Aichi Triennale 2025 :A Time Between Ashes and Roses
9.13−1 1.30. 2025
Press Release│September 12, 2024

Aichi Triennale
The Aichi Triennale is an urban international art festival, held every three years since2010 across a wide region including the Aichi Arts Center and other city venues, andpreparation are underway for Aichi Triennale 2025 to build on the achievements ofthe previous five iterations. The festival will span a wide range of fields, syntheticallyexhibiting performing arts and other form together with a contemporary art core, andmake Aichi Prefecture a beacon 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

Contents
P. 3
OutlineP. 4–5
Theme / Concept
P. 6–7Curatorial TeamP. 8–21 Participating Artists (as of September 12, 2024)
P. 22–23 Learning
P. 24–25 Key Visual, Typeset/Logotype
P. 26
Main Venues2Outline of Aichi Triennale 2025

Theme

A Time Between Ashes and Roses

Artistic Director

Hoor Al Qasimi

	(President and Director of the Sharjah Art Foundation; President, International Biennial Association)

Period	September 13 (sat), 2025 – November 30 (sun), 2025 [79 days]
Main Venues

Aichi Arts Center
Aichi Prefectural Ceramic Museum
Seto City

Organizer

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

Supported by

Agency for Cultural Affairs, Government of Japan, Fiscal Year 2024
Association for Corporate Support of the Arts,
Japan Arts Fund for Creation of Society

Programs

Contemporary Art—Global contemporary art will be introduced through the exhibitions of		 individual artists or groups from Japan and overseas.
—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 Aichi Prefectural Ceramic Museum and Seto City.

Performing Arts
—Innovative and ground-breaking theater and dance from around the world		 will be presented at Aichi Arts Center and other venues.

Learning—Learning opportunities for a wide range of audiences.

Collaborative Programs—Collaborative projects with a variety of organizations, including art universities within Aichi.
—Pop-up traveling exhibition consist of works by Aichi Triennale 2025		 participant artists at a number of sites within the prefecture.

3

Theme / Concept

A Time Between Ashes and Roses
How can withered trees blossom?
A time between ashes and roses is coming
When everything shall be extinguished
When everything shall begin again*
After the Six Day War of 1967, the modernist poet Adonis lamented
the environmental destruction of his surroundings, questioning theoverwhelming presence of ashes in the Arab World. Ash, in Adonis’s
poem, is not generated through general decomposition but as a resultof human activity, in this case through senseless acts of violence,
war and carnage. Visualising the War through its imprints in theenvironment, he signifies its legacy through a geologic and everlastingtime view rather than immediate causes-and-effects or a present-day
understanding of territoriality. In this way, it is not all gloom for Adonis,
as after extinction comes blossoming.
This sentiment illustrates a common psychological concept: for renewal
and rebirth, destruction and doom must precede it; for humanity toprevail, horror must be endured and take its course. Adonis grapples
with feelings of hope and despair to envision a new future, a future
freed from horrors tied to the present and the past. In his extrapolationof war from the national, ethnic, tribal, and the human-centred towards
a collective environment, he foregrounds the multiplicitous expressionsof war: the human-made war, the war on the planet, the war within
ourselves, the war with others as well as the symbolism of the war on
hierarchy, subjugation, oppression, famine, hunger, exploitation; the war
on resources and energy; the war of possession and authorship; thewar for hope, dreams and imagination.
The political context of Adonis’ writing of the poem, who experiences
states of war and destruction as an observer and witness, is groundedin our experience of the present and expanded upon in this triennial.
In A Time Between Ashes and Roses, I chose neither binary extremeof ashes nor roses as ultimate frontiers to conceive of the entangled
relationships of the human-made environment. I question the boundary
between them–inherited from Enlightenment knowledge cultures–and posit states, conditions and spectrums of human-environmental
pathways. Rather than polarities, the triennial acknowledges extremesof our environmental condition, between war and hope, and explores
decomposition possibilities of the two-way street conceived between
humans and their environment.
In A Time Between Ashes and Roses, I question lines of inquiry
separate from the canonical framing of the human-nature relationship:
Are humans decomposing nature nor is nature decomposing humans?
Are humans biomatter? Are there clear distinctions between theinterior, psychological human, and the exterior, botanical world? Must
we accept and critique canonical concepts–from the Anthropocene
to Capitalocene to Plantationocene to Chthulucene–when addressing
contemporary relationships between the human and the environment?
Can art and exhibition-making approach the environment as a placeof the unknown and to unearth new narratives and observe alternative
perspectives?

