta 13, Marseilles（2020）; Sharjah Architecture Triennial（2019）; SOFT POWER,SFMOMA, San Francisco（2019）;Sharjah Biennial 14（2019）;and the 2017 Whitney Biennial. His work
is included in institutions including Carré dʼArt, Nîmes, France; Queensland Art Gallery | Gallery ofModern Art, Brisbane; SFMOMA; Museum of Modern Art, New York; Solomon R. Guggenheim
Museum and the Whitney Museum of American Art.

Florencia Sadir grew up in Cafayate（Salta Province）, Argentina. She is studying Fine Arts at the
National University of Tucumán（Argentina）. She completed the 2020 / 21 Artists Program at the
University Torcuato Di Tella（Buenos Aires, Argentina）and a study program at the Flora Ars +Natura School（Bogotá, Colombia）.
Florencia's work is grounded in a dialogue with her homeland（Valles Calchaquíes）where she
currently lives and works, about inherited knowledge and learning in community. Her installations,sculptures and drawings are composed with natural materials, from clay in diﬀerent states forconstruction to the use of basketry woven with vegetable ﬁbers to create objects that accentuate their
dysfunctionality. Her works invite the audience to reﬂect on how production, work and consumption
times have been decoupled from life cycles. Sadirʼs art work proposes a correction of the false
dissociation between man and nature. Her works form part of numerous public and private collections
in Argentina, Chile and Colombia.

The Boat People, 2020

© Tuan Andrew Nguyen 2022
Courtesy of the artist and James Cohan, New York

Nikau Hindin

Tamura Yuichiro

Born 1991 in Tāmaki Makaurau（Auckland）,Aotearoa New Zealand.
Based in Turanganui a Kiwa（Gisborne）,Aotearoa New Zealand.

Born 1977 in Toyama, Japan. Based in Kyoto, Japan.

Nikau Hindin（Ngai Tūpoto hāpū, Te Rarawa, Ngāpuhi）is a bark cloth maker who works with aute
（mulberry paper）. She grounds her practice, the Māori Lunar calendar, language, genealogy, andrelationships with knowledge holders, the land, plants, and water.
Hindin was inﬂuenced by her time in Hawaiʼi with teachers and students of voyaging, celestialnavigation, and kapa（Hawaiian tapa cloth）. She returned to Aotearoa in 2018 to revive the practice ofaute , a tradition that had not been practiced in over a century. Hindin straddles the worlds ofindigenous practice and contemporary art. Her solo show Kōkōrangi ki Kōkōwai at The Dowse Art
Museum, New Zealand, in 2020, was based on the movement of celestial bodies as signs that not only
indicate direction but also delineate time as an important element of our lunar-stellar calendrical system.
Her recent exhibitions include pasapkedjinawong, Mackenzie Art Gallery（2021; Saskatchewan, Canada）,
Naadohbii, Winnipeg Art Gallery（2021-22; Manitoba, Canada）,and Kathmandu Triennial 2021（Nepal）.

Tamura Yuichiroʼs work unfolds from existing images and objects, and reﬂects an interdisciplinary
approach to various media, including photography, video, installation, performance, and theater. He
creates multilayered narratives containing a mixture of fact and ﬁction and based on a wide range ofsources, from indigenous historical themes to well-known popular subjects. New interpretations andreadings are bestowed upon original histories and memories, transcending spaces and time and asking
what it means to be “contemporary.”
Recently, Tamura has held solo exhibitions at the Govett-Brewster Art Gallery（2019; New Plymouth,
Aotearoa New Zealand）, Kyoto City University of Arts Art Gallery @KCUA（2018; Japan）andparticipated in international exhibitions such as Yokohama Triennale 2020（Japan）, 2019 Asian Art
Biennial（Taichung, Taiwan）,Busan Biennale 2018（South Korea）,and SeMA Biennale Mediacity Seoul
2014（South Korea）.

Mutuwhenua. Te Ngahurumātoru o Ruahanui.

（New Moon in the 13th moon cycle of the star Sheratan）［detail］,2020

Practice for DOGEZA, 2020

Caminar sobre lo rojo（Walk on the red ）, 2021

The Spider’s Threads, 2018
Courtesy of the artist36

Born 1938 in Aichi, Japan; lived and worked in Aichi and Gifu, Japan; died in 2020 in Aichi, Japan.

Ceramic artist Koie Ryoji ﬁrst came into contact with pottery during a part-time job at a drainage pipe
factory in his hometown of Tokoname. After graduating from the ceramics course of his local
high-school, Koie continued to study ceramics while working at a tile manufacturing plant in Tokoname.
In 1966, he graduated from the Tokoname Municipal Ceramics Research Institute and established his
own studio.
His work always had strong socio-critical messages at its core, from the Return to “Earth” series（1971）
moulded after the artistʼs face to series such as “Testimonies”（1973）or “Chernobyl”（1989‒ʼ90）with
their clear anti-nuclear sentiment. In his practice, Koie continued to challenge the act of burning clay
with ﬁre and experimented with unusual materials such as glass and metal. His refusal to stay within
the conventional frames of ceramics earned him high critical acclaim both in Japan and worldwide.
Koie Ryojiʼs work has been shown at numerous exhibitions, including Modern Ceramic Art I: The Potentialof Fire and Clay , Yamaguchi Prefectural Art Museum（1982 ; Japan）and Contemporary Ceramics
1950-1990, Aichi Prefectural Museum of Art（1993; Japan）.

"Chernobyl Series"
1989-1990
Aichi Prefectural Ceramic Museum, Japan

Arimatsu, Nagoya City

Koie Ryoji

Arimatsu was established in 1608 by the Owari clan between the post towns of Narumi
and Chiryu on the Tokaido Road. It is known for its tie-dye fabric Arimatsu-Narumi
Shibori, a tradition that has been preserved since Arimatsuʼs foundation more than 400
years ago to the present day.
The Aichi Triennale 2022 exhibitions in Arimatsu will take place in thehistorically-preserved townscape along the Tokaido Road that once connected Edo with
Kyoto. Within the special atmosphere of one of Japanʼs most important preserved
townscapes, outdoor exhibitions of colorful and festive paintings will make it seem as if theukiyo-e prints of the Edo period have come to life.
Given the townʼs tangible history and its centuries-old traditions, we will reﬂect on Aichi
Triennale 2022ʼs theme “STILL ALIVE” by paying close attention to the handicrafts,
communal connections and oral traditions passed down in diverse cultures around theworld, including indigenous cultures, in an attempt to stimulate new conversations. Further,
we aim to share and investigate stories about history, remembrance, accumulation,
migration and politics through installations, performances and video works that correspondto the particular spaces of the traditional Japanese houses in which they are exhibited.

Artists exhibiting in Arimatsu, Nagoya City
Artist introductions are listed in order of recommended viewing route.

Multiple sites

Mit Jai Inn

Former Kato Kimono Fabrics Shop

Yee I-Lann
Miyata Asuka

House of Takeda

Prinz Gholam

Tea Ceremony Room Saishoan, House of Takeda

Gabriel Orozco

Warehouse, House of Kawamura

Tanya Lukin Linklater

House of Oka

Yuki Kihara
AKI INOMATATHE HARISHO CO., Ltd.

Yhonnie Scarce

Mit Jai Inn
Born 1960 in Chiang Mai, Thailand. Based in Chiang Mai, Thailand.

Mit Jai Inn is a member of an ethnic minority called the Yong. He trained as a novice monk at
Djittabhawan Buddhist College in Pattaya（1970 -1976）, then began his artistic education in 1983 at
Silpakorn University in Bangkok. He moved to Europe in 1986, and in 1988 enrolled in the Master ofFine Artsʼs program at the University of Applied Arts Vienna, where he started working as a studioassistant to Franz West the same year. Following his return to Thailand in 1992, he co-founded the
Chiang Mai Social Installation（CMSI）together with several other artists. At the fourth and ﬁnal
edition of CMSI, Mit launched the spin-oﬀ event Week of Cooperative Suffering with a focus on public
engagement activities. In 2015, he founded Cartel Artspace in Bangkok as a space for artists andcurators to reﬂect on the historical and contemporary contexts of Thailand and Southeast Asia.
His work has been shown in artist initiatives, museums, galleries, and mega-exhibitions, including thesolo exhibition Dreamworld , IKON Gallery（2021, UK）; Color in Cave , Museum MACAN（2019,
Indonesia）;and the group exhibition SUNSHOWER, Mori Art Museum（2017, Japan）;and the 21st and15th Biennale of Sydney（2018/2012, Australia）.

37

People’s Wall, 2019

Photo: Jim Thompson Foundation
Courtesy of the artist and Jim Thompson Foundation

38

Born 1938 in Aichi, Japan; lived and worked in Aichi and Gifu, Japan; died in 2020 in Aichi, Japan.

Ceramic artist Koie Ryoji ﬁrst came into contact with pottery during a part-time job at a drainage pipe
factory in his hometown of Tokoname. After graduating from the ceramics course of his local
high-school, Koie continued to study ceramics while working at a tile manufacturing plant in Tokoname.
In 1966, he graduated from the Tokoname Municipal Ceramics Research Institute and established his
own studio.
His work always had strong socio-critical messages at its core, from the Return to “Earth” series（1971）
moulded after the artistʼs face to series such as “Testimonies”（1973）or “Chernobyl”（1989‒ʼ90）with
their clear anti-nuclear sentiment. In his practice, Koie continued to challenge the act of burning clay
with ﬁre and experimented with unusual materials such as glass and metal. His refusal to stay within
the conventional frames of ceramics earned him high critical acclaim both in Japan and worldwide.
Koie Ryojiʼs work has been shown at numerous exhibitions, including Modern Ceramic Art I: The Potentialof Fire and Clay , Yamaguchi Prefectural Art Museum（1982 ; Japan）and Contemporary Ceramics
1950-1990, Aichi Prefectural Museum of Art（1993; Japan）.

"Chernobyl Series"
1989-1990
Aichi Prefectural Ceramic Museum, Japan

Arimatsu, Nagoya City

Koie Ryoji

Arimatsu was established in 1608 by the Owari clan between the post towns of Narumi
and Chiryu on the Tokaido Road. It is known for its tie-dye fabric Arimatsu-Narumi
Shibori, a tradition that has been preserved since Arimatsuʼs foundation more than 400
years ago to the present day.
The Aichi Triennale 2022 exhibitions in Arimatsu will take place in thehistorically-preserved townscape along the Tokaido Road that once connected Edo with
Kyoto. Within the special atmosphere of one of Japanʼs most important preserved
townscapes, outdoor exhibitions of colorful and festive paintings will make it seem as if theukiyo-e prints of the Edo period have come to life.
Given the townʼs tangible history and its centuries-old traditions, we will reﬂect on Aichi
Triennale 2022ʼs theme “STILL ALIVE” by paying close attention to the handicrafts,
communal connections and oral traditions passed down in diverse cultures around theworld, including indigenous cultures, in an attempt to stimulate new conversations. Further,
we aim to share and investigate stories about history, remembrance, accumulation,
migration and politics through installations, performances and video works that correspondto the particular spaces of the traditional Japanese houses in which they are exhibited.

Artists exhibiting in Arimatsu, Nagoya City
Artist introductions are listed in order of recommended viewing route.

Multiple sites

Mit Jai Inn

Former Kato Kimono Fabrics Shop

Yee I-Lann
Miyata Asuka

House of Takeda

Prinz Gholam

Tea Ceremony Room Saishoan, House of Takeda

Gabriel Orozco

Warehouse, House of Kawamura

Tanya Lukin Linklater

House of Oka

Yuki Kihara
AKI INOMATATHE HARISHO CO., Ltd.

Yhonnie Scarce

Mit Jai Inn
Born 1960 in Chiang Mai, Thailand. Based in Chiang Mai, Thailand.

Mit Jai Inn is a member of an ethnic minority called the Yong. He trained as a novice monk at
Djittabhawan Buddhist College in Pattaya（1970 -1976）, then began his artistic education in 1983 at
Silpakorn University in Bangkok. He moved to Europe in 1986, and in 1988 enrolled in the Master ofFine Artsʼs program at the University of Applied Arts Vienna, where he started working as a studioassistant to Franz West the same year. Following his return to Thailand in 1992, he co-founded the
Chiang Mai Social Installation（CMSI）together with several other artists. At the fourth and ﬁnal
edition of CMSI, Mit launched the spin-oﬀ event Week of Cooperative Suffering with a focus on public
engagement activities. In 2015, he founded Cartel Artspace in Bangkok as a space for artists andcurators to reﬂect on the historical and contemporary contexts of Thailand and Southeast Asia.
His work has been shown in artist initiatives, museums, galleries, and mega-exhibitions, including thesolo exhibition Dreamworld , IKON Gallery（2021, UK）; Color in Cave , Museum MACAN（2019,
Indonesia）;and the group exhibition SUNSHOWER, Mori Art Museum（2017, Japan）;and the 21st and15th Biennale of Sydney（2018/2012, Australia）.

37

People’s Wall, 2019

Photo: Jim Thompson Foundation
Courtesy of the artist and Jim Thompson Foundation

38

Yee I-Lann

Tanya Lukin Linklater

Born 1971 in Kota Kinabalu, Malaysia. Based in Kota Kinabalu, Malaysia.

Yee I-Lannʼs artworks engage with regional Southeast Asian history addressing issues of colonialism,
power, and the impact of historical memory in lived social contemporary experience. Recently she has
been working collaboratively with communities and indigenous mediums in Sabah.
Yee has worked in the art department in the Malaysian ﬁlm industry since 1994 and between 2003-2008
established the production design department and lectured at Akademi Seni Budaya dan Warisan
Kebangsaan. She is a Board member for foreversabah.org, a co-founding partner of Kota-K Studio &Kota-K Art Gallery（a 10x10x10ft gallery playspace）in Kota Kinabalu.
Recent 2021 exhibitions include: Yee I-Lann & Collaborators: Borneo Heart, the Sabah International
Convention Centre（Kota Kinabalu, Malaysia）, Yee I-Lann: Until We Hug Again, CHAT（Centre for
Heritage, Arts and Textile）（Hong Kong）, Indian Ocean Craft Triennial, John Curtin Gallery（Perth,
Australia）,Art Histories of a Forever War, Taipei Fine Arts Museum（Taiwan）,and The 10th Asia Paciﬁc
Triennial of Contemporary Art, the Queensland Art Gallery | Gallery of Modern Art（Brisbane, Australia）.

Tikar Reben, 2020

With weaving by Kak Roziah, Kak Sanah, Kak Kinnuhong, Kak Koddil
Private collection Photo: Flanegan Bainon

Tanya Lukin Linklaterʼs performances, works for camera, installations, and writings center histories ofIndigenous peoplesʼ lives, lands, and structures of sustenance. Her performances in relation to objects in
exhibition, scores, and ancestral belongings generate what she calls felt structures. She investigatesinsistence in both concept and application. Her work has been shown at the 2021 New Museum
Triennial（New York, USA）, SFMOMA（San Francisco, USA）, Chicago Architecture Biennial 2019
（USA）,EFA Project Space + Performa（New York, USA）,Art Gallery of Ontario（Toronto, Canada）,
Remai Modern（Saskatoon, Canada）, and elsewhere. Her ﬁrst collection of poetry, Slow Scrape, waspublished in the Documents series by The Centre for Expanded Poetics and Anteism, Montréal（Canada）in 2020 with a second printing in 2021. In 2021 Tanya received the Herb Alpert Award in theArts for Visual Art（Santa Monica, USA）. Her Alutiiq homelands are in the Kodiak archipelago ofsouthwestern Alaska.

