Aichi Triennale 2022 - Press Release / Sept 2, 2022

Aichi Triennale 2022 at halfway point. Words from Curatorial Team

Installation views at Aichi Triennale 2022, AKI INOMATA Passing her a piece of cloth (2022) ©Aichi Triennale
Organizing Committee Photo: ToLoLo studio

Sept 2nd, 2022, Aichi, Japan - The Aichi Triennale 2022 is at the halfway point and has attracted morethan 170,000 visitors in total since its opening on July 30th, 2022. The fifth edition of Aichi Triennale is
led by the Artistic Director Kataoka Mami (Director, Mori Art Museum / President, CIMAM), and goeson till October 10, 2022. The title as well as its theme STILL ALIVE was inspired by the artwork series
I Am Still Alive by the Aichi-born conceptual artist On Kawara. Total of 100 artists/groups hail from 32
countries/regions spread across the five continents*: Asia Pacific (Japan 38, South East Asia 8,
Oceania 8, West Asia 1), Europe (17), North America (15), South America (8), and Africa (4). Morethan half of the overseas artists exhibited their works for the first time in Japan. In the contemporary art
section, 49 artists/groups including Anne Imhof, Theaster Gates and Delcy Morelos, werecommissioned to create new works for the Aichi Triennale 2022. While 55 artists are based outside ofJapan, 27 artists/groups managed to come to Aichi to create their works despite the strict Japanese bordercontrol due to the Covid-19 pandemic. In addition, ticket sales for performing arts have been strong
including Steve Reich Special Concert and John Cage Europeras 3&4 which were well received. FromOct 4th, Apichatpong Weerasethakul will show his first VR performance and let visitors commune
with invisible ghost-like presences.
*One artist does not specify the region.

Press Contact: Aichi Triennale Organizing Committee - Public Relations
E-mail: press@aichitriennale.jp Web: https://aichitriennale.jp/en/
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Aichi Triennale 2022 - Press Release / Sept 2, 2022

Artist list
Full list of the artist and their biographies are available here.

Official Guide Map
Official Guide Map can be downloaded here [10.4MB]. This map is a handy guide to help you prepare
your visit to Aichi Triennale 2022. We have put together recommended routes for the Contemporary Art
Exhibition in each of the venues. It will take 3 days to fully cover the exhibition.

Media Coverage
Ocula - The 5th Aichi Triennale Is a Reminder to Keep Living
The Art Newspaper - 爱“”现实对Frieze - The Aichi Triennale Tracks the Heartbeat of Post-Pandemic Possibility
Artforum 艺术论坛 “”

知三年展 依然活着 ： 能与不确定的
我在 正常 的⽇本

抗的只有诗与想象

Social media accounts
Official accounts:
Aichi Triennale 2022 Official Facebook@Aichi2022, Twitter@Aichi2022, Instagram@aichi2022
Instagram official hashtags #aichitriennale2022 #2022 #stillalive
Nice to see:
Mami Kataoka Instagram / Rhana Devenport Instagram / Theaster Gates Instagram.
We’d like to share the words from the curatorial advisers and the curators of the Aichi Triennale 2022 on
how they approached the theme STILL ALIVE and their impression of the show.

あいち

Words from the curatorial advisers and the curators
Kataoka Mami, Artistic Director [Director, Mori Art Museum / President, CIMAM] says - “Working as
the artistic director of Aichi Triennale 2022, I realized that I myself wanted to see how art can contributeto the world to survive this era. Each work of art gives me a tremendous amount of power and I am happy
to be able to show it to you. After being assigned, I started with the question, ‘Is it possible to have aninternational art festival when we can't travel abroad?’ Consequently I sort of ‘curated the curators’ fromacross five continents whom I respect and have admired for a long time. This curatorial team suggested
the artists whose work responds to the theme STILL ALIVE. Among the over 300 candidates, I weaved astory and made the final selection of 100 artists/groups. Walking through the exhibition, artists havepresented works that far exceeded what I had imagined. It was as if what each curator had in mind was
woven into the warp and weft of the story, crossing over the venues. By seeing the exhibition over andover again, I am sure you will see the connections between the various works. You will hear the messages
from some unfamiliar or deceased artists. I hope that you will take the time to enjoy the festival and findout what STILL ALIVE means to each of you.”
Rhana Devenport, Curatorial Adviser [Director, Art Gallery of South Australia] says - “For projects ofthis scale and ambition, the ultimate challenge is to ensure both the project's poetic charge and its acuterelevancy to its time. The Aichi Triennale 2022 has achieved both. When Mami first shared her curatorialideas, I immediately considered the radical insistence of Aboriginal Australian artists. They undertook thejourney of determination towards political justice and recognition within a frame of deep time. As I
witness the work of the 100 artists, what has moved me is the ebb and flow across artworks. I expected to