4For the sixth edition of the Aichi Triennale, I wanted to look at therelationships between human beings and the environment tounearth alternative land-based and indigenous assemblages. Prior
to the mechanisation of agriculture and financialization of territory,
communities from around the world stewarded nature and developed
reciprocity with their environmental landscapes, conceiving of rights
and protections of nature, as well as building paths of kinship, reliance,
nutrition and replenishment with their surrounding habitats. This
triennial hails this framework as part of contemporary artistic practices.
This curatorial approach builds on while also fostering a different
imagination about contemporary imagination of the environment as aportmanteau of the human’s imprint on it, not with it. It is cognizant thathuman activities such as agro-farming, fossil-fuel extraction, deep-sea
mining, exploitation of raw natural resources as well as growth-centred
mentalities inherited from imperial structures, have created a system inwhich the human has no respite over the environment and developed
dangerous structures of dependence. Additionally, our knowledge
about the environment is human-centred, placing us as superior tononhuman lifeforms, able to alter and modify it for our benefit.
Not only is the human a technocratic engineer flattening theenvironment into spaces for the appropriation of raw materials, it also
re-enforces the inequalities which exist within human species. The
environment we occupy today is orientalised, speciated, classified andmodelled to benefit some communities over others and to enhancesome communities’ quality of life over others. Current discourse ofgreening energy also seems reserved for those who are positioned indifferent hemispheres with many communities from around the world
unable to benefit from critical environmental rehabilitative strategies.
Thus, much of today’s human-environment practices reiterate racial,social and discriminatory knowledge and thinking.
Consequently, a large proportion of the globe lives and inherits
centuries-long extractive colonial empires and finds their present
condition calcified by multinational food, energy and agriculture
corporations. Many of these communities are disproportionately
affected by these human-environment relationships created by virtueof the western world’s colonial legacies whose current urban and civil
structures are overwhelmingly responsible for the global changes we’re
now seeing. It builds on the continuing genocide of indigenous people
and their territories, the decades-long nuclear tests on colonised
territories, legacies of violence and trauma in plantations and mines
where forced labour has resulted in devastating loss of environmental
life and indignity of people. This has changed and continues to change
the geology of the planet in ways that will be felt beyond our lifespans,with severe implications for humanity’s survival.

destruction as imagined by Adonis? Or are the dystopian, apocalyptic
cli-fi futures which are void of life, mechanised and made superficial, atruly lived reality?
Rooting the triennial in Aichi Prefecture, Japan’s own environmental
imagination, between ashes and roses, will also be embedded in the
exhibit. Aichi is a locus of ceramic production and Seto City is famous
for the fabrication of Setomono. These local industries which workwith the surrounding environment’s materials and resources, willfeature in the artist commissions. Since these industries are a sourceof local pride, they support the triennial’s exploration for alternativemodels of human-environment relationship. As an example, in Aichi,
historic photographs and archives which depict ashy black skies
generated from the production of ceramics signified prosperity rather
than pollution and destruction. Thus, what conceptions of technology,
locally-based knowledge, imperial history, environmental imaginations
come up when we decenter the universalist Anthropocenic critique?
Do such local industries and heritage pave way for alternative andspectral thinking about the human-environment entanglement?
Additionally, various moments and instances of Japanese popular
culture, its fiction, films and music will also be referenced, such as
Nextworld by Osamu Tezuka. In the novel, the USA and USSR arecompeting with each other in the atomic bomb race–a history deeplyintertwined with the modern making of Japan and its environmental
condition–and accidentally creates a race of mutant animals known as
Fumoon. They are gifted with psychic powers and intelligence beyond
humans who formulate a strategy to evacuate hundreds of animals anda small group of people off planet Earth. The Fumoon, a byproduct ofnature-human species come to save the day.
Resonating with the theme of this triennial as well as Adonis’s poem,
Nextworld is a traversal between apocalypse and blossoming.
Altogether, these references, the locality of the Aichi Prefecture, writers
such as Adonis and Tezuka, as well as the participating artists, A Time
Between Ashes and Roses is a triennial which shows that in adopting
the spectral, limited and in between, assumed positionalities andhierarchies can come undone.
Hoor Al Qasimi
Artistic Director, Aichi Triennale 2025