Miyata Asuka

Yuki Kihara

Born in 1985 in Aichi, Japan. Based in Mie, Japan.

Born 1975 in Apia, Sāmoa. Based in Apia, Sāmoa.

Miyata Asuka creates her works using textiles and fabrics and techniques such as knitting andstitching. She constructs new narratives through her own and othersʼ memories and questions
blindly-accepted traditions and customs. In recent years, Miyata has pursued a series of projects thatform communities through local knitting and stitching groups in several towns in Japan. By talking andknitting together, people from diﬀerent generations exchange knowledge and personal experiences witheach other, and the ensuing casual conversations enable participants to rediscover the fact thatinconspicuous events and private aﬀairs are actually closely tied to the larger goings-on of society.
Miyataʼs recent projects include Bilateral Visual Art Exhibition: Nagoya x Penang（Nagoya Head Office）,
Minatomachi Potluck Building（2021; Aichi, Japan）,“Kanaiwa Shugei-bu”（Kanaiwa Knittingʼn Stitching
Group）, Kanaiwa Rakuza as part of the project presented by the 21st Century Museum ofContemporary Art, Kanazawa（2021; Ishikawa, Japan）, Walking in Textiles−Contemporary Art in
Ichinomiya , Former House of Hayashi（2018; Aichi, Japan）, and Minatomachi Shugei-bu（Minato
Knittingʼn Stitching Group）（2017‒（ongoing）;Aichi, Japan）.

Yuki Kihara is an interdisciplinary artist of Japanese and Sāmoan descent whose work seeks tochallenge dominant and singular historical narratives by exploring the intersectionality between
identity politics, decolonization and ecology through visual arts, dance, and curatorial practice.
In 2008, the Metropolitan Museum of Art（New York, USA）presented a solo exhibition of Kiharaʼs
work entitled ʻLiving Photographsʼ at the Lila Acheson Wallace Wing in The Department of Modern
and Contemporary Art featuring highlights of her art practice, followed by an acquisition of her works
by the museum for their permanent collection.
Kiharaʼs works are in collections at, among others, the Los Angeles County Museum of Art（USA）;
British Museum（London）; Queensland Art Gallery | Gallery of Modern Art（Brisbane, Australia）;
Kaohsiung Museum of Fine Arts（Taiwan）and Te Papa Tongarewa Museum（Wellington, New
Zealand）.Kihara is the oﬃcial representative for New Zealand at the 59th Venice Biennale（2022, Italy）.

“Hello! We are Minato Knittingʼn Stitching Group. Vol.4” 2021
Photo: Tomoya Miura
Courtesy of Joint Committee of Port Town

Prinz Gholam

AKI INOMATA

Began collaboration in 2001 and based in Berlin, Germany.
Wolfgang Prinz, born 1969 in Leutkirch, Germany.
Michel Gholam, born 1963 in Beirut, Lebanon.

Born 1983 in Tokyo, Japan. Based in Tokyo, Japan.

The artist duo Prinz Gholam consists of Wolfgang Prinz and Michel Gholam. Working together since2001, they have developed an artistic practice based on performative and collaborative processes that
result in live performances, videos, and installations incorporating drawings, objects, photographs, andtext. Their work is an ongoing attempt to reactivate, relocate, and negotiate the self and the body
between their cultural constructs and the world in which we live.
Their work manifests itself consciously and purposely under the inﬂuence of cultural paradigms. In
their performances, their physical activity as two contemporary individuals generates both
psychological and physical issues. Coming from two diﬀerent cultures, the duo elicits questions of age,character, education, social background, and geographical origin.
Major presentations of their work have been held at Mattatoio（2021; Rome, Italy）and documenta 14（2017; Athens, Greece and Kassel, Germany）

39

Born in 1976 in Kodiak, USA. Based in North Bay, Canada.

L’esprit de notre temps（Viale San Paolo del Brasile, Rome）, 2021
© Prinz Gholam

Focusing on how the act of “making” is not exclusive to mankind, AKI INOMATA creates“collaboratively” with non-human animals, producing artworks that grow from her interactions withliving creatures and reﬂect her observations on the relationship between humans and animals.
Her major works include Why Not Hand Over a “Shelter” to Hermit Crabs?, in which she created elaborateshells for hermit crabs, and Memory of Currency, an attempt to create "money fossils” that link modern
currencies with seashells, which were used as currency before modern times.
Her recent exhibitions include Broken Nature, MoMA（2021; New York, USA）,AKI INOMATA: Significant
Otherness, Towada Art Center（2019; Aomori, Japan）, The XXII Triennale di Milano, La Triennale di
Milano（2019; Italy）, Thailand Biennale 2018（Krabi）, and Aki Inomata, Why Not Hand Over a “Shelter” toHermit Crabs?, Musée d'arts de Nantes（2018; France）.

Gabriel Orozco

Yhonnie Scarce

Born 1962 in Veracruz, Mexico. Based in Tokyo, Japan and Mexico City, Mexico.

Born 1973 in Woomera, Australia. Based in Melbourne, Australia.

Gabriel Orozco grew up in the cultural milieu of the Mexican left which was linked to muralism,
photography and the political literature of the sixties and seventies. He gained his reputation in theearly nineties with his exploration of drawing, photography, sculpture, installation, and later painting.
His work blurs the boundaries of art with the everyday and often balances complex geometry withorganic materials and elements of chance.
Orozco has exhibited widely including a retrospective（2009- 2011）,which traveled from The Museumof Modern Art（New York, USA）to the Kunstmuseum Basel（Switzerland）, the Centre Pompidou（Paris, France）and the Tate Modern（London, UK）. Recently his work has been presented at the
Aspen Art Museum（2016; Colorado, USA）, and the Museum of Contemporary Art Tokyo（2015;
Japan）. In 2019 the President of Mexico announced that Orozco would, in conjunction with theSecretariat of Culture, oversee the construction of a new cultural center within Chapultepec Park in
Mexico City.

Born from the family of Aboriginal people Kokatha and Nukunu, Yhonnie Scarce's interdisciplinary
practice explores the political nature and aesthetic qualities of glass and photography. Her work
references the ongoing eﬀects of colonization on Aboriginal people; in particular the impact of theremoval and relocation of Aboriginal people from their homelands and the forcible removal of
Aboriginal children from their families. Family history is central to Scarceʼs work, drawing on thestrength of her ancestors, she oﬀers herself as a conduit, sharing their signiﬁcant stories from the past.
Recent solo and group exhibitions include Exposure: Native Art and Political Ecology（2022; IAIA Museumof Contemporary Native Arts, Santa Fe, USA）,Yhonnie Scarce: Missile Park（2021; Australian Centre forContemporary Art, Melbourne, and Institute of Modern Art, Brisbane, Australia）,Looking Glass: Judy
Watson and Yhonnie Scarce（2020; Tarrawarra Museum of Art, Melbourne, and Flinders University
Museum of Art, Adelaide, Australia）.

Roto Shaku 26, 2015

Photo: Cathy Carver
Courtesy of the artist and Marian Goodman Gallery

An amplification through many minds, 2019

Courtesy of the artist and Catriona Jeﬀries, 2020/21
サーモアのうた（Sāmoa no uta）A Song About Sāmoa - Fanua（Land）

Photo: Glenn Frei Courtesy of Yuki Kihara and Milford Galleries Dunedin andQueenstown, Aotearoa New ZealandPassing her a piece of cloth, 2021

Courtesy of Maho Kubota Gallery

Cloud Chamber, 2020［detail］

Installation view at TarraWarra Museum of Art, Australia
Photo: Andrew Curtis

Image courtesy of the artist and THIS IS NO FANTASY

40

Yee I-Lann

Tanya Lukin Linklater

Born 1971 in Kota Kinabalu, Malaysia. Based in Kota Kinabalu, Malaysia.

Yee I-Lannʼs artworks engage with regional Southeast Asian history addressing issues of colonialism,
power, and the impact of historical memory in lived social contemporary experience. Recently she has
been working collaboratively with communities and indigenous mediums in Sabah.
Yee has worked in the art department in the Malaysian ﬁlm industry since 1994 and between 2003-2008
established the production design department and lectured at Akademi Seni Budaya dan Warisan
Kebangsaan. She is a Board member for foreversabah.org, a co-founding partner of Kota-K Studio &Kota-K Art Gallery（a 10x10x10ft gallery playspace）in Kota Kinabalu.
Recent 2021 exhibitions include: Yee I-Lann & Collaborators: Borneo Heart, the Sabah International
Convention Centre（Kota Kinabalu, Malaysia）, Yee I-Lann: Until We Hug Again, CHAT（Centre for
Heritage, Arts and Textile）（Hong Kong）, Indian Ocean Craft Triennial, John Curtin Gallery（Perth,
Australia）,Art Histories of a Forever War, Taipei Fine Arts Museum（Taiwan）,and The 10th Asia Paciﬁc
Triennial of Contemporary Art, the Queensland Art Gallery | Gallery of Modern Art（Brisbane, Australia）.

Tikar Reben, 2020

With weaving by Kak Roziah, Kak Sanah, Kak Kinnuhong, Kak Koddil
Private collection Photo: Flanegan Bainon

Tanya Lukin Linklaterʼs performances, works for camera, installations, and writings center histories ofIndigenous peoplesʼ lives, lands, and structures of sustenance. Her performances in relation to objects in
exhibition, scores, and ancestral belongings generate what she calls felt structures. She investigatesinsistence in both concept and application. Her work has been shown at the 2021 New Museum
Triennial（New York, USA）, SFMOMA（San Francisco, USA）, Chicago Architecture Biennial 2019
（USA）,EFA Project Space + Performa（New York, USA）,Art Gallery of Ontario（Toronto, Canada）,
Remai Modern（Saskatoon, Canada）, and elsewhere. Her ﬁrst collection of poetry, Slow Scrape, waspublished in the Documents series by The Centre for Expanded Poetics and Anteism, Montréal（Canada）in 2020 with a second printing in 2021. In 2021 Tanya received the Herb Alpert Award in theArts for Visual Art（Santa Monica, USA）. Her Alutiiq homelands are in the Kodiak archipelago ofsouthwestern Alaska.

Miyata Asuka

Yuki Kihara

Born in 1985 in Aichi, Japan. Based in Mie, Japan.

Born 1975 in Apia, Sāmoa. Based in Apia, Sāmoa.

Miyata Asuka creates her works using textiles and fabrics and techniques such as knitting andstitching. She constructs new narratives through her own and othersʼ memories and questions
blindly-accepted traditions and customs. In recent years, Miyata has pursued a series of projects thatform communities through local knitting and stitching groups in several towns in Japan. By talking andknitting together, people from diﬀerent generations exchange knowledge and personal experiences witheach other, and the ensuing casual conversations enable participants to rediscover the fact thatinconspicuous events and private aﬀairs are actually closely tied to the larger goings-on of society.
Miyataʼs recent projects include Bilateral Visual Art Exhibition: Nagoya x Penang（Nagoya Head Office）,
Minatomachi Potluck Building（2021; Aichi, Japan）,“Kanaiwa Shugei-bu”（Kanaiwa Knittingʼn Stitching
Group）, Kanaiwa Rakuza as part of the project presented by the 21st Century Museum ofContemporary Art, Kanazawa（2021; Ishikawa, Japan）, Walking in Textiles−Contemporary Art in
Ichinomiya , Former House of Hayashi（2018; Aichi, Japan）, and Minatomachi Shugei-bu（Minato
Knittingʼn Stitching Group）（2017‒（ongoing）;Aichi, Japan）.

Yuki Kihara is an interdisciplinary artist of Japanese and Sāmoan descent whose work seeks tochallenge dominant and singular historical narratives by exploring the intersectionality between
identity politics, decolonization and ecology through visual arts, dance, and curatorial practice.
In 2008, the Metropolitan Museum of Art（New York, USA）presented a solo exhibition of Kiharaʼs
work entitled ʻLiving Photographsʼ at the Lila Acheson Wallace Wing in The Department of Modern
and Contemporary Art featuring highlights of her art practice, followed by an acquisition of her works
by the museum for their permanent collection.
Kiharaʼs works are in collections at, among others, the Los Angeles County Museum of Art（USA）;
British Museum（London）; Queensland Art Gallery | Gallery of Modern Art（Brisbane, Australia）;
Kaohsiung Museum of Fine Arts（Taiwan）and Te Papa Tongarewa Museum（Wellington, New
Zealand）.Kihara is the oﬃcial representative for New Zealand at the 59th Venice Biennale（2022, Italy）.

“Hello! We are Minato Knittingʼn Stitching Group. Vol.4” 2021
Photo: Tomoya Miura
Courtesy of Joint Committee of Port Town

Prinz Gholam

AKI INOMATA

Began collaboration in 2001 and based in Berlin, Germany.
Wolfgang Prinz, born 1969 in Leutkirch, Germany.
Michel Gholam, born 1963 in Beirut, Lebanon.

Born 1983 in Tokyo, Japan. Based in Tokyo, Japan.

The artist duo Prinz Gholam consists of Wolfgang Prinz and Michel Gholam. Working together since2001, they have developed an artistic practice based on performative and collaborative processes that
result in live performances, videos, and installations incorporating drawings, objects, photographs, andtext. Their work is an ongoing attempt to reactivate, relocate, and negotiate the self and the body
between their cultural constructs and the world in which we live.
Their work manifests itself consciously and purposely under the inﬂuence of cultural paradigms. In
their performances, their physical activity as two contemporary individuals generates both
psychological and physical issues. Coming from two diﬀerent cultures, the duo elicits questions of age,character, education, social background, and geographical origin.
Major presentations of their work have been held at Mattatoio（2021; Rome, Italy）and documenta 14（2017; Athens, Greece and Kassel, Germany）

39

Born in 1976 in Kodiak, USA. Based in North Bay, Canada.

L’esprit de notre temps（Viale San Paolo del Brasile, Rome）, 2021
© Prinz Gholam

Focusing on how the act of “making” is not exclusive to mankind, AKI INOMATA creates“collaboratively” with non-human animals, producing artworks that grow from her interactions withliving creatures and reﬂect her observations on the relationship between humans and animals.
Her major works include Why Not Hand Over a “Shelter” to Hermit Crabs?, in which she created elaborateshells for hermit crabs, and Memory of Currency, an attempt to create "money fossils” that link modern
currencies with seashells, which were used as currency before modern times.
Her recent exhibitions include Broken Nature, MoMA（2021; New York, USA）,AKI INOMATA: Significant
Otherness, Towada Art Center（2019; Aomori, Japan）, The XXII Triennale di Milano, La Triennale di
Milano（2019; Italy）, Thailand Biennale 2018（Krabi）, and Aki Inomata, Why Not Hand Over a “Shelter” toHermit Crabs?, Musée d'arts de Nantes（2018; France）.

Gabriel Orozco

Yhonnie Scarce

Born 1962 in Veracruz, Mexico. Based in Tokyo, Japan and Mexico City, Mexico.

Born 1973 in Woomera, Australia. Based in Melbourne, Australia.