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Aichi Triennale 2022 - Press Release / Sept 2, 2022
see much great art, yet three things have surprised me: First thing is the stretch of time. The spirits of
those who have gone before and their works are still an active force and resonate at play in the world.
Secondly, I found the conversations. Thrilling calls and responses between works, between the concentric
woven natural fibers and the architectonic and coordinologist gestures. The third is the shape of space.
The poly spatial aspect of projects set up new propositions of site and meaning. In some ways STILLALIVE may be the motif for any thoughtful gathering of art, actions and experiences. Despite thepandemic, despite the maelstrom of global tensions, and despite the heat, these works in totality register acelebration of the possibility of art as an act of living.
Martin Germann, Curatorial Adviser [Independent Curator] says - “I remember that it was a relatively
warm winter day in Germany when I was told about the theme, STILL ALIVE. There are so many
approaches to think about this theme. From the survival of humanity on the earth that is obviously
destroying itself, to the way each singular individual lives in his or her personal life. Thinking of how I
personally encounter art, I noticed that STILL ALIVE should be art itself. In respect to myrecommendations one approach was that their work is showing a presence here and at the same time asreminders of other places in the world. In general this is an outstanding edition of the Aichi Triennale.
The whole exhibition functions as one body, whispering, shouting, tender, soft, and hard. The exhibitionis very political in its belief in the poetic. It is a sign of trust in art that art can make a huge change. Thereis a lot of hope. There is no cynical approach, but a very applauding approach, which is very beautiful.”
Tobias Ostrander, Curatorial Adviser [Independent Curator] says - “It is a very interesting time globallyto think about what it means to be alive. For me, when I think of On Kawara’s articulation of time withthe artwork I Am Still Alive, I am intrigued by the telegram format he used. Telegrams are used to relay
historical events, such as ‘my child is born’ or ‘war breaks out,’ and as such address historical time. The
message ‘I AM STILL ALIVE,’ also addresses morality, and thus speaks to physical time. Interestinglywith telegrams there is also a discrepancy built into them, between the time of the sender and that of thereceiver. So I approached the selection of artists thinking about these discrepancies between historicaltime and physical time. I thought of artists who play with slippages of time, bringing the past into thepresent in unusual ways. And artworks that address time beyond human experience, or explore the body's
ways of processing time. My first impression of the show is how beautifully ‘sited’ every work is- they
all feel so perfectly placed in dialogue to where they are exhibited. With each exhibition context, from thewhite cube galleries of the Aichi Arts Center, to the off-site buildings, the historical narratives andconceptual contexts of each space emerges strongly in dialogue with the artworks. It is a Triennial thatfeels very ‘embodied’ as well, that our physical selves are sensorially activated by the artworks, as
another way of addressing being alive. Overall, it is an ardent, poetic project that seems to say: ‘There’sno time for cynicism or irony in these difficult times, rather it is important to celebrate what it means tobe alive.’”
Ralph Rugoff, Curatorial Adviser [Director, Hayward Gallery] says -”This third year of the pandemic isa timely moment to consider the work of artists who address not only our complex relationships withlarge-scale social and political concerns, but who also explore ways in which we can creatively confront
and engage with the trauma caused by crises of one kind or another. As one of the curatorial advisors tothis Aichi Triennale, I was especially interested in artists whose work forges tools that can be critical foracts of repair and recovery – both for individuals and larger social groups alike. Far from being blandly
therapeutic, however, the work of artists like Kader Attia, Kate Cooper and Mohammed Sami often