	*Adonis, “An Introduction to the History of the Petty Kings,” A Time Between
Ashes and Roses, 1970.

While acknowledging the formidable narratives and research about
the human-environment relationships of the present, in this triennial
I aim to decenter both the apocalyptic and optimistic extremes wefind ourselves compelled to run to. I find it is only through layering
complexity in our dialogue about environmental justice can we face
our responsibilities and realise our complicity. To avoid imposing ahierarchy or preference for one reading over the other, this triennial
invites artists and collectives from all over the world to realise existing
and unknown narratives about the environment in which we occur.
Is nature resilient because of how it is tested, and endures death and5Curatorial Team

Artistic Director

Hoor Al Qasimi(President and Director of the Sharjah Art Foundation;
President, International Biennial Association)

Photo: SEBASTIAN BÖTTCHER

Hoor Al Qasimi, President and Director of Sharjah Art Foundation, is a curator whoestablished the Foundation in 2009 as a catalyst and advocate for the arts, not onlyin Sharjah, UAE but also in the region and around the world. With a passion for supporting experimentation and innovation, she has continuously expanded the scopeof the Foundation to include major international touring exhibitions; artist and curator
residencies in visual art, film, and music; commissions and production grants for
emerging artists; publications and publication grants; performance and film festivals;architectural research and restoration; and a wide range of educational programming
for all age groups.
She co-curated Sharjah Biennial 6 (2003) and has remained Biennial Director since and was curator of Sharjah Biennial 15 (2023). She was also elected as
President of the International Biennial Association in 2017, the President of The Africa
Institute, and President and Director of the Sharjah Architecture Triennial. Previously,
she was a board member for MoMA PS1, New York, and the UCCA Center forContemporary Art, Beijing, etc. She has been appointed Artistic Director for the 25th
Biennale of Sydney (2026).

Head of Curatorial

Iida Shihoko(Independent Curator)

Photo: ToLoLo studio

Iida Shihoko was born in Tokyo and is based in Nagoya, Japan. She worked asCurator at the Tokyo Opera City Art Gallery for 11 years, starting as Assistant Curator
in 1998 when it was preparing for opening. From 2009 to 2011, Iida was a Visiting
Curator of ACAPA, a research institute within the Queensland Art Gallery/Galleryof Modern Art in Brisbane, Australia. She stayed in Seoul as a 2011 International
Fellowship Researcher, hosted by National Museum of Modern and Contemporary
Art, Korea. Drawing from her interest in co-curation, contemporary art in Asia, andthe relationship between society and art institutions, Iida has co-curated exhibitionsin Seoul, multiple cities in Australia, New Delhi, Jakarta, and Milan. Additionally, she
worked on the 15th Asian Art Biennale Bangladesh 2012, Aichi Triennale 2013, andSapporo International Art Festival 2014 as Curator, also served as Chief Curator(Head of Curatorial Team) of Aichi Triennale 2019 and 2022. From 2014 to 2018,
she was Associate Professor at the Tokyo University of the Arts. Iida is a member of
CIMAM, IBA, and AICA.