Gabriel Orozco grew up in the cultural milieu of the Mexican left which was linked to muralism,
photography and the political literature of the sixties and seventies. He gained his reputation in theearly nineties with his exploration of drawing, photography, sculpture, installation, and later painting.
His work blurs the boundaries of art with the everyday and often balances complex geometry withorganic materials and elements of chance.
Orozco has exhibited widely including a retrospective（2009- 2011）,which traveled from The Museumof Modern Art（New York, USA）to the Kunstmuseum Basel（Switzerland）, the Centre Pompidou（Paris, France）and the Tate Modern（London, UK）. Recently his work has been presented at the
Aspen Art Museum（2016; Colorado, USA）, and the Museum of Contemporary Art Tokyo（2015;
Japan）. In 2019 the President of Mexico announced that Orozco would, in conjunction with theSecretariat of Culture, oversee the construction of a new cultural center within Chapultepec Park in
Mexico City.

Born from the family of Aboriginal people Kokatha and Nukunu, Yhonnie Scarce's interdisciplinary
practice explores the political nature and aesthetic qualities of glass and photography. Her work
references the ongoing eﬀects of colonization on Aboriginal people; in particular the impact of theremoval and relocation of Aboriginal people from their homelands and the forcible removal of
Aboriginal children from their families. Family history is central to Scarceʼs work, drawing on thestrength of her ancestors, she oﬀers herself as a conduit, sharing their signiﬁcant stories from the past.
Recent solo and group exhibitions include Exposure: Native Art and Political Ecology（2022; IAIA Museumof Contemporary Native Arts, Santa Fe, USA）,Yhonnie Scarce: Missile Park（2021; Australian Centre forContemporary Art, Melbourne, and Institute of Modern Art, Brisbane, Australia）,Looking Glass: Judy
Watson and Yhonnie Scarce（2020; Tarrawarra Museum of Art, Melbourne, and Flinders University
Museum of Art, Adelaide, Australia）.

Roto Shaku 26, 2015

Photo: Cathy Carver
Courtesy of the artist and Marian Goodman Gallery

An amplification through many minds, 2019

Courtesy of the artist and Catriona Jeﬀries, 2020/21
サーモアのうた（Sāmoa no uta）A Song About Sāmoa - Fanua（Land）

Photo: Glenn Frei Courtesy of Yuki Kihara and Milford Galleries Dunedin andQueenstown, Aotearoa New ZealandPassing her a piece of cloth, 2021

Courtesy of Maho Kubota Gallery

Cloud Chamber, 2020［detail］

Installation view at TarraWarra Museum of Art, Australia
Photo: Andrew Curtis

Image courtesy of the artist and THIS IS NO FANTASY

40

such as drama, music and dance, but also focus on performance art in the context ofcontemporary art. In particular, it is our aim to create a cross-disciplinary program thatis open to experimentation as a tribute to the history of performance art, a form thatbegan to ﬂourish after the 1960s and managed to overcome the limitations of existing
genres and expressions through artistic research and experimentation.
For the duration of Aichi Triennale 2022, the Performing Arts program will be a
dynamic space where performances by contemporary artists and exhibitions byperformance artists will continue to stimulate, provoke and complement each other.
The programʼs individual events take place mainly at the Aichi Arts Center and arecharacterized by the following three goals.

̶ Reclaiming the present by reenacting historical performances
From experimental music to Butoh dance and the Fluxus movement, the 20th century
saw the emergence of many new and groundbreaking forms of expression. By
reenacting and reinterpreting some of the masterpieces and events of the performancearts, we borrow the light of the past to illuminate the present. For the many visitors
who could not visit the original performances, we will organize a number of talk eventsand lectures to help connect with past works and deepen the enjoyment ofcontemporary art.

̶ Expanding the possibilities of the performing arts using VR and othernew technologies
By introducing VR and other new technologies to the elements that traditionallycompose a performance piece, such as movement, gesture, voice, narrative, sound andimage, we attempt to widen the space of possibilities and explore the unknown
sensations that await at the cross point of the real and the virtual.

̶ Opening up questions about life and care following the Covid Pandemic
With the ongoing pandemic and its drastic eﬀects on the mental and physical health ofour bodies, any artistic practice mediated through the human body will inevitably needto face questions regarding life and survival. The Performing Arts program will feature
artists ‒ disabled and nondisabled, receiving and giving care ‒ who challenge the41

Participating Artists of Performing Arts as of March 30, 2022 in alphabetical order

Performing ArtsThe Performing Arts program of Aichi Triennale 2022 will feature performing arts

Artist Name

Year of Birth（Death）orYear group formed

Place of Birthor Formation

Place of Activity

Relevant
Page

1972

Japan

Germany

20, 45NEW ○ADACHI Tomomi

NEW

Back to Back Theatre

Formed 1991

Australia

Australia

44

NEW

John CAGE

1912（1992）

USA

USA

45

NEW

Trajal HARRELL−−

Greece/Switzerland/USA

43

NEW

IMAI Chikage

1979

Japan

Japan

46

NEW ○

MOMOSE Aya

1988

Japan

Japan

22, 47

NEW

Rabih MROUÉ

1967

LebanonGermany

48

NEW

NAKAMURA Yo

1988

Japan

Japan

46

NEW

Steve REICH

1936

USA

USA

43

NEW ○

SHIOMI Mieko

1938

Japan

Japan

17, 44NEW

Apichatpong WEERASETHAKUL

1970

ThailandThailand47○ : Artists who will also participate in the contemporary art exhibition
・ Participating artists include names of individuals and groups.
・ In principle, the artists are listed in alphabetical order according to their family names. However, the order of several artists' familynames and given names varies depending on the conventions used in their respective home country, or on the artist's own
preference.
・ The years of the artistsʼ birth, and in some cases, death, places of birth, and the locations where they are or were based are listed as
references for the social and cultural context of their works.

Artists planning performances at the contemporary art exhibition
Theaster Gates ▶ p.34
Mukai Eriko ▶ p.32
Prinz Gholam ▶ p.39
Sasamoto Aki ▶ p.21
Artists planning VR（virtual reality）works at the contemporary art exhibition
Laurie Anderson & Huang Hsin-Chien ▶ p.26

boundaries drawn by our contemporary values and explore new ethics regarding the

ARAKAWA and Madeline Gins ▶ p.24

human body.

Hsu Chia-Wei ▶ p.30

42

such as drama, music and dance, but also focus on performance art in the context ofcontemporary art. In particular, it is our aim to create a cross-disciplinary program thatis open to experimentation as a tribute to the history of performance art, a form thatbegan to ﬂourish after the 1960s and managed to overcome the limitations of existing
genres and expressions through artistic research and experimentation.
For the duration of Aichi Triennale 2022, the Performing Arts program will be a
dynamic space where performances by contemporary artists and exhibitions byperformance artists will continue to stimulate, provoke and complement each other.
The programʼs individual events take place mainly at the Aichi Arts Center and arecharacterized by the following three goals.

̶ Reclaiming the present by reenacting historical performances
From experimental music to Butoh dance and the Fluxus movement, the 20th century
saw the emergence of many new and groundbreaking forms of expression. By
reenacting and reinterpreting some of the masterpieces and events of the performancearts, we borrow the light of the past to illuminate the present. For the many visitors
who could not visit the original performances, we will organize a number of talk eventsand lectures to help connect with past works and deepen the enjoyment ofcontemporary art.

̶ Expanding the possibilities of the performing arts using VR and othernew technologies
By introducing VR and other new technologies to the elements that traditionallycompose a performance piece, such as movement, gesture, voice, narrative, sound andimage, we attempt to widen the space of possibilities and explore the unknown
sensations that await at the cross point of the real and the virtual.

̶ Opening up questions about life and care following the Covid Pandemic
With the ongoing pandemic and its drastic eﬀects on the mental and physical health ofour bodies, any artistic practice mediated through the human body will inevitably needto face questions regarding life and survival. The Performing Arts program will feature
artists ‒ disabled and nondisabled, receiving and giving care ‒ who challenge the41

Participating Artists of Performing Arts as of March 30, 2022 in alphabetical order

Performing ArtsThe Performing Arts program of Aichi Triennale 2022 will feature performing arts

Artist Name

Year of Birth（Death）orYear group formed

Place of Birthor Formation

Place of Activity

Relevant
Page

1972

Japan

Germany

20, 45NEW ○ADACHI Tomomi

NEW

Back to Back Theatre

Formed 1991

Australia

Australia

44

NEW

John CAGE

1912（1992）

USA

USA

45

NEW

Trajal HARRELL−−

Greece/Switzerland/USA

43

NEW

IMAI Chikage

1979

Japan

Japan

46

NEW ○

MOMOSE Aya

1988

Japan

Japan

22, 47

NEW

Rabih MROUÉ

1967

LebanonGermany

48

NEW

NAKAMURA Yo

1988

Japan

Japan

46

NEW

Steve REICH

1936

USA

USA

43

NEW ○

SHIOMI Mieko

1938

Japan

Japan

17, 44NEW

Apichatpong WEERASETHAKUL

1970

ThailandThailand47○ : Artists who will also participate in the contemporary art exhibition
・ Participating artists include names of individuals and groups.
・ In principle, the artists are listed in alphabetical order according to their family names. However, the order of several artists' familynames and given names varies depending on the conventions used in their respective home country, or on the artist's own
preference.
・ The years of the artistsʼ birth, and in some cases, death, places of birth, and the locations where they are or were based are listed as
references for the social and cultural context of their works.

Artists planning performances at the contemporary art exhibition
Theaster Gates ▶ p.34
Mukai Eriko ▶ p.32
Prinz Gholam ▶ p.39
Sasamoto Aki ▶ p.21
Artists planning VR（virtual reality）works at the contemporary art exhibition
Laurie Anderson & Huang Hsin-Chien ▶ p.26

boundaries drawn by our contemporary values and explore new ethics regarding the

ARAKAWA and Madeline Gins ▶ p.24

human body.

Hsu Chia-Wei ▶ p.30

42

*Artists listed in order of scheduled performances. Dates and further details to be announced shortly.

Steve Reich

Steve Reich studied music at the Juilliard School and Mills College under artists like
Darius Milhaud and Luciano Berio. Earlier he graduated from Cornell University, where
he studied the philosophy of Ludwig Wittgenstein. In 1965 and 1966 respectively, Reichreleased the tape music pieces It’s Gonna Rain and Come Out. In 1966, he formed his
ensemble “Steve Reich and Musicians” with which he has performed all over the world.
1991 marked his ﬁrst visit to Japan, with concerts held in Tokyo and Osaka. In 1997,
together with video artist Beryl Korot, Reich created the multimedia opera The Caveabout the complex relationship between Judaism, Christianity and Islam. The piece wasalso performed in Tokyo. An exceptional contemporary composer, Reich continues toinspire and stimulate a wide range of art beyond the conﬁnes of music.

Back to Back Theatre

At Aichi Triennale 2022, the company presents their ﬁlms Oddlands and Shadow（performed with Japanese subtitles）, two stories about unlikely heroes who ﬁnd hope inthe most unlikely places. A post-performance discussion with writer and director Bruce
Gladwin is also scheduled to take place.

Focusing on Double Sextet and Different Trains, Aichi Triennale 2022 will shine a newlight on Reichʼs masterpieces, whose deep connections reach from ancient medieval
music to visual and conceptual art of the present. The concert, performed by anensemble of talented musicians who revere Reichʼs work, will oﬀer the audience a
perfect experience of Reichʼs musicality and contemporarity.

Photo: Jeﬀrey Herman2014 Herald Angel Critic's Award, Edinburgh International Festival, Edinburgh, UK
2012 Helpmann Award for Best Australian Work, Australia
ODDLANDS, 20172008 New York Dance and Performance Award（Bessie Award）,USA

Shiomi Mieko

Shiomi Mieko graduated from Tokyo University of the Artsʼ Department of Musicology
in 1961. During her student days, she formed Group Ongaku together with fellow
students and experimented with tape music and improvisation. In 1964, Shiomi moved to
the USA and became a member of Fluxus. In 1965, she started her “Spatial Poem” series.
Following her return to Japan, she developed the gesture of the “event” as performance
art. In 1970, she relocated to the city of Osaka. Starting with the Fluxus festival in
Venice in 1990, she took part in numerous Fluxus projects held all over the world and in
her home of Japan. Having become interested in electronic technologies in the 1990s, shebegan to implement them into her transmedial performances. Shiomi continues to workin a variety of ﬁelds and genres today, including visual art, performance art and music
compositions. Since 2014, Shiomi is also active as a Distinguished Visiting Scholar at theArchival Research Center in Kyoto City University of the Arts.

Photo: Jeﬀ Busby

2009 Pulitzer Prize for Music for Double Sextet, USA

The Australian company Back to Back Theatre is an ensemble of actors with disabilities
and has been producing theater works for more than 30 years. Their ﬁrst performancein Japan took place in 2013 with the piece Ganesh vs. the Third Reich as part of theFestival/Tokyo. They returned in 2018 with the play small metal objects, organized by the
Tokyo Metropolitan Theatre. Back to Back Theatreʼs internationally renowned works
shine a sharp light on the darker corners of society. Pioneers of inclusive theater, they
employ the powers of ﬁction to constantly question the diﬃculties of surviving within
the oppressiveness of contemporary society.

2005 Sidney Myer Performing Arts Group Award, Australia

2006 18th Praemium Imperiale Arts Award for Music, Japan
1990 Grammy Award for Best Classical Contemporary Composition for Different Trains,
Grammy Awards, USA

Performances

Steve Reich - Special Concert

Performers: Nakagawa Ken'ichi（Piano）

Yamada Gaku（Electric guitar）

Ishigami Mayuko（Violin）*

Wasada Rui（Viola）

Fukutomi Shoko（Cello）*

Wakabayashi Kaori（Flute）*

Ueda Nozomi（Clarinet）*

Hatanaka Asuka（Vibraphone）*

Arima Sumihisa（Electronics）

and more. *= Ensemble Kujoyama

Supervisor : Steve Reich

Trajal Harrell

Photo: Orpheas Emirzas

Trajal Harrell is a choreographer, dancer and researcher based in several cities acrossthe world. With his unique choreographies, which combine various styles from thehistory of dance, especially voguing* and post-modern dance that emerged in 1960s New
York, Harrell continues to deﬁne dance in the 21st century. Since 2019, he has beenhouse director and founder director of the Schauspielhaus Zurich Dance Ensemble in
Switzerland.

cf. Contemporary Art Exhibition ▶ p.17

One of Harrellʼs most signiﬁcant inspirations is Hijikata Tatsumi（1928‒1986）, thefounder of Butoh dance. Harrellʼs continuous research and re-interpretations of Butoh
since 2013 have now ﬂourished into his latest piece Sister or He Buried the Body（2022）,
which will allow audiences to witness the special moment when Harrell channels avoguing Hijikata Tatsumi through his body and gestures. Further, Harrell will also
perform his 2019 piece Dancer of the Year, making his participation in Aichi Triennale2022 a double bill.
（Voguing*
is a style of dance that began in New Yorkʼs black and Latino LGBT community in the
1960s. Its name inspired by the eponymous fashion magazine, voguing is characterized by movements
and repeatedly striking poses on a runway, or in a fashion photoshoot, to impress an audience of peers.）

Photo: Hideto Maezawa
Courtesy of Museum of Contemporary Art TokyoFor Aichi Triennale 2022, Shiomi selects performance works from her Events series
from 1966 until today, including new works, in accordance with the festivalʼs theme“STILL ALIVE,” and presents two programs titled “ Performing Words and Concepts” and“Piano × Performance”.
2014 Fluxus in Japan 2014, Museum of Contemporary Art Tokyo, Tokyo, Japan

2022 Solo Performance Exhibition, Kunsthalle Zurich, Zurich, Switzerland

2013 Mieko Shiomi and Fluxus, The National Museum of Art, Osaka, Japan2017 Hoochie Koochie, Barbican Centre, London, UK

1995 Fluxus Balance & Balance Poems（solo）,Galerie J&J Donguy, Paris, France

2013 Used Abused and Hung Out to Dry, MoMA, New York, USA

1990 Fluxus Festival, Venice, Italy

2020 Dancer of the Year Shop #3, Sao Paulo Biennale, Sao Paulo, Brazil
2016 Caen Amour, Festival Avignon, Avignon, France

2001 Fluxus Trial, The National Museum of Art, Osaka, Japan

1994 Fluxus Media Opera, Xebec Hall, Kobe, Japan

2012 New York Dance and Performance Award（Bessie Award）for

Antigone Sr./ Twenty Looks or Paris is Burning at The Judson Church（L）,USA

Performances

Shiomi Mieko Performance Work- The World of Sounds, Words and Actions Performers:

43

Hashimoto Reiko

Hashizume Kosuke

Kaminaka Asami

Morimoto Yuri

Nakamura Keisuke

Oi Takuya

Uematsu Takuma

Yamane Akiko

44

*Artists listed in order of scheduled performances. Dates and further details to be announced shortly.