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Aichi Triennale 2022 - Press Release / Sept 2, 2022
functions to create something like a crisis - a disturbance of our conventional ways of seeing andthinking. But while it explores ‘difficult’ subjects and deals with material that makes us uncomfortable,
this work offers important avenues of repair by prompting us to explore alternative circuits of connection
between things, by inciting more inclusive and layered conversations, and encouraging us to workthrough our fears to open our hearts.”
Shimabuku, Curatorial Adviser [Artist] says - “Even though I knew that STILL ALIVE is the title of On
Kawara's work, it sounded ironic to me, personally. This is because I am STILL ALIVE and coming toterms with the successive loss of several people close to me. That was my first impression. After a while,
I began to think that people who are dead are actually also ALIVE. Works created long ago are STILLALIVE. So I strongly felt that I should be conscious of works by deceased artists and other old works. I
also pondered why was it that I was chosen as a curatorial advisor when I am an artist who participated in
the first edition of the Aichi Triennale and I live in Japan. I decided to choose an artist whom Kataoka
probably did not know. I was happy when she told me that she did not know most of them. In the end, I
felt relieved that many foreign artists could come to Aichi to physically create their works despite thepandemic. As a result, I think they made the exhibition come ALIVE.”［］

Iida Shihoko, Chief Curator Independent Curator says - “I proposed artists to stitch between the othercurators’ ideas. I thought about life, physicality, decay, and the existence and extinction of the body.
Besides realizing Kataoka's vision, I am also faced with the proposition of how to sustain the Aichi
Triennale itself. I first got involved as a curator in 2013, then as the chief curator in 2019, and now in thisedition. STILL ALIVE is a theme that not only confronts us human beings but is also pertinent for thefestival itself. Lewis Biggs, my colleague curator of the Aichi Triennale 2013, says that the significanceof an art festival is to ‘measure the time.’ What we should do now and how the festival can contribute tosociety in the long term. Simryn Gill is not a participating artist but I have often recalled what she once
said in an interview article ‘(it’s a politics of) how we can be political without being political.’ And thisattitude can be felt throughout the exhibition. As I move from one venue to another, I find myself revising
the theme STILL ALIVE over and over again from different angles.”］Nakamura Fumiko, Curator of Contemporary Art [Senior Curator, Aichi Prefectural Museum of Art
says - “I had a positive and cheerful impression of the theme STILL ALIVE. I felt faith in art and increation. What I had in mind was to prepare and run the exhibition through a healthy process. The art
industry is often criticized for its poor working environment. I aimed to build up the exhibition with ahale and hearty environment. While selecting artists, I was interested in art brut and outsider art, so I
recommended artists based in welfare facilities. I Am Still Alive, by On Kawara is proof of survival. For
those who are in the welfare facilities, creating a work is a pleasure and a joy, as well as a connection tosociety. Their works are also proof of their survival. As the Aichi Triennale unites plastic arts with music,
performance, or traditional crafts, I was glad to introduce these art brut works while maintaining areasonable distance between them.”
Tsutsumi Takuya, Curator of Contemporary Art [Independent Curator / Graphic Designer] says - “WhenI first heard about the theme STILL ALIVE, I wasn’t yet appointed and learnt about it through some news
posts. Honestly, I thought it is a very smart and clever theme. It immediately evoked three layers in mymind: First, the Aichi-born artist On Kawara. Second, the pandemic that caused the cancellation of mycuratorial jobs and is still having a great impact on the world. Third, the Aichi Triennale's determination