Curator (Contemporary Art)

Irizawa Masaaki(Curator, Aichi Prefectural Ceramic Museum)6

Born in Osaka, Japan. Irizawa Masaaki completed an MFA at Kyoto City University ofArts. After a curatorial internship at the National Museum of Modern Art, Kyoto, from2015 to 2017 he served as a curator at the Asahi Group (formerly Asahi Breweries)
Oyamazaki Villa Museum of Art. He has held his current position since 2018. Hespecializes in the history of modern and contemporary Japanese ceramics. He plans
and curates exhibitions that handle ceramics not only as a form of artistic expression,
but also from an industrial perspective. In recent years he has been responsible formounting exhibitions including The Ceramic Sculpture of Shindo Tsuji (2020), THE
NOSTALGIC JAPAN 1950s–70s: the Modern Tableware and the Design Drawings(2022), Modern Thoughts on Pottery: Inside⇄Outside (2022). He also participatedin Dividing Line-Connecting Line (2013, in collaboration with Kawai Yuki), a curatorial
grant project of the Nishieda Foundation.

Curator (Performing Arts)

Nakamura Akane(Performing Arts Producer)

Photo: Takuya Matsumi

Born in Tokyo, Japan. Nakamura Akane has been involved in the performing arts
since her time as a student at Nihon University College of Art. She served as program
director at ST Spot Yokohama from 2004 to 2008. In 2006 she was involved in thefounding of precog Co., Ltd., and she has been its representative director (CEO) since2008. As a grantee of the Asian Cultural Council (ACC), she lived in Bangkok and New
York from 2016 to 2018. Along with producing contemporary theatrical and danceworks for artists and companies inside and outside of Japan, Nakamura works onsite-specific festivals and interdisciplinary training programs, and in a project that
operates a platform for distributing video content in barrier-free and multilingual
formats. She has served as producer for overseas tours and co-productions spanningseventy cities in thirty countries. From 2012 to 2014 she served as performing arts
program director for Kunisaki Art Project and Kunisaki Art Festival (sponsored by
Kunisaki Art Festival Executive Committee); in 2019 she served as associate director
and deputy secretary general of the True Colors Festival celebration of diversity in thearts (sponsored by The Nippon Foundation); and in 2020 she served as executive
producer for “THEATRE for ALL,” an online theater that focuses on accessibility. She
was awarded the Minister of Education, Culture, Sports, Science and Technology’s
FY2021 Encouragement Prize for New Artists in development of the arts.

Curator (Learning)

Tsuji Takuma(Architect)

Photo: goitami

Born in Shizuoka, Japan. After graduating from the Yokohama Graduate School ofArchitecture (Y-GSA), Tsuji teamed up with Hashimoto Takeshi and Yada Toru to form
the 403architecture [dajiba] architectural collective in 2011. As 403, the collective
won the 30th Yoshioka Award for The Ceiling of Tomitsuka in 2014; participated in theJapan Pavilion exhibition that won a special mention at the 15th International Architecture Exhibition, Venice Biennale (2016, Italy); and it has shown its work at numerous
exhibitions inside and outside of Japan, including Aichi Triennale 2016. Since establishing tsujitakuma and projects LLC as his own office in 2017, in parallel with 403,
Tsuji has focused on the theme of intermittent, yet fluid, transitions in buildings andspaces. In 2019 he served as a lecturer for the Aichi Triennale’s art university collaboration project and from 2020 to 2024 he served as a specially appointed lecturer on
Community Area Design at Nagoya Zokei University.

Curatorial Adviser (Contemporary Art)

Ishikura Toshiaki(Anthropologist/Associate Professor,
Department of Arts & Roots, Akita University of Art)

Cho Sunhye(Curator, Fukuoka Asian Art Museum)

Ishikura has conducted field research in places including Sikkim, Darjeeling, Nepal,
and northeastern Japan, researched comparative mythology of the Pacific Rim andmultispecies artistic anthropology. He collaborates with artists and cooperates in theplanning and curation of exhibitions. Before assuming his current position, he served
as an assistant at the Institute for Anthropology of Art and Design, Tama Art University
and then as a researcher at the Institute pour la Science Sauvage, Meiji University. In
2019, he participated in the Cosmo-Eggs exhibition at the Japanese Pavilion for the
58th Venice Biennale. He has co-authored books including Lexicon: Contemporary
Anthropology and More Than Human: Multispecies Anthropology and Environmental
Humanities (both in Japanese, Ibunsha).