Steve Reich

Steve Reich studied music at the Juilliard School and Mills College under artists like
Darius Milhaud and Luciano Berio. Earlier he graduated from Cornell University, where
he studied the philosophy of Ludwig Wittgenstein. In 1965 and 1966 respectively, Reichreleased the tape music pieces It’s Gonna Rain and Come Out. In 1966, he formed his
ensemble “Steve Reich and Musicians” with which he has performed all over the world.
1991 marked his ﬁrst visit to Japan, with concerts held in Tokyo and Osaka. In 1997,
together with video artist Beryl Korot, Reich created the multimedia opera The Caveabout the complex relationship between Judaism, Christianity and Islam. The piece wasalso performed in Tokyo. An exceptional contemporary composer, Reich continues toinspire and stimulate a wide range of art beyond the conﬁnes of music.

Back to Back Theatre

At Aichi Triennale 2022, the company presents their ﬁlms Oddlands and Shadow（performed with Japanese subtitles）, two stories about unlikely heroes who ﬁnd hope inthe most unlikely places. A post-performance discussion with writer and director Bruce
Gladwin is also scheduled to take place.

Focusing on Double Sextet and Different Trains, Aichi Triennale 2022 will shine a newlight on Reichʼs masterpieces, whose deep connections reach from ancient medieval
music to visual and conceptual art of the present. The concert, performed by anensemble of talented musicians who revere Reichʼs work, will oﬀer the audience a
perfect experience of Reichʼs musicality and contemporarity.

Photo: Jeﬀrey Herman2014 Herald Angel Critic's Award, Edinburgh International Festival, Edinburgh, UK
2012 Helpmann Award for Best Australian Work, Australia
ODDLANDS, 20172008 New York Dance and Performance Award（Bessie Award）,USA

Shiomi Mieko

Shiomi Mieko graduated from Tokyo University of the Artsʼ Department of Musicology
in 1961. During her student days, she formed Group Ongaku together with fellow
students and experimented with tape music and improvisation. In 1964, Shiomi moved to
the USA and became a member of Fluxus. In 1965, she started her “Spatial Poem” series.
Following her return to Japan, she developed the gesture of the “event” as performance
art. In 1970, she relocated to the city of Osaka. Starting with the Fluxus festival in
Venice in 1990, she took part in numerous Fluxus projects held all over the world and in
her home of Japan. Having become interested in electronic technologies in the 1990s, shebegan to implement them into her transmedial performances. Shiomi continues to workin a variety of ﬁelds and genres today, including visual art, performance art and music
compositions. Since 2014, Shiomi is also active as a Distinguished Visiting Scholar at theArchival Research Center in Kyoto City University of the Arts.

Photo: Jeﬀ Busby

2009 Pulitzer Prize for Music for Double Sextet, USA

The Australian company Back to Back Theatre is an ensemble of actors with disabilities
and has been producing theater works for more than 30 years. Their ﬁrst performancein Japan took place in 2013 with the piece Ganesh vs. the Third Reich as part of theFestival/Tokyo. They returned in 2018 with the play small metal objects, organized by the
Tokyo Metropolitan Theatre. Back to Back Theatreʼs internationally renowned works
shine a sharp light on the darker corners of society. Pioneers of inclusive theater, they
employ the powers of ﬁction to constantly question the diﬃculties of surviving within
the oppressiveness of contemporary society.

2005 Sidney Myer Performing Arts Group Award, Australia

2006 18th Praemium Imperiale Arts Award for Music, Japan
1990 Grammy Award for Best Classical Contemporary Composition for Different Trains,
Grammy Awards, USA

Performances

Steve Reich - Special Concert

Performers: Nakagawa Ken'ichi（Piano）

Yamada Gaku（Electric guitar）

Ishigami Mayuko（Violin）*

Wasada Rui（Viola）

Fukutomi Shoko（Cello）*

Wakabayashi Kaori（Flute）*

Ueda Nozomi（Clarinet）*

Hatanaka Asuka（Vibraphone）*

Arima Sumihisa（Electronics）

and more. *= Ensemble Kujoyama

Supervisor : Steve Reich

Trajal Harrell

Photo: Orpheas Emirzas

Trajal Harrell is a choreographer, dancer and researcher based in several cities acrossthe world. With his unique choreographies, which combine various styles from thehistory of dance, especially voguing* and post-modern dance that emerged in 1960s New
York, Harrell continues to deﬁne dance in the 21st century. Since 2019, he has beenhouse director and founder director of the Schauspielhaus Zurich Dance Ensemble in
Switzerland.

cf. Contemporary Art Exhibition ▶ p.17

One of Harrellʼs most signiﬁcant inspirations is Hijikata Tatsumi（1928‒1986）, thefounder of Butoh dance. Harrellʼs continuous research and re-interpretations of Butoh
since 2013 have now ﬂourished into his latest piece Sister or He Buried the Body（2022）,
which will allow audiences to witness the special moment when Harrell channels avoguing Hijikata Tatsumi through his body and gestures. Further, Harrell will also
perform his 2019 piece Dancer of the Year, making his participation in Aichi Triennale2022 a double bill.
（Voguing*
is a style of dance that began in New Yorkʼs black and Latino LGBT community in the
1960s. Its name inspired by the eponymous fashion magazine, voguing is characterized by movements
and repeatedly striking poses on a runway, or in a fashion photoshoot, to impress an audience of peers.）

Photo: Hideto Maezawa
Courtesy of Museum of Contemporary Art TokyoFor Aichi Triennale 2022, Shiomi selects performance works from her Events series
from 1966 until today, including new works, in accordance with the festivalʼs theme“STILL ALIVE,” and presents two programs titled “ Performing Words and Concepts” and“Piano × Performance”.
2014 Fluxus in Japan 2014, Museum of Contemporary Art Tokyo, Tokyo, Japan

2022 Solo Performance Exhibition, Kunsthalle Zurich, Zurich, Switzerland

2013 Mieko Shiomi and Fluxus, The National Museum of Art, Osaka, Japan2017 Hoochie Koochie, Barbican Centre, London, UK

1995 Fluxus Balance & Balance Poems（solo）,Galerie J&J Donguy, Paris, France

2013 Used Abused and Hung Out to Dry, MoMA, New York, USA

1990 Fluxus Festival, Venice, Italy

2020 Dancer of the Year Shop #3, Sao Paulo Biennale, Sao Paulo, Brazil
2016 Caen Amour, Festival Avignon, Avignon, France

2001 Fluxus Trial, The National Museum of Art, Osaka, Japan

1994 Fluxus Media Opera, Xebec Hall, Kobe, Japan

2012 New York Dance and Performance Award（Bessie Award）for

Antigone Sr./ Twenty Looks or Paris is Burning at The Judson Church（L）,USA

Performances

Shiomi Mieko Performance Work- The World of Sounds, Words and Actions Performers:

43

Hashimoto Reiko

Hashizume Kosuke

Kaminaka Asami

Morimoto Yuri

Nakamura Keisuke

Oi Takuya

Uematsu Takuma

Yamane Akiko

44

Adachi Tomomi
cf. Contemporary Art Exhibition ▶ p.20

Adachi Tomomi is a performer, composer, sound poet, instrument builder, and visual
artist. Known for his versatile style, he has performed his own voice and electronics
pieces, sound poetry, improvised music and contemporary music works and alsopresented site-speciﬁc compositions, compositions for classical instrumental ensembles,
and choir pieces for untrained musicians around the world, including Tate Modern（London, UK）, MaerzMusik（Berlin, Germany）, Hamburger Bahnhof Museum（Berlin,
Germany）, Centre Pompidou（Paris, France）and Poesiefestival Berlin（Germany）. He
uses a wide range of materials in his work, including self-made physical interfaces andinstruments, artiﬁcial intelligence, brain waves, artiﬁcial satellite, Twitter texts, fractures,and even paranormal phenomena.

Nakamura Yo

Her piece GISELLE, which will be performed at Aichi Triennale 2022, is an ambitious
attempt to adapt one of the masterpieces of classical ballet into a piece about a woman
living in the world of today.
Nakamura boldly reconstructs the originalʼs themes about the complicated relationshipof love and death between Giselle, Albrecht and Hilarion from a personal perspective
and employs dance, quotes of poetic texts by Virginia Woolf, as well as humor and grave
seriousness in a solo piece that will resonate deeply with todayʼs audiences.

At Aichi Triennale 2022, Adachi will direct John Cageʼs Europeras 3 & 4, created in thelater years of his life. Adachi will also give a solo performance of sound poetry and otherworks.

Courtesy of the artist

2021 Grand Prize for the opera Romeo will juliet, Agency for Cultural Aﬀairs National Arts Festival‒ Music Division（Kansai section）,Japan

2019 Award of Distinction, Ars Electronica, Linz, Austria
2012 Invited Composer of the DAAD Artists-in-Berlin Program, Berlin, Germany

Having started her career in the 2000s, Nakamura Yo is an energetic dancer andchoreographer who has earned critical attention with her adaptations of masterpieces
from ﬁlm and literature, such as ﬁlms by Ozu Yasuziro or Matsumoto Seichoʼs novel The
Face, into dance pieces. Nakamura has been the assistant choreographer of ﬁgures like
Kondo Ryohei, Onodera Shuji and Murobushi Ko, in whose Enthusiastic Dance on theGrave she also performed. She has performed works throughout Europe and Asia. In
recent years, Nakamura has focused her attention on choreographing and directing
operas.

Nakamura Yo solo performance GISELLE, 2021
Photo: Hideto Maezawa

2021 S erse, Nikikai New Wave Opera Theater, Meguro Persimon Hall, Tokyo, Japan
2020 GISELLE special 30 min ver.（video）

2009 ACC Music Grant, New York, USA

2019 Pendulum vol.3, Yokohama Dance Collection Aozora Dance, Kanagawa, Japan

2007 Europera 5（Japan premiere）,Suntory Summer Festival, Tokyo, Japan

2016 5th El Sur Foundation Newcomer Award for Contemporary Dance, Japan

2013 Sibiu International Theater Festival Jury Prize, Yokohama Dance Collection EX, Japan
Performances

Europeras 3 & 4 （see John Cage on page 45 for more information）

Performances

GISELLE

Adachi Tomomi Performance

Choreography and performance: Nakamura Yo

Sound Poetry Solo Performance

John Cage

Photo: Christopher FelverJohn Cage was one of the most inﬂuential composers, poets, thinkers and mycologists ofthe 20th century. He maintained deep relationships with dancers like Merce
Cunningham, artists like Max Ernst, and architects and philosophers like Buckminster
Fuller. In the 1940s, Cage deepened his interest in Eastern Philosophy and began
studying Zen Buddhism. He developed the method of chance operations by utilizing
motifs from the Chinese I Ching in the compositional process, pioneered “music ofindeterminacy,” which introduces chance to the acts of performing and listening, anddeveloped chance music, where the composer gives up control over the sound. Cage isalso the inventor of the prepared piano: by placing rubber bolts between the strings of a
grand piano, Cage manipulated its tone to resemble percussion instruments.
At Aichi Triennale 2022, John Cageʼs Europeras 3 & 4 will be performed for the ﬁrst time inJapan under the direction of Adachi Tomomi. The Europera series, created in Cageʼs ﬁnal
years, is one of the artistʼs masterpieces created through chance operations, with theelements of the opera（songs, piano, gramophones, sound, lighting etc.）determined byrandomly-generated directions. The cast of opera singers will be joined by two Noh actors
for the performance at Aichi Triennale 2022.
1994-1995 Rolywholyover: A Circus for Museum（posthumously）,Art Tower Mito, Ibaraki, Japan

1989 Kyoto Prize in Arts and Philosophy, Kyoto, Japan

1987 Europeras 1 & 2, Commissioned premiere at Frankfurt Opera House, Germany©Junichi Takahashi / Martin Boverhof

Studying under artists like Yuasa Joji, Matsui Akihiko, Wim Henderickx and Fabio Nieder,
Imai Chikage graduated with a degree in Composition from the Aichi University of theArts in 2002 and received her masterʼs degree at the Conservatorium van Amsterdam in2009. In her compositions, Imai regards music as an organism and explores her concept ofa “vector in music” to expand its sensory possibilities. Her artistic practice has led Imai toengage in and direct various works that deepened her connection with visual art,
photography, contemporary dance and scenography. In recent years, Imaiʼs interest in aclose coexistence between art and society has led to her organizing the contemporary
music academy and the lecture and concert series Crossboundary to further establish
contemporary music in Aichi, and to her participation in locally-rooted projects and events,
such as ARToC10 and Aichi Triennale.
At Aichi Triennale 2022, Imai presents a stage piece formed from ﬁve of her compositions,
including Transcendent - mirror, which tries to bring life to Noh masks（said to be deadunless worn by a performer）through contemporary music, photographs and visual art.
What will happen when a contemporary artist confronts the works of Noh mask masters
from 400 years ago.
Realized thanks to the generous cooperation of the Toyohashi Uomachi Noh Conservation
Society.
Featuring items designated as cultural assets and partly as important cultural assets by
Aichi Prefecture.

1952 4’33”, Maverick Concert Hall, Woodstock, New York, USA

2020 Morphing of Es ist ein Ros' entsprungen, dedicated to Ensemble Modernʼs 40th anniversary performance,Frankfurt, Germany

Performances

2016 Masque, solo exhibition programmed for the HANATSUmiroirʼs concert series, Strasbourg, France
2012 towards G, commissioned by and premiered at Music from Japan, New York, USA
2009 Simulgenesis, part of the 4th International Composers' Seminar of Ensemble Modern, Frankfurt, Germany
2008 Vectorial Projection IV - fireworks, commissioned by and premiered at Festival d'Automne, Paris, France

Europeras 3 & 4

Director: Adachi Tomomi
Performers:
Sano Noboru（Noh performer/ Shite-kata） Matsuda Wakako（Noh performer/ Shite-kata）
Nishimoto Mako（Soprano）
Fukuhara Sumie（Mezzo-Soprano）
Nakai Ryoichi（Tenor）
Komada Toshiaki（Baritone）
Kuroda Aki（Piano）
Yano Yuta（Piano）
Arima Sumihisa（Sound）
Nakayama Nami（Lighting）

45

Imai Chikage

Performances

Performers & Staﬀ:
Maribeth Diggle（Soprano）
Hatanaka Asuka（Percussion）
Martin Boverhof（Visual art）

Egashira Maya（Violin）
Inada Yuta（Visual art, operation）
Takahashi Junichi（Photography）

46

Adachi Tomomi
cf. Contemporary Art Exhibition ▶ p.20

Adachi Tomomi is a performer, composer, sound poet, instrument builder, and visual
artist. Known for his versatile style, he has performed his own voice and electronics
pieces, sound poetry, improvised music and contemporary music works and alsopresented site-speciﬁc compositions, compositions for classical instrumental ensembles,
and choir pieces for untrained musicians around the world, including Tate Modern（London, UK）, MaerzMusik（Berlin, Germany）, Hamburger Bahnhof Museum（Berlin,
Germany）, Centre Pompidou（Paris, France）and Poesiefestival Berlin（Germany）. He
uses a wide range of materials in his work, including self-made physical interfaces andinstruments, artiﬁcial intelligence, brain waves, artiﬁcial satellite, Twitter texts, fractures,and even paranormal phenomena.