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Aichi Triennale 2022 - Press Release / Sept 2, 2022
to continue the event despite the last edition. In line with the artistic director’s concept, I primarily
proposed young Japanese artists to the team. I was also in charge of setting up works outside the museum.
In particular, in the Bisai area which is on the west side of Ichinomiya city. All artists displayed in thatarea happen to be female. Coincidentally, this area is a place where young female workers werecollectively employed to work for the textile industry. This is an interesting connection for me.”Fujii Akiko, Performing Arts Adviser [Producer, Aichi Prefectural Art Theater] says - “I felt that thetheme STILL ALIVE coincides with a time when people are actually greeting each other to establish thatthey are doing fine despite the pandemic. The theme will interest even those who do not usually comeinto contact with the arts or theaters. I thought of artists who deal with words and performances indifferent forms such as voice, music, and poetry. Their works give us a sense of being alive and are a
response to life. I receive their works with my body and with a sense of reality. They remind me of things
that I knew but have forgotten. A sense of buried sensations comes back to life. Aichi Triennale is a greatchance to experience various physical senses responding to both performing arts and contemporary art.”
Maeda Keizo, Performing Arts Adviser [Art Producer] says - “The theme for the 2013 edition was
Awakening, provoked from the Tohoku earthquake in 2011. I think the earth is still shaking and the hardtime is still continuing. I am pleased to be able to feature Steve Reich, with whom I have worked formany years. Although he is not visiting Japan, he responded vividly to the theme STILL ALIVE and wasvery impressed that his piece is being performed. During the days when I was preparing for the show, I
suddenly saw a blue sky from the theater window and thought of the air raid on Nagoya in World War II.
A burnt-out Nagoya immediately came to mind on its own. With the presence of the art festival, the usual
scenery of the city took on a different aspect, as if in a flashback. I felt that this might be one of themeanings of holding an art festival.”
Soma Chiaki, Curator of Performing Arts [Art Producer / Representative Director, Arts CommonsTokyo] says - “When I heard the theme STILL ALIVE, I felt it was about myself. My core pursuit was torebuild the Aichi Triennale from the last edition. In a catalog, I wrote: ‘There is no such thing as art that
won’t hurt anyone. If so, then perhaps there is no such thing as an art festival that never hurts anyone
either. Let us hope that at the end of this long Passion Play, a true reopening/reunion (both words read
Saikai in Japanese) will quietly begin.’ Theaters and museums were closed because of the pandemic, anda new interpretation of reopening/reunion emerged for me. Projecting the fact that 50 years have passed
since On Kawara had started his I Am Still Alive series on the history of conceptual art, we have broughtthat era into the present. We are using VR to provide a physical experience for the audience even if theartist cannot be present. I also wondered about the ‘I am’ part of the telegram. Atsushi Watanabe's I am
here project focuses on those who cannot come to museums or any public spaces. People who have been
made invisible by modern circumstances. The expression of ‘I am’ of these people will be visualized in
the exhibition. In addition, the ‘I am’ of non-human beings will be summoned into the museum throughperforming arts.”
Aida Daiya, Curator of Learning [Artistic Director, Yamaguchi Center for Arts and Media (YCAM) ]says - “When I heard about the theme STILL ALIVE, it reminded me of the 800 volunteers. Forty to fifty
percent of them are newcomers to the organization, which has been in existence since Expo 2005 in
Aichi. I referred to the visual thinking method developed at MoMA in the 1980s and 90s. It originatedfrom the hypothesis that it is possible to weave a context through the creativity of the non-professionals,

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Aichi Triennale 2022 - Press Release / Sept 2, 2022
general viewers beside the historical context of the art. Volunteers have received this training and it isvery impressive to see how they learn this method. As the exhibition opens, I feel that the creativity of theviewers will begin to flourish. I believe that artists are the initiators, and art is only possible when theviewers are present and they speak about it. Viewers attach various contexts to art. I look forward toseeing people spin a story about their personal life, and hearing a unique story that I could never haveimagined.”
Yamamoto Takayuki, Curator of Learning [Artist / Co-Director, School in Progress / Director, Ongoing
School] says - “In putting together the learning programs for the Aichi Triennale, I wondered what kindof preparation is needed for the viewers and local people, how can the learning programs can contributeto the 12-year old Aichi Triennale to be STILL ALIVE after the 2019 edition. So I planned a lecture
series to think about what an art festival is, led by specialists in various fields such as sociology,
urbanism, and history. In addition, I organized long-term research projects on the uniqueness of the Aichi
prefecture. Artists and local participants spent several months conducting multi-faceted research from
historical, cultural, and sociological perspectives. Their results are exhibited as a part of the Aichi
Triennale. I have run these projects since last summer as a preparatory exercise to welcome the art
festival. As the Aichi Triennale is an art ‘festival’, I want the festival to be loved for a long time andcontinue to inspire the locals to look forward to it.”

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 atTokyo Opera City Art Gallery (1997-2002; Japan); International Curator at the Hayward Gallery(2007-2009; London, UK); Co-Artistic Director for the 9th Gwangju Biennale (2012; South Korea); andArtistic 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).

The Aichi Triennale
The Aichi Triennale is an urban international art festival, held every three years since 2010 across a wide
region including the Aichi Arts Center and other city venues. The festival spans a wide range of fields,
synthetically exhibiting performing art and other forms together with a contemporary art core, and makeAichi Prefecture a beacon of the artistic avant-garde.

Press Release
Check the Press Releases for complete information of the Aichi Triennale 2022.

Press Contact / Image Request
Aichi Triennale Organizing Committee (Public Relations)
Address: 1-13-2 Higashi-sakura, Higashi-ku, Nagoya city, Aichi Prefecture, 461-8525, Japan
E-mail: press@aichitriennale.jp
Web: https://aichitriennale.jp/en/

Press Contact: Aichi Triennale Organizing Committee - Public Relations
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