Nakamura Yo

Her piece GISELLE, which will be performed at Aichi Triennale 2022, is an ambitious
attempt to adapt one of the masterpieces of classical ballet into a piece about a woman
living in the world of today.
Nakamura boldly reconstructs the originalʼs themes about the complicated relationshipof love and death between Giselle, Albrecht and Hilarion from a personal perspective
and employs dance, quotes of poetic texts by Virginia Woolf, as well as humor and grave
seriousness in a solo piece that will resonate deeply with todayʼs audiences.

At Aichi Triennale 2022, Adachi will direct John Cageʼs Europeras 3 & 4, created in thelater years of his life. Adachi will also give a solo performance of sound poetry and otherworks.

Courtesy of the artist

2021 Grand Prize for the opera Romeo will juliet, Agency for Cultural Aﬀairs National Arts Festival‒ Music Division（Kansai section）,Japan

2019 Award of Distinction, Ars Electronica, Linz, Austria
2012 Invited Composer of the DAAD Artists-in-Berlin Program, Berlin, Germany

Having started her career in the 2000s, Nakamura Yo is an energetic dancer andchoreographer who has earned critical attention with her adaptations of masterpieces
from ﬁlm and literature, such as ﬁlms by Ozu Yasuziro or Matsumoto Seichoʼs novel The
Face, into dance pieces. Nakamura has been the assistant choreographer of ﬁgures like
Kondo Ryohei, Onodera Shuji and Murobushi Ko, in whose Enthusiastic Dance on theGrave she also performed. She has performed works throughout Europe and Asia. In
recent years, Nakamura has focused her attention on choreographing and directing
operas.

Nakamura Yo solo performance GISELLE, 2021
Photo: Hideto Maezawa

2021 S erse, Nikikai New Wave Opera Theater, Meguro Persimon Hall, Tokyo, Japan
2020 GISELLE special 30 min ver.（video）

2009 ACC Music Grant, New York, USA

2019 Pendulum vol.3, Yokohama Dance Collection Aozora Dance, Kanagawa, Japan

2007 Europera 5（Japan premiere）,Suntory Summer Festival, Tokyo, Japan

2016 5th El Sur Foundation Newcomer Award for Contemporary Dance, Japan

2013 Sibiu International Theater Festival Jury Prize, Yokohama Dance Collection EX, Japan
Performances

Europeras 3 & 4 （see John Cage on page 45 for more information）

Performances

GISELLE

Adachi Tomomi Performance

Choreography and performance: Nakamura Yo

Sound Poetry Solo Performance

John Cage

Photo: Christopher FelverJohn Cage was one of the most inﬂuential composers, poets, thinkers and mycologists ofthe 20th century. He maintained deep relationships with dancers like Merce
Cunningham, artists like Max Ernst, and architects and philosophers like Buckminster
Fuller. In the 1940s, Cage deepened his interest in Eastern Philosophy and began
studying Zen Buddhism. He developed the method of chance operations by utilizing
motifs from the Chinese I Ching in the compositional process, pioneered “music ofindeterminacy,” which introduces chance to the acts of performing and listening, anddeveloped chance music, where the composer gives up control over the sound. Cage isalso the inventor of the prepared piano: by placing rubber bolts between the strings of a
grand piano, Cage manipulated its tone to resemble percussion instruments.
At Aichi Triennale 2022, John Cageʼs Europeras 3 & 4 will be performed for the ﬁrst time inJapan under the direction of Adachi Tomomi. The Europera series, created in Cageʼs ﬁnal
years, is one of the artistʼs masterpieces created through chance operations, with theelements of the opera（songs, piano, gramophones, sound, lighting etc.）determined byrandomly-generated directions. The cast of opera singers will be joined by two Noh actors
for the performance at Aichi Triennale 2022.
1994-1995 Rolywholyover: A Circus for Museum（posthumously）,Art Tower Mito, Ibaraki, Japan

1989 Kyoto Prize in Arts and Philosophy, Kyoto, Japan

1987 Europeras 1 & 2, Commissioned premiere at Frankfurt Opera House, Germany©Junichi Takahashi / Martin Boverhof

Studying under artists like Yuasa Joji, Matsui Akihiko, Wim Henderickx and Fabio Nieder,
Imai Chikage graduated with a degree in Composition from the Aichi University of theArts in 2002 and received her masterʼs degree at the Conservatorium van Amsterdam in2009. In her compositions, Imai regards music as an organism and explores her concept ofa “vector in music” to expand its sensory possibilities. Her artistic practice has led Imai toengage in and direct various works that deepened her connection with visual art,
photography, contemporary dance and scenography. In recent years, Imaiʼs interest in aclose coexistence between art and society has led to her organizing the contemporary
music academy and the lecture and concert series Crossboundary to further establish
contemporary music in Aichi, and to her participation in locally-rooted projects and events,
such as ARToC10 and Aichi Triennale.
At Aichi Triennale 2022, Imai presents a stage piece formed from ﬁve of her compositions,
including Transcendent - mirror, which tries to bring life to Noh masks（said to be deadunless worn by a performer）through contemporary music, photographs and visual art.
What will happen when a contemporary artist confronts the works of Noh mask masters
from 400 years ago.
Realized thanks to the generous cooperation of the Toyohashi Uomachi Noh Conservation
Society.
Featuring items designated as cultural assets and partly as important cultural assets by
Aichi Prefecture.

1952 4’33”, Maverick Concert Hall, Woodstock, New York, USA

2020 Morphing of Es ist ein Ros' entsprungen, dedicated to Ensemble Modernʼs 40th anniversary performance,Frankfurt, Germany

Performances

2016 Masque, solo exhibition programmed for the HANATSUmiroirʼs concert series, Strasbourg, France
2012 towards G, commissioned by and premiered at Music from Japan, New York, USA
2009 Simulgenesis, part of the 4th International Composers' Seminar of Ensemble Modern, Frankfurt, Germany
2008 Vectorial Projection IV - fireworks, commissioned by and premiered at Festival d'Automne, Paris, France

Europeras 3 & 4

Director: Adachi Tomomi
Performers:
Sano Noboru（Noh performer/ Shite-kata） Matsuda Wakako（Noh performer/ Shite-kata）
Nishimoto Mako（Soprano）
Fukuhara Sumie（Mezzo-Soprano）
Nakai Ryoichi（Tenor）
Komada Toshiaki（Baritone）
Kuroda Aki（Piano）
Yano Yuta（Piano）
Arima Sumihisa（Sound）
Nakayama Nami（Lighting）

45

Imai Chikage

Performances

Performers & Staﬀ:
Maribeth Diggle（Soprano）
Hatanaka Asuka（Percussion）
Martin Boverhof（Visual art）

Egashira Maya（Violin）
Inada Yuta（Visual art, operation）
Takahashi Junichi（Photography）

46

Apichatpong Weerasethakul

For more than thirty years, Thai ﬁlm director Apichatpong Weerasethakul has beenenriching the history of cinema with numerous masterpieces, including Uncle Boonmee
Who Can Recall His Past Lives（2010 Cannes Palme d'Or winner）or his latest work
Memoria（2021 Cannes Jury Prize）. Adding to his work as a ﬁlm director in Chiang Mai
in Thailand, Weerasethakul also expresses his quiet enthusiasm for the world through aseries of artworks, such as video installations and performance pieces.

Rabih Mroué

In response to Aichi Triennale 2022ʼs theme “STILL ALIVE,” Mroué performs an
updated version of his 17-year old masterpiece Who’s Afraid of Representation?（2005）, a
dissection of the history of performance art. Summoning self-mutilating actions from thebody art movement that ﬂourished in the 1960s and ʻ70s side-by-side on stage withactual murder cases that took place in Beirut, Mroué oﬀers opposition against art
histories and conceptualizations based on exclusively Western perspectives.

For Aichi Triennale 2022, Weerasethakul engages in his ﬁrst VR performance throughan international collaboration with Japanese creators. How will the technology of virtual
reality aﬀect the vision of his works, whose worlds of sleeping and sick bodies, their
sympathy with ghost-like presences and their sense of suspended time seem to havepresaged our post-pandemic age? We hope you look forward to diving into this new
space of interactive lightwaves and sounds contributed by Japanese composer Sakamoto
Ryuichi.

2019 Borborygmus, Home Works Forum 8, Beirut, Lebanon

Image photo
Courtesy of Apichatpong Weerasethakul

2019 Artes Mundi Prize 8, Artes Mundi, UK
2015 FEVER ROOM, Asian Arts Theatre, Gwangju, South Korea

2013 Sharjah Biennial Prize, Sharjah Biennial 11, Sharjah, UAE
2012 dOCUMENTA（13）,Kassel, Germany
2010 Palme dʼOr for Uncle Boonmee Who Can Recall His Past Lives,
63rd Cannes Film Festival, Cannes, France

Momose Aya
cf. Contemporary Art Exhibition ▶ p.22

For the past 30 years, Berlin-based Lebanese artist Rabih Mroué has been creating
performances that criticize the confusion and historical vacuum of todayʼs Middle
Eastern Arab world. His works, which take place on the boundaries between ﬁction andtruth, communal history and personal anecdote, continue to attract the attention ofmajor museums, festivals and theaters around the world. In 2004, Mroué staged the ﬁrst
of six performances in Japan so far.

Who’s Afraid of Representation?, 2005
Photo: Houssam Mchaiemch

2012 dOCUMENTA（13）,Kassel, Germany

2009 Photo-Romance, Festival dʼAvignon, Avignon, France

2007 How Nancy Wished That Everything What happened to April Fool’s Joke,
Tokyo International Arts Festival, Tokyo, Japan

2002 Biokhraphia, Beirut, Lebanon

Momose Aya creates movies and performance pieces that, through the act ofperforming, examine the communication imbalance and the sense of discomfort thatemerge from oneʼs own body in relation to others, as well as the related questions ofgender and sexuality. In recent years, Momose broke new ground with a genre shecoined “therapy performance”̶works that combine the theatrical experience withtherapeutic processes, for example by involving the practice of acupuncture in a
performance.
In addition to her video installation Jokanaan , which has recently been added to thecollection of the Aichi Prefectural Museum of Art, Momose will also present a new workas part of Aichi Triennale 2022ʼs Performing Arts program. With physical contact
having become quasi-taboo, Momose stages a therapy performance that unearths theroots of desire and overcomes the artiﬁcial divisions erected by our modern worldview,
such as caregiver/care-receiver, healer/patient and healthy/disabled.

2021 Performing Acupuncture, Theater Commons Tokyo '21, Tokyo, Japan

2021 I.C.A.N.S.E.E.Y.O.U, ZIPPED Performing Arts Festival, Tokyo, Japan
Social Dance, 2019

Collection of Nakanoshima Museum of Art, Osaka

2016 Roppongi Crossing 2016: My Body, Your Voice, Mori Art Museum, Tokyo, Japan

2015 Artist File 2015 Next Doors: Contemporary Art in Japan and Korea, The National Art Center,
Tokyo, Japan

2014 Voice Samples（solo）,Art Gallery 1, Yokohama Museum of Art, Kanagawa, Japan

47

48

Apichatpong Weerasethakul

For more than thirty years, Thai ﬁlm director Apichatpong Weerasethakul has beenenriching the history of cinema with numerous masterpieces, including Uncle Boonmee
Who Can Recall His Past Lives（2010 Cannes Palme d'Or winner）or his latest work
Memoria（2021 Cannes Jury Prize）. Adding to his work as a ﬁlm director in Chiang Mai
in Thailand, Weerasethakul also expresses his quiet enthusiasm for the world through aseries of artworks, such as video installations and performance pieces.

Rabih Mroué

In response to Aichi Triennale 2022ʼs theme “STILL ALIVE,” Mroué performs an
updated version of his 17-year old masterpiece Who’s Afraid of Representation?（2005）, a
dissection of the history of performance art. Summoning self-mutilating actions from thebody art movement that ﬂourished in the 1960s and ʻ70s side-by-side on stage withactual murder cases that took place in Beirut, Mroué oﬀers opposition against art
histories and conceptualizations based on exclusively Western perspectives.

For Aichi Triennale 2022, Weerasethakul engages in his ﬁrst VR performance throughan international collaboration with Japanese creators. How will the technology of virtual
reality aﬀect the vision of his works, whose worlds of sleeping and sick bodies, their
sympathy with ghost-like presences and their sense of suspended time seem to havepresaged our post-pandemic age? We hope you look forward to diving into this new
space of interactive lightwaves and sounds contributed by Japanese composer Sakamoto
Ryuichi.

2019 Borborygmus, Home Works Forum 8, Beirut, Lebanon

Image photo
Courtesy of Apichatpong Weerasethakul

2019 Artes Mundi Prize 8, Artes Mundi, UK
2015 FEVER ROOM, Asian Arts Theatre, Gwangju, South Korea

2013 Sharjah Biennial Prize, Sharjah Biennial 11, Sharjah, UAE
2012 dOCUMENTA（13）,Kassel, Germany
2010 Palme dʼOr for Uncle Boonmee Who Can Recall His Past Lives,
63rd Cannes Film Festival, Cannes, France

Momose Aya
cf. Contemporary Art Exhibition ▶ p.22

For the past 30 years, Berlin-based Lebanese artist Rabih Mroué has been creating
performances that criticize the confusion and historical vacuum of todayʼs Middle
Eastern Arab world. His works, which take place on the boundaries between ﬁction andtruth, communal history and personal anecdote, continue to attract the attention ofmajor museums, festivals and theaters around the world. In 2004, Mroué staged the ﬁrst
of six performances in Japan so far.

Who’s Afraid of Representation?, 2005
Photo: Houssam Mchaiemch

2012 dOCUMENTA（13）,Kassel, Germany

2009 Photo-Romance, Festival dʼAvignon, Avignon, France

2007 How Nancy Wished That Everything What happened to April Fool’s Joke,
Tokyo International Arts Festival, Tokyo, Japan

2002 Biokhraphia, Beirut, Lebanon

Momose Aya creates movies and performance pieces that, through the act ofperforming, examine the communication imbalance and the sense of discomfort thatemerge from oneʼs own body in relation to others, as well as the related questions ofgender and sexuality. In recent years, Momose broke new ground with a genre shecoined “therapy performance”̶works that combine the theatrical experience withtherapeutic processes, for example by involving the practice of acupuncture in a
performance.
In addition to her video installation Jokanaan , which has recently been added to thecollection of the Aichi Prefectural Museum of Art, Momose will also present a new workas part of Aichi Triennale 2022ʼs Performing Arts program. With physical contact
having become quasi-taboo, Momose stages a therapy performance that unearths theroots of desire and overcomes the artiﬁcial divisions erected by our modern worldview,
such as caregiver/care-receiver, healer/patient and healthy/disabled.

2021 Performing Acupuncture, Theater Commons Tokyo '21, Tokyo, Japan

2021 I.C.A.N.S.E.E.Y.O.U, ZIPPED Performing Arts Festival, Tokyo, Japan
Social Dance, 2019

Collection of Nakanoshima Museum of Art, Osaka

2016 Roppongi Crossing 2016: My Body, Your Voice, Mori Art Museum, Tokyo, Japan

2015 Artist File 2015 Next Doors: Contemporary Art in Japan and Korea, The National Art Center,
Tokyo, Japan

2014 Voice Samples（solo）,Art Gallery 1, Yokohama Museum of Art, Kanagawa, Japan

47

48

Learning

Aichi Triennale 2022 Learning Programs are based on the fundamental concept that "artis not just for a few knowledgeable enthusiasts, but for everyone to enjoy and appreciate
in their own way."
For example, an arts festival can be like a festival at a local shrine where people wearing
matching blue happi coats carry portable altars while kids ﬁre air riﬂes at stalls and playwith ﬁrecrackers. We believe that people who come to see or participate in art festivals
can and should feel they are doing so as members of the community, and feel they arepart of society's spaces and narratives. To that end, Aichi Triennale 2022 Learning
Programs aim to dispel the stigmatized image of contemporary art as "diﬃcult tounderstand," and to encourage people to come, view works without preconceptions, andengage directly with art.
Contemporary art is, after all, created by individuals and groups living their lives
somewhere in the world, just like us. Through the ir works, the viewer has theopportunity to encounter the world from the perspective of another person in anotherplace. Looking at art sparks all manner of reactions within us, enabling us to discover
new value in things and phenomena we usually overlook, realize the ways in which weare connected to history and society, or feel anew the subli mity and the absurdity of
being alive.
Engaging with art, learning about the world, and knowing oneself are inseparably linked.
Aichi Triennale 2022, an arts festival that brings together contemporary art from all over
the world including Europe, America, the Asia-Paciﬁc, Latin America, and Africa, is an
opportunity to encounter the works of many artists from many regions, and to see andthink about things from many perspectives. We see the entire scope of these processes ‒broadening and deepening our understanding of the world, and conversely turninginward to re-examine ourselves ‒ as "learning," and oﬀer programs to facilitate it.
By learning through art, every one of us can acquire the power to grapple with theunforeseeable events that will surely continue to occur, to live in the present moment,
and to realize a world open to myriad future possibilities.
Leaning Curatorial Team

Concepts
１．Inclusion: By actively participating, each person can feel that they are being celebrated.
２．Aﬃrmation of Diversity: People can engage with diverse ways of being ALIVE expressedby artists living and working today, and share their points of view.
３．Learning About Ourselves and the World: By learning about the historical and cultural
background of the Aichi region and seeing things from speciﬁc, local vantage points,
people can prepare to engage with perspectives on the world through a wide range ofworks brought together from around the globe.
To realize the following objectives, we have been working since last summer as a pre-learning
program. In future, we plan to oﬀer a series of programs that will introduce various approaches
on how to engage with the artworks to be exhibited at the Aichi Triennale.

49

Program Outline
July 2021

July 2022

Pre-Learning Programs toward Aichi Triennale 2022

October 2022

Ongoing Learning Programs during Aichi Triennale 2022

Research:

Program to learn about Aichi and its surroundings
as well as the arts festival with participating
artists and the artistic director

Guided Tours:

Tour venues with a guide

Lectures:

Program to learn from experts and explore the Triennaleʼs background

Educational Programs:

Group-viewing programs for children/students and training programs for teachers

Volunteer Programs:

Various training programs for registered volunteers

Program Concept Diagram

Research:
This research project on “Aichi,” home to the Triennale, will emphasize knowing where we are located inorder to engage with the worldʼs diversity of expression. Artists and participants chosen from the generalpublic will spend several months conducting multi-faceted research from historical, cultural and sociologicalperspectives, the results of which will be exhibited during the festival and further developed over a series ofworkshops and other activities.

Lecture Series:
This lecture series addresses the theme of “arts festivals” by taking a historical and critical look at Aichi andother arts festivals, as well as the ﬁne and performing arts from multiple perspectives. Initiated in 2021, theseriesʼ archive is now available on the oﬃcial website. Following the Aichi Triennale 2022ʼs opening, talks anddiscussions by participating artists, curators, and curatorial advisors are also scheduled.

Guided Tours:
These tours will oﬀer visitors an opportunity to encounter the artworks from multiple viewpoints. With thehelp of the guideʼs commentary and interactive viewing of the exhibits, visitors will be able to broaden anddeepen their insights, understanding, and overall viewing experience. Curators and volunteers will guide
visitors through the Aichi Triennale 2022, according to individual needs, including tours for those speaking
languages other than Japanese or for persons who might have a visual or a hearing impairment.

Educational Programs:
Training programs for educators and group-viewing programs for children and students will be provided inorder to interconnect Aichi Triennale 2022 with a variety of educational settings.

Volunteer Programs:
Volunteers trained in interactive appreciation techniques will enable visitors to enjoy a thoroughlyinteractive viewing experience. They will also support Aichi Triennale 2022 through a variety of activities
such as venue management, interactive viewing guidance, and guided tours.

50Learning

Aichi Triennale 2022 Learning Programs are based on the fundamental concept that "artis not just for a few knowledgeable enthusiasts, but for everyone to enjoy and appreciate
in their own way."
For example, an arts festival can be like a festival at a local shrine where people wearing
matching blue happi coats carry portable altars while kids ﬁre air riﬂes at stalls and playwith ﬁrecrackers. We believe that people who come to see or participate in art festivals
can and should feel they are doing so as members of the community, and feel they arepart of society's spaces and narratives. To that end, Aichi Triennale 2022 Learning
Programs aim to dispel the stigmatized image of contemporary art as "diﬃcult tounderstand," and to encourage people to come, view works without preconceptions, andengage directly with art.
Contemporary art is, after all, created by individuals and groups living their lives
somewhere in the world, just like us. Through the ir works, the viewer has theopportunity to encounter the world from the perspective of another person in anotherplace. Looking at art sparks all manner of reactions within us, enabling us to discover
new value in things and phenomena we usually overlook, realize the ways in which weare connected to history and society, or feel anew the subli mity and the absurdity of
being alive.
Engaging with art, learning about the world, and knowing oneself are inseparably linked.
Aichi Triennale 2022, an arts festival that brings together contemporary art from all over
the world including Europe, America, the Asia-Paciﬁc, Latin America, and Africa, is an
opportunity to encounter the works of many artists from many regions, and to see andthink about things from many perspectives. We see the entire scope of these processes ‒broadening and deepening our understanding of the world, and conversely turninginward to re-examine ourselves ‒ as "learning," and oﬀer programs to facilitate it.
By learning through art, every one of us can acquire the power to grapple with theunforeseeable events that will surely continue to occur, to live in the present moment,
and to realize a world open to myriad future possibilities.
Leaning Curatorial Team

Concepts
１．Inclusion: By actively participating, each person can feel that they are being celebrated.
２．Aﬃrmation of Diversity: People can engage with diverse ways of being ALIVE expressedby artists living and working today, and share their points of view.
３．Learning About Ourselves and the World: By learning about the historical and cultural
background of the Aichi region and seeing things from speciﬁc, local vantage points,
people can prepare to engage with perspectives on the world through a wide range ofworks brought together from around the globe.
To realize the following objectives, we have been working since last summer as a pre-learning
program. In future, we plan to oﬀer a series of programs that will introduce various approaches
on how to engage with the artworks to be exhibited at the Aichi Triennale.

49

Program Outline
July 2021

July 2022

Pre-Learning Programs toward Aichi Triennale 2022

October 2022

Ongoing Learning Programs during Aichi Triennale 2022

Research:

Program to learn about Aichi and its surroundings
as well as the arts festival with participating
artists and the artistic director

Guided Tours:

Tour venues with a guide

Lectures:

Program to learn from experts and explore the Triennaleʼs background

Educational Programs:

Group-viewing programs for children/students and training programs for teachers

Volunteer Programs:

Various training programs for registered volunteers

Program Concept Diagram

Research:
This research project on “Aichi,” home to the Triennale, will emphasize knowing where we are located inorder to engage with the worldʼs diversity of expression. Artists and participants chosen from the generalpublic will spend several months conducting multi-faceted research from historical, cultural and sociologicalperspectives, the results of which will be exhibited during the festival and further developed over a series ofworkshops and other activities.

Lecture Series:
This lecture series addresses the theme of “arts festivals” by taking a historical and critical look at Aichi andother arts festivals, as well as the ﬁne and performing arts from multiple perspectives. Initiated in 2021, theseriesʼ archive is now available on the oﬃcial website. Following the Aichi Triennale 2022ʼs opening, talks anddiscussions by participating artists, curators, and curatorial advisors are also scheduled.

Guided Tours:
These tours will oﬀer visitors an opportunity to encounter the artworks from multiple viewpoints. With thehelp of the guideʼs commentary and interactive viewing of the exhibits, visitors will be able to broaden anddeepen their insights, understanding, and overall viewing experience. Curators and volunteers will guide
visitors through the Aichi Triennale 2022, according to individual needs, including tours for those speaking
languages other than Japanese or for persons who might have a visual or a hearing impairment.

Educational Programs:
Training programs for educators and group-viewing programs for children and students will be provided inorder to interconnect Aichi Triennale 2022 with a variety of educational settings.

Volunteer Programs:
Volunteers trained in interactive appreciation techniques will enable visitors to enjoy a thoroughlyinteractive viewing experience. They will also support Aichi Triennale 2022 through a variety of activities
such as venue management, interactive viewing guidance, and guided tours.

50Research

Majima Tatsuo “The Whole of Aichi featuring Three Heroes”

Exploring Aichi and Greater World
Beginning in the fall of 2021, six artists, jointly with participants invited from the general public, initiated a series offree-format research projects, notably ﬁeldwork and workshops, according to each groupʼs chosen theme. During Aichi
Triennale 2022, these projectsʼ results will be exhibited and presented. Workshops and events will also be held.

Focusing on three historic heroic warlords and military commanders from Aichi Prefecture, namely,
Oda Nobunaga（1534-1582）,Toyotomi Hideyoshi（1537-1598）,and Tokugawa Ieyasu（1543-1616）,who
are all credited with unifying medieval Japan, this project will set out to create a mural. During the
preparatory phase, we will meet with researchers, undertake ﬁeldtrips, think and work together, andput our hands to work.

“Tatsuo Majima Dances for the 2016 Japanese House of Councillors Election”

Majima Tatsuo

Exhibition venue: Aichi Arts Centre, Room J, 8F

Born in Tokyo in 1970, Majima is based in Shiga Prefecture. Recent major presentations include A Mountain and a Crowd（Taikan and Leni）/ Four Examinations（TPAM 2019 version）, blanClass（2019; Yokohama, Japan）;Open, Fold, Reverse,
Close: On Kawara Diagram（Clay）, Fujita/Foujita at 11 rue Larrey, Toyota Municipal Museum of Art（2016; Aichi, Japan）;*The following is an alphabetical listing of the artistʼs last name.

Okayama Art Summit 2016, Tenjinyama Cultural Plaza（2016; Japan）; PARASOPHIA: Kyoto International Festival ofContemporary Culture 2015, Kyoto Municipal Museum of Art（2015; Japan）.

Åbäke & LPPL “Fugu Gakko（School）”

Fugu School Part1 2021

Clear Gallery Tokyo, Japan.

Founded in 2000 by Patrick Lacey, Benjamin Reichen, Kaisa Stoll, and Maki Suzuki, members of theÅbäke Collective were primarily working in the realms of art, design, architecture, music and dance,and has over time expanded its practice to embrace sculpture, performance, exhibition production,
writing, performance, and workshops. During the Aichi Triennale 2022, the Collective will develop the
Fugu School（2018）speciﬁcally adapted for Aichi, which originally took place in Istanbul after a
blowﬁsh（fugu in Japanese）was mysteriously discovered oﬀ the Turkish coast in 2003. The workshop
proposes to explore and learn more about environmental issues, geopolitics, anthropology, andcontemporary art, using the blowﬁsh as a springboard for any questions.

Åbäke & LPPL

*Shōjō refers to a lifesize doll that appears at local festivals mostly held in fall in Midori-Ward（Narumi and Arimatsu）,
Minami-Ward（Kasadera）,Tokai City, Obu City, Toyoake City, as well as other areas of Nagoya City in Aichi Prefecture.
The manner in which the dolls are manipulated diﬀers depending upon the region and the epoch, but it is believed thatIn 2021, The Fugu School Part 1 2021 was held at the Clear Gallery Tokyo in Tokyo. The Collective also jointly curated theexhibition Which Mirror Do You Want to Lick? with Soﬁe Dederen and Radim Peško at the University Art Museum, Tokyo
University of the Arts in collaboration with students from Tokyo University of the Arts.

the Shōjō strode through festival crowds, chasing the children in attendance, beating or patting them with a stick theyheld in their hand, in order to wish them good health and good fortune.

Tokushige Michiro “Slipping through Landscapes.”
Focusing on landscapes that serve as an indicator for our identity, this project will explore thoselandscapes that emerge whenever we examine events that we would usually overlook, notably in
localities where numerous foreign residents, including migrant workers, live.

Tokushige Michiro
Born in Aichi Prefecture, Tokushige is currently based in Aichi Prefecture. Recent major exhibitions include his solo
exhibition Kobe's Naked Army Marches On, Atelier 1, Hyogo Prefectural Museum of Art（2020; Japan）;the group exhibition
Para-Landscape Imagination to Face the Changing Reality, Mie Prefectural Art Museum（2019; Japan）; Aichi Triennale
Regional Development Project Windshield Time, Contemporary Art in Toyota; various facilities around Toyota railway
station（2019; Aichi, Japan）; Assembridge NAGOYA 2016 PANORAMA GARDEN – Discovering Signs in an Alternative
Ecosystem, Pot Luck Building and Nagoya Port ‒ Tsukiji Exit area（2016, Aichi）.He has also exhibited Diamonds Always
Come in Small Packages at the Kunst Museum Luzern（2015; Switzerland）.

AHA!（Archive for Human Activities）.
Launched in Osaka in 2005, AHAʼs major projects include: I'm calling you. , Musashino City Kichijoji Art Museum（2017;
Tokyo, Japan）, a book of commemorative photos of Hanako, Japanʼs longest-living Asian elephant, and the exhibition

I remember: Diaries of growing for 10 years at the Sendai 3/11 Memorial Community Centre（2021; Miyagi, Japan）,based
upon a child-rearing diary by a survivor of the earthquake and tsunami of March 2011.

Thanks to ﬁeldwork throughout Honokuni*‒‒ a region where since ancient times East and West haveactively exchanged goods, culture, and information, via the sea, rivers, and overland transportation‒‒ thisproject will collect and tap into local resources（knowledge, techniques, materials, folk tales, patterns ）,in
order to create new “trading goods” that embrace local narratives. By opening up such a “marketplace,”
this project will develop fresh approaches to migration and trade and reinvisage the state of the world.

Inoue Yui

Born in Toyohashi City, Aichi Prefecture, Inoue currently lives and works in Shiga Prefecture. Her major
exhibitions include: Soft Territory, Shiga Prefectural Museum of Art（2021; Japan）; Yokohama Paratriennale 2017
（Kanagawa, Japan）; and SOKO LABO, Setouchi International Art Festival 2016（Kagawa, Japan）.

Kobe’s Naked Army Marches On, 2020

Atelier 1, Hyogo Prefectural Museum of Art, Japan
Photo: Takashima Kiyotoshi

Private screening at the home of an 8mm ﬁlm donor.

AHA! is an organization that has been working on establishing an archive devoted to individual
citizenʼs records and memories of ordinary people. Focusing on the “voluntary” return of driverʼs
licenses, a system that has garnered much attention over recent years, this project will reconsider our
relationship with the automobile in modern society. It will take into consideration the experiences of
those who have reached a point where they must decide about giving up their licenses, as well as theimpact on their families.

Inoue Yui “Project for Exploring Honokuni ”（working title）

Shōjōs from the Kasadera Shōjō Preservation Society

Led by full-time artist Yamamoto Takayuki, who will also be involved with Aichi Triennale 2022 as alearning curator, the Shōjō Collective has initiated a project focusing on Shōjō, * lifesize dolls that can beseen at festivals in the southern part of Aichi Prefecture. In addition to planning events during thefestival period, the Collective is also developing a series of programs, including research and productionof the Shōjō . In collaboration with the Aichi Childrenʼs Center, workshops were held at children'scentres across the prefecture to make Shōjō.

Åbäke was founded in 2000. LPPL was born in 2011 and is based in London.

AHA!（Archive for Human Activities）.
“Dashboard Camera”（working title）

Shōjō Collective “Clan Research”

Between Living and Making, 2021

Kataoka Mami “Learning with the Director”
Learning with the Director.（Session 1）

Photo: Tsujimura Koji

An extract from “How did Ichinomiya become a textile centre?”

This series of public discussions in which Kataoka Mami, Artistic Director of Aichi Triennale 2022, willcordially invite experts and local residents to learn more about “Aichi Prefecture,” focusing on the cities
of Ichinomiya and Tokoname, and Nagoyaʼs Arimatsu district, all venues for Aichi Triennale 2022.
These discussions will also oﬀer an opportunity for everyone to acquaint themselves with otherparticipating artists. In conversational mode with her guests, Kataoka will discuss the regionʼs history,
culture, and local industries, thus enabling everyone to learn more about Aichi, home to the festival.
These highly informative discussions will be uploaded onto the Aichi Triennale 2022 oﬃcial website at alater date.

*Honokuni:
Located in the middle of the Japanese archipelago, Honokuni refers to the Higashi Mikawa region in the eastern part of Aichi Prefecture. Its
name originally derives from the Japanese word Honokuni, signifying a land of “abundant harvests,” for which this region was renowned inancient times. It stretches from the Okumikawa mountains to the Toyohashi Plain and the Atsumi Peninsula, with the Toyokawa River
ﬂowing through its centre.

51

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Research

Majima Tatsuo “The Whole of Aichi featuring Three Heroes”

Exploring Aichi and Greater World
Beginning in the fall of 2021, six artists, jointly with participants invited from the general public, initiated a series offree-format research projects, notably ﬁeldwork and workshops, according to each groupʼs chosen theme. During Aichi
Triennale 2022, these projectsʼ results will be exhibited and presented. Workshops and events will also be held.

Focusing on three historic heroic warlords and military commanders from Aichi Prefecture, namely,
Oda Nobunaga（1534-1582）,Toyotomi Hideyoshi（1537-1598）,and Tokugawa Ieyasu（1543-1616）,who
are all credited with unifying medieval Japan, this project will set out to create a mural. During the
preparatory phase, we will meet with researchers, undertake ﬁeldtrips, think and work together, andput our hands to work.

“Tatsuo Majima Dances for the 2016 Japanese House of Councillors Election”

Majima Tatsuo

Exhibition venue: Aichi Arts Centre, Room J, 8F

Born in Tokyo in 1970, Majima is based in Shiga Prefecture. Recent major presentations include A Mountain and a Crowd（Taikan and Leni）/ Four Examinations（TPAM 2019 version）, blanClass（2019; Yokohama, Japan）;Open, Fold, Reverse,
Close: On Kawara Diagram（Clay）, Fujita/Foujita at 11 rue Larrey, Toyota Municipal Museum of Art（2016; Aichi, Japan）;*The following is an alphabetical listing of the artistʼs last name.

Okayama Art Summit 2016, Tenjinyama Cultural Plaza（2016; Japan）; PARASOPHIA: Kyoto International Festival ofContemporary Culture 2015, Kyoto Municipal Museum of Art（2015; Japan）.

Åbäke & LPPL “Fugu Gakko（School）”

Fugu School Part1 2021

Clear Gallery Tokyo, Japan.

Founded in 2000 by Patrick Lacey, Benjamin Reichen, Kaisa Stoll, and Maki Suzuki, members of theÅbäke Collective were primarily working in the realms of art, design, architecture, music and dance,and has over time expanded its practice to embrace sculpture, performance, exhibition production,
writing, performance, and workshops. During the Aichi Triennale 2022, the Collective will develop the
Fugu School（2018）speciﬁcally adapted for Aichi, which originally took place in Istanbul after a
blowﬁsh（fugu in Japanese）was mysteriously discovered oﬀ the Turkish coast in 2003. The workshop
proposes to explore and learn more about environmental issues, geopolitics, anthropology, andcontemporary art, using the blowﬁsh as a springboard for any questions.

Åbäke & LPPL

*Shōjō refers to a lifesize doll that appears at local festivals mostly held in fall in Midori-Ward（Narumi and Arimatsu）,
Minami-Ward（Kasadera）,Tokai City, Obu City, Toyoake City, as well as other areas of Nagoya City in Aichi Prefecture.
The manner in which the dolls are manipulated diﬀers depending upon the region and the epoch, but it is believed thatIn 2021, The Fugu School Part 1 2021 was held at the Clear Gallery Tokyo in Tokyo. The Collective also jointly curated theexhibition Which Mirror Do You Want to Lick? with Soﬁe Dederen and Radim Peško at the University Art Museum, Tokyo
University of the Arts in collaboration with students from Tokyo University of the Arts.

the Shōjō strode through festival crowds, chasing the children in attendance, beating or patting them with a stick theyheld in their hand, in order to wish them good health and good fortune.

Tokushige Michiro “Slipping through Landscapes.”
Focusing on landscapes that serve as an indicator for our identity, this project will explore thoselandscapes that emerge whenever we examine events that we would usually overlook, notably in
localities where numerous foreign residents, including migrant workers, live.

Tokushige Michiro
Born in Aichi Prefecture, Tokushige is currently based in Aichi Prefecture. Recent major exhibitions include his solo
exhibition Kobe's Naked Army Marches On, Atelier 1, Hyogo Prefectural Museum of Art（2020; Japan）;the group exhibition
Para-Landscape Imagination to Face the Changing Reality, Mie Prefectural Art Museum（2019; Japan）; Aichi Triennale
Regional Development Project Windshield Time, Contemporary Art in Toyota; various facilities around Toyota railway
station（2019; Aichi, Japan）; Assembridge NAGOYA 2016 PANORAMA GARDEN – Discovering Signs in an Alternative
Ecosystem, Pot Luck Building and Nagoya Port ‒ Tsukiji Exit area（2016, Aichi）.He has also exhibited Diamonds Always
Come in Small Packages at the Kunst Museum Luzern（2015; Switzerland）.

AHA!（Archive for Human Activities）.
Launched in Osaka in 2005, AHAʼs major projects include: I'm calling you. , Musashino City Kichijoji Art Museum（2017;
Tokyo, Japan）, a book of commemorative photos of Hanako, Japanʼs longest-living Asian elephant, and the exhibition

I remember: Diaries of growing for 10 years at the Sendai 3/11 Memorial Community Centre（2021; Miyagi, Japan）,based
upon a child-rearing diary by a survivor of the earthquake and tsunami of March 2011.

Thanks to ﬁeldwork throughout Honokuni*‒‒ a region where since ancient times East and West haveactively exchanged goods, culture, and information, via the sea, rivers, and overland transportation‒‒ thisproject will collect and tap into local resources（knowledge, techniques, materials, folk tales, patterns ）,in
order to create new “trading goods” that embrace local narratives. By opening up such a “marketplace,”
this project will develop fresh approaches to migration and trade and reinvisage the state of the world.

Inoue Yui

Born in Toyohashi City, Aichi Prefecture, Inoue currently lives and works in Shiga Prefecture. Her major
exhibitions include: Soft Territory, Shiga Prefectural Museum of Art（2021; Japan）; Yokohama Paratriennale 2017
（Kanagawa, Japan）; and SOKO LABO, Setouchi International Art Festival 2016（Kagawa, Japan）.

Kobe’s Naked Army Marches On, 2020

Atelier 1, Hyogo Prefectural Museum of Art, Japan
Photo: Takashima Kiyotoshi

Private screening at the home of an 8mm ﬁlm donor.

AHA! is an organization that has been working on establishing an archive devoted to individual
citizenʼs records and memories of ordinary people. Focusing on the “voluntary” return of driverʼs
licenses, a system that has garnered much attention over recent years, this project will reconsider our
relationship with the automobile in modern society. It will take into consideration the experiences of
those who have reached a point where they must decide about giving up their licenses, as well as theimpact on their families.

Inoue Yui “Project for Exploring Honokuni ”（working title）

Shōjōs from the Kasadera Shōjō Preservation Society

Led by full-time artist Yamamoto Takayuki, who will also be involved with Aichi Triennale 2022 as alearning curator, the Shōjō Collective has initiated a project focusing on Shōjō, * lifesize dolls that can beseen at festivals in the southern part of Aichi Prefecture. In addition to planning events during thefestival period, the Collective is also developing a series of programs, including research and productionof the Shōjō . In collaboration with the Aichi Childrenʼs Center, workshops were held at children'scentres across the prefecture to make Shōjō.

Åbäke was founded in 2000. LPPL was born in 2011 and is based in London.

AHA!（Archive for Human Activities）.
“Dashboard Camera”（working title）

Shōjō Collective “Clan Research”

Between Living and Making, 2021

Kataoka Mami “Learning with the Director”
Learning with the Director.（Session 1）

Photo: Tsujimura Koji

An extract from “How did Ichinomiya become a textile centre?”

This series of public discussions in which Kataoka Mami, Artistic Director of Aichi Triennale 2022, willcordially invite experts and local residents to learn more about “Aichi Prefecture,” focusing on the cities
of Ichinomiya and Tokoname, and Nagoyaʼs Arimatsu district, all venues for Aichi Triennale 2022.
These discussions will also oﬀer an opportunity for everyone to acquaint themselves with otherparticipating artists. In conversational mode with her guests, Kataoka will discuss the regionʼs history,
culture, and local industries, thus enabling everyone to learn more about Aichi, home to the festival.
These highly informative discussions will be uploaded onto the Aichi Triennale 2022 oﬃcial website at alater date.

*Honokuni:
Located in the middle of the Japanese archipelago, Honokuni refers to the Higashi Mikawa region in the eastern part of Aichi Prefecture. Its
name originally derives from the Japanese word Honokuni, signifying a land of “abundant harvests,” for which this region was renowned inancient times. It stretches from the Okumikawa mountains to the Toyohashi Plain and the Atsumi Peninsula, with the Toyokawa River
ﬂowing through its centre.

51

52

Research

Guided Tours

Guided tour with strollers at Aichi Triennale 2019
Photo: Okamura Yasuko

Practices Interlinking Society, Art, and the Self

In addition to artists giving talks during Aichi Triennale 2022 at the various

Starting in April 2022, this project will target teens and young adults. Through multifaceted research on art, art festivals, andsociety, participants will develop the necessary skills both to see and to communicate for themselves, and will also organizeand hold events during the Triennale.

venues, curators, volunteers, and others will conduct tours in several
languages. Tours will also be oﬀered for children and their families, as well
as for those persons with a visual or a hearing impairment.

Exhibition venue: Aichi Arts Center 10F Plus CubeUra Ayaka and Koyama Yuya
“Measure it by Yourself, Get in Between, Break Out”

Ura Ayaka, Difference and discrimination, nothing to do with each other, disconnected,
a different job（salty ice cream shop）,2019

Ura and Koyama are both based in Kanagawa Prefecture and have been researching and presenting
their respective works in a variety of learning and educational contexts. They have conducted
workshops and classes at venues such as CSLAB at Tokyo Zokei University, “Ongoing School” at the
Art Center Ongoing, Tokyo, “Meet the Artists” at the Mori Art Museum, Tokyo.

Educational Programs
School group viewing at the Aichi Triennale 2019

This program is designed for teenagers and the twenty-somethings who visit art exhibitions, and view
artworks and their contexts, and who seek to express themselves artistically as a way for thinking forthemselves.
They will learn to ask: what is society and how does it relate to them? They will learn how to “do theirown thing,” by observing and presenting artworks in urban settings and in museums, evaluating
relationships, and observing how they ﬁt into those relationships. During the Triennale, participants willorganize and hold workshops.

In 2021, we held a Summer School for teachers and art educators with theaim of providing them with a reference framework for their future
educational activities. During the Triennale, we will also organize a program
to think together about future learning programs and a group viewing
program for schools in collaboration with local educational institutions.
Koyama Tomoya, Walking Together / About Labor and Leisure, 2018

Ura Ayaka
Born in 1992 in Kanagawa Prefecture, Ura is currently based in Kanagawa. In addition to examining the nature of social
gatherings, she has organized numerous workshops and other participatory works. She has also been involved in the
project management for “female artists meeting,” a network for women in the art world, and is the administrator of the
CSLAB.

Volunteer Programs

Koyama Yuya

Volunteers undergoing training for Aichi Triennale 2019

During the Triennale, volunteers will work primarily as venue management

Born in Saitama Prefecture in 1989, Koyama is currently based in Kanagawa. By extracting from and combining
observations of how we interact, he has been exploring the future through visualizing and deconstructing the body thatis dependent upon existing frameworks.

guides. They will provide visitors information and advice; they will assist
them to appreciate the artworks with the help of dialogue and an interactive
viewing experience. They will also conduct tours to the various venues.

Lecture Series

Each volunteer will undergo in advance a series of training sessions so that

The lecture series that have been conducted since 2021 covering topics such as Aichi, art history, and art festivals arethinking, an approach which diﬀers considerably from one-way explanatory

he or she masters the techniques of interactive appreciation and visualcurrently available online. During Aichi Triennale 2022 lectures by participating artists and curators will be given and events

Aichi Triennale 2019 guided tour at the Endoji venue
Photo: aitori-camerabu

guidance.

to discuss the future of learning will also be held.
Online events :●Art History Classes Taught by Artists（Part 1:Majima Tatsuo（artist）;Part 2:Okada Yuko（contemporary artist）;Part 3: supplementary lecture by Soma Chiaki（Performing Arts
Curator, Aichi Triennale 2022） ; Part 4: Morimura Yasumasa（artist）●Unraveling the Art Festivals: Modernization and the Expo, the Olympics, and Arts
Festivals: Part 1:Yoshimi Toshiya*（sociologist）; Part 2: Tsujita Masanori*（critic,
researcher of modern and contemporary history）;Part 3:Haizea Barcenilla（curator, critic）
Upcoming events:

Screenshot from Art History Classes Taught by Artists*Available online as of March, 30, 2022

●Knowing Me, Knowing You: Researching alternative art schools/learning programs. Art
techniques throughout the world●Conceptual art of the week
●What is performance art/the performing arts?
●Talks and discussions with artists and curators at Aichi Triennale 2022

53

54

Research

Guided Tours

Guided tour with strollers at Aichi Triennale 2019
Photo: Okamura Yasuko

Practices Interlinking Society, Art, and the Self

In addition to artists giving talks during Aichi Triennale 2022 at the various

Starting in April 2022, this project will target teens and young adults. Through multifaceted research on art, art festivals, andsociety, participants will develop the necessary skills both to see and to communicate for themselves, and will also organizeand hold events during the Triennale.

venues, curators, volunteers, and others will conduct tours in several
languages. Tours will also be oﬀered for children and their families, as well
as for those persons with a visual or a hearing impairment.

Exhibition venue: Aichi Arts Center 10F Plus CubeUra Ayaka and Koyama Yuya
“Measure it by Yourself, Get in Between, Break Out”

Ura Ayaka, Difference and discrimination, nothing to do with each other, disconnected,
a different job（salty ice cream shop）,2019

Ura and Koyama are both based in Kanagawa Prefecture and have been researching and presenting
their respective works in a variety of learning and educational contexts. They have conducted
workshops and classes at venues such as CSLAB at Tokyo Zokei University, “Ongoing School” at the
Art Center Ongoing, Tokyo, “Meet the Artists” at the Mori Art Museum, Tokyo.

Educational Programs
School group viewing at the Aichi Triennale 2019

This program is designed for teenagers and the twenty-somethings who visit art exhibitions, and view
artworks and their contexts, and who seek to express themselves artistically as a way for thinking forthemselves.
They will learn to ask: what is society and how does it relate to them? They will learn how to “do theirown thing,” by observing and presenting artworks in urban settings and in museums, evaluating
relationships, and observing how they ﬁt into those relationships. During the Triennale, participants willorganize and hold workshops.

In 2021, we held a Summer School for teachers and art educators with theaim of providing them with a reference framework for their future
educational activities. During the Triennale, we will also organize a program
to think together about future learning programs and a group viewing
program for schools in collaboration with local educational institutions.
Koyama Tomoya, Walking Together / About Labor and Leisure, 2018

Ura Ayaka
Born in 1992 in Kanagawa Prefecture, Ura is currently based in Kanagawa. In addition to examining the nature of social
gatherings, she has organized numerous workshops and other participatory works. She has also been involved in the
project management for “female artists meeting,” a network for women in the art world, and is the administrator of the
CSLAB.

Volunteer Programs

Koyama Yuya

Volunteers undergoing training for Aichi Triennale 2019

During the Triennale, volunteers will work primarily as venue management

Born in Saitama Prefecture in 1989, Koyama is currently based in Kanagawa. By extracting from and combining
observations of how we interact, he has been exploring the future through visualizing and deconstructing the body thatis dependent upon existing frameworks.

guides. They will provide visitors information and advice; they will assist
them to appreciate the artworks with the help of dialogue and an interactive
viewing experience. They will also conduct tours to the various venues.

Lecture Series

Each volunteer will undergo in advance a series of training sessions so that

The lecture series that have been conducted since 2021 covering topics such as Aichi, art history, and art festivals arethinking, an approach which diﬀers considerably from one-way explanatory

he or she masters the techniques of interactive appreciation and visualcurrently available online. During Aichi Triennale 2022 lectures by participating artists and curators will be given and events

Aichi Triennale 2019 guided tour at the Endoji venue
Photo: aitori-camerabu

guidance.

to discuss the future of learning will also be held.
Online events :●Art History Classes Taught by Artists（Part 1:Majima Tatsuo（artist）;Part 2:Okada Yuko（contemporary artist）;Part 3: supplementary lecture by Soma Chiaki（Performing Arts
Curator, Aichi Triennale 2022） ; Part 4: Morimura Yasumasa（artist）●Unraveling the Art Festivals: Modernization and the Expo, the Olympics, and Arts
Festivals: Part 1:Yoshimi Toshiya*（sociologist）; Part 2: Tsujita Masanori*（critic,
researcher of modern and contemporary history）;Part 3:Haizea Barcenilla（curator, critic）
Upcoming events:

Screenshot from Art History Classes Taught by Artists*Available online as of March, 30, 2022

●Knowing Me, Knowing You: Researching alternative art schools/learning programs. Art
techniques throughout the world●Conceptual art of the week
●What is performance art/the performing arts?
●Talks and discussions with artists and curators at Aichi Triennale 2022

53

54

Collaborative Programs, Ambassadors◆ Aichi Triennale 2022 Pop Up!

◆ Collaborative projects with arts universities

Short-term “traveling exhibitions” by roughly ten participating artists of Aichi Triennale 2022 will be held

During Aichi Triennale 2022, collaborative projects with four local arts universities ‒ Aichi University ofat cultural venues in four Aichi Prefecture cities: Nagakute, Gamagori, Handa, and Nishio.（Free admission）
PeriodHost city

Venue

Fri, Sep 2 - Sun, Sep 4

Nagakute CityNAGAKUTE Cultural Center

University of Arts and Sciences ‒ will be held at “Art Lab Aichi.”Solo exhibitions by Art Lab Aichi and Aichi arts universities
In this project, Art Lab Aichi and four arts universities in Aichi Prefecture will create a project teamWed, Sep 7 - Mon, Sep 12

Gamagori City

Gamagori Natural History Museum

Fri, Sep 16 - Mon/
Public Holiday, Sep 19

Handa City

Formar Nakano Hanroku House,
Hanroku Garden, Handa City Hall

Fri/Public Holiday,
Sep 23 - Sun, Sep 25

Nishio City

Nishio City Culture Halland select one artist from each university with a promising future career for a series of four solo
exhibitions for Aichi Triennale 2022.

Art Management Academy
The Art Management Academy is a one-year human resources development program for learning about
the planning and management of arts exhibitions. Seminars will be held to teach necessary practicalskills, and regular reading sessions will be held to reinforce participantsʼ knowledge of contemporary art.
The program will also include interviews with artists and hands-on involvement in the planning andmanagement of exhibitions.

◆ Open Competition for Stage Performance《Art Lab Aichi》

Seven stage performances selected by open competition take place in partnership with Aichi-based

Art Lab Aichi is an arts center run by the Aichi Triennale Organizing Committee. By holding exhibitions

culture and arts organizations.

and various programs in collaboration with arts universities and facilities in Aichi Prefecture, we will

《Concert Hall, Aichi Prefectural Art Theater》

local arts practitioners. Art Lab Aichi also serves as a base for collecting and disseminating information

create opportunities for people to come into contact with the arts and contribute to the development of

Date

Organizer

Title

Genre

Sat, Sep 24

Nagoya Collegeof Music“Gloria”

Choir and orchestra

Executive committeeof NAGOYA Civic
Wind Orchestra

The 8th Festival of NAGOYA Civic Wind Orchestra
Toward the music world beyond time and space.
〜Challenge of multi-generational participation-based
ensemble.〜Sun, Sep 25

about contemporary art, including the Aichi Triennale.

Art Lab Aichi

The Aichi Prefectural Government Otsubashi Oﬃce 2F-3F
3- 4 -13 Marunouchi, Naka-ku, Nagoya, Aichi 460-0002, Japan
https://aichitriennale.jp/ala/ TEL: 052-961-6633

Wind Orchestra

Aichi Triennale 2022 Ambassadors ※in alphabetical order《Mini Theater, Aichi Prefectural Art Theater》
Date

Organizer

Title

Genre

imma（Virtual Model）

Tue, Aug 23

shikenkanbaby

shikenkanbaby extra capsule “Risking lives, or not”

Theater

KAWASE Naomi（Filmmaker）

M・A・C・H・I

Contemporary dance

Thu, Aug 25

Puppet Theater
MUSUBIZA

Three graduates of Horakuma school

Puppetry

Mon, Sep 26

NymphéArt

NymphéArt #17 Concert “Centennial Celebration for
Iannis Xenakis: The Ultimate Strings”

Contemporary Music

Tue, Sep 27

La strada company

la feuille les feuilles

Clown×Music

Wed, Aug 24 PlaTEdgE

55

the Arts, Nagoya University of the Arts, Nagoya Zokei University of Art & Design, and Nagoya

KONDO Seiichi（Director of the Kondo Institute for Culture & Diplomacy,
Former Commissioner of the Agency for Cultural Aﬀairs of Japan）

KUMA Kengo（Architect）
KUSANO Mitsuyo（Freelance Announcer）
NAGAOKA Kenmei（Director of D&DEPARTMENT, Design activist）
NISHITAKATSUJI Nobuhiro（Chief preist of Dazaifu Tenmangu）
NOZAKI Moeka（Fashion Model, TV Personality）

56

Collaborative Programs, Ambassadors◆ Aichi Triennale 2022 Pop Up!

◆ Collaborative projects with arts universities

Short-term “traveling exhibitions” by roughly ten participating artists of Aichi Triennale 2022 will be held

During Aichi Triennale 2022, collaborative projects with four local arts universities ‒ Aichi University ofat cultural venues in four Aichi Prefecture cities: Nagakute, Gamagori, Handa, and Nishio.（Free admission）
PeriodHost city

Venue

Fri, Sep 2 - Sun, Sep 4

Nagakute CityNAGAKUTE Cultural Center

University of Arts and Sciences ‒ will be held at “Art Lab Aichi.”Solo exhibitions by Art Lab Aichi and Aichi arts universities
In this project, Art Lab Aichi and four arts universities in Aichi Prefecture will create a project teamWed, Sep 7 - Mon, Sep 12

Gamagori City

Gamagori Natural History Museum

Fri, Sep 16 - Mon/
Public Holiday, Sep 19

Handa City

Formar Nakano Hanroku House,
Hanroku Garden, Handa City Hall

Fri/Public Holiday,
Sep 23 - Sun, Sep 25

Nishio City

Nishio City Culture Halland select one artist from each university with a promising future career for a series of four solo
exhibitions for Aichi Triennale 2022.

Art Management Academy
The Art Management Academy is a one-year human resources development program for learning about
the planning and management of arts exhibitions. Seminars will be held to teach necessary practicalskills, and regular reading sessions will be held to reinforce participantsʼ knowledge of contemporary art.
The program will also include interviews with artists and hands-on involvement in the planning andmanagement of exhibitions.

◆ Open Competition for Stage Performance《Art Lab Aichi》

Seven stage performances selected by open competition take place in partnership with Aichi-based

Art Lab Aichi is an arts center run by the Aichi Triennale Organizing Committee. By holding exhibitions

culture and arts organizations.

and various programs in collaboration with arts universities and facilities in Aichi Prefecture, we will

《Concert Hall, Aichi Prefectural Art Theater》

local arts practitioners. Art Lab Aichi also serves as a base for collecting and disseminating information

create opportunities for people to come into contact with the arts and contribute to the development of

Date

Organizer

Title

Genre

Sat, Sep 24

Nagoya Collegeof Music“Gloria”

Choir and orchestra

Executive committeeof NAGOYA Civic
Wind Orchestra

The 8th Festival of NAGOYA Civic Wind Orchestra
Toward the music world beyond time and space.
〜Challenge of multi-generational participation-based
ensemble.〜Sun, Sep 25

about contemporary art, including the Aichi Triennale.

Art Lab Aichi

The Aichi Prefectural Government Otsubashi Oﬃce 2F-3F
3- 4 -13 Marunouchi, Naka-ku, Nagoya, Aichi 460-0002, Japan
https://aichitriennale.jp/ala/ TEL: 052-961-6633

Wind Orchestra

Aichi Triennale 2022 Ambassadors ※in alphabetical order《Mini Theater, Aichi Prefectural Art Theater》
Date

Organizer

Title

Genre

imma（Virtual Model）

Tue, Aug 23

shikenkanbaby

shikenkanbaby extra capsule “Risking lives, or not”

Theater

KAWASE Naomi（Filmmaker）

M・A・C・H・I

Contemporary dance

Thu, Aug 25

Puppet Theater
MUSUBIZA

Three graduates of Horakuma school

Puppetry

Mon, Sep 26

NymphéArt

NymphéArt #17 Concert “Centennial Celebration for
Iannis Xenakis: The Ultimate Strings”

Contemporary Music

Tue, Sep 27

La strada company

la feuille les feuilles

Clown×Music

Wed, Aug 24 PlaTEdgE

55

the Arts, Nagoya University of the Arts, Nagoya Zokei University of Art & Design, and Nagoya

KONDO Seiichi（Director of the Kondo Institute for Culture & Diplomacy,
Former Commissioner of the Agency for Cultural Aﬀairs of Japan）

KUMA Kengo（Architect）
KUSANO Mitsuyo（Freelance Announcer）
NAGAOKA Kenmei（Director of D&DEPARTMENT, Design activist）
NISHITAKATSUJI Nobuhiro（Chief preist of Dazaifu Tenmangu）
NOZAKI Moeka（Fashion Model, TV Personality）

56

Ticket Information of Contemporary Art Exhibition◆ Passport◆ Buying Tickets

Valid for unlimited access to all venues for the duration of the festival.

Tickets can be purchased online from Aichi Triennale 2022 oﬃcial website.
Tickets can be directly purchased at the Aichi Prefectural Museum of Art,
major convenience stores, and ticket agencies.

◆ One-Day Pass

Valid for unlimited access to all venues on the day of visit.

Ticket information may be updated from time to time.

◇ Upgrades

During the period of the festival, a one-day pass can be upgraded to a passport for an
additional fee.（Adults: ¥1,200, Students: ¥800）

Price

Passport

One - Day Pass

Advance

Door（April 1 July 29）（July 30 October 10）

Adults¥2,500¥3,000Students¥1,700¥2,000Adults¥1,500¥1,800Students¥1,000¥1,200Admission is free for junior high school students and younger children.
Admission is free for holders of a disability certiﬁcate and one caregiver.
Holders of student tickets may be asked to show their ID.
Performing arts programs require a separate admission fee.

Special Ticket
For ticket purchases of 100,000 yen or more, or the purchase of 100 tickets or more at
one time, there is a special price. Please check the oﬃcial website for details.

Passport

One - Day Pass

57

Adults¥2,100Students¥1,400Adults¥1,200Students¥800

58

Ticket Information of Contemporary Art Exhibition◆ Passport◆ Buying Tickets

Valid for unlimited access to all venues for the duration of the festival.

Tickets can be purchased online from Aichi Triennale 2022 oﬃcial website.
Tickets can be directly purchased at the Aichi Prefectural Museum of Art,
major convenience stores, and ticket agencies.

◆ One-Day Pass

Valid for unlimited access to all venues on the day of visit.

Ticket information may be updated from time to time.

◇ Upgrades

During the period of the festival, a one-day pass can be upgraded to a passport for an
additional fee.（Adults: ¥1,200, Students: ¥800）

Price

Passport

One - Day Pass

Advance

Door（April 1 July 29）（July 30 October 10）

Adults¥2,500¥3,000Students¥1,700¥2,000Adults¥1,500¥1,800Students¥1,000¥1,200Admission is free for junior high school students and younger children.
Admission is free for holders of a disability certiﬁcate and one caregiver.
Holders of student tickets may be asked to show their ID.
Performing arts programs require a separate admission fee.

Special Ticket
For ticket purchases of 100,000 yen or more, or the purchase of 100 tickets or more at
one time, there is a special price. Please check the oﬃcial website for details.

Passport

One - Day Pass

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Adults¥2,100Students¥1,400Adults¥1,200Students¥800

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