Born in Tokyo, Japan. Based in Fukuoka City. After working as an exhibition assistantand coordinator in Japan and elsewhere in East Asia, Cho was appointed assistantcurator for Aichi Triennale 2016. She has served as a curator at the Fukuoka Asian Art
Museum (Collection and Exhibition Section, Curatorial Division) since 2016, specializing in Asian contemporary art. In recent years she has been conducting researchon art history and visual art by pan-Asian immigrants. At FAAM, she has curated
exhibitions including Waters in Asian Art (2023), Message—50 Years of Women Artists in Asia (2020), Fukuoka Asian Art Museum 20th Anniversary Exhibition: Journey
through Asian Art (2019), and LGBTQ and Social Diversity in Asian Art (2019).

7

Participating Artists (as of September 12, 2024)

Artist Name

Year of Birth or Formation

Place of Birth or Formation

Place of Activity

Basel Abbas andRuanne Abou-Rahme

1983
1983

CyprusUSA

USA, Palestine
USA, Palestine

Maitha Abdalla

1989

UAE

UAE

John Akomfrah

1957

Ghana

UK

Marilyn Boror Bor

1984

Guatemala

GuatemalaMinerva Cuevas

1975

MexicoMexicoElena Damiani

1979

Peru

Peru

Solomon Enos

1976

USA

USA

Simone Fattal

1942

Syria

FranceFudamoto Ayako

1991

Japan

Japan

Wendy Hubert

1954

Australia

Australia

ikkibawiKrrr

formed 2021

Korea

Korea

Kato Izumi

1969

Japan

Japan

Koretsune Sakura

1986

Japan

Japan

Mayunkiki

1982

Japan

Japan

Shaikha Al Mazrou

1988

UAE

UAE

Mulyana

1984

Indonesia

Indonesia

Wangechi Mutu

1972

Kenya

Kenya, USA

Nagasawa Aoi

1994

Japan

Japan

Dala Nasser

1990

LebanonLebanonOgawa Machiko

1946

Japan

Japan

Ohkojima Maki

formed 2023

Japan

Japan

Oki Junko

1963

Japan

Japan

Contemporary Art

8Artist Name

Year of Birth or Formation

Place of Birth or Formation

Place of Activity

Christodoulos Panayiotou

1978

CyprusCyprusMichael Rakowitz

1973

USA

USA

Silvia Rivas

1957

Argentina

Argentina

Saijo Akane

1989

Japan

Japan

Sasaki Rui

1984

Japan

Japan

Yasmin Smith

1984

Australia

Australia

Tomiyasu Yuma

1983

Japan

Japan

Adrián Villar Rojas

1980

Argentina

Lives and works nomadically

AKN PROJECT

formed 2020

Japan

Japan

Black Grace

formed 1995

New Zealand(Aotearoa)

New Zealand(Aotearoa)

Kwon Byungjun

1971

Korea

Korea

OLTA

formed 2009

Japan

Japan

Selma & Sofiane Ouissi

1975
1972

Tunisia
Tunisia

Tunisia, France
Tunisia

TAIHEN

formed 1983

Japan

Japan

Performing Arts

—In principle, the artists are listed in alphabetical order according to their family names.
—The years of the artists’ birth, 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.
As needed, the name of the region in the Indigenous language is also provided.

9

Contemporary Art
Basel Abbas and Ruanne Abou-Rahme
Basel Abbas born 1983 in Nicosia, Cyprus.
Based in New York, USA and Ramallah, Palestine.
Ruanne Abou-Rahme born 1983 in Boston, USA.
Based in New York, USA and Ramallah, Palestine.

*Images not credited are courtesy of the artist.

Basel Abbas and Ruanne Abou-Rahme work together across a range of sound,image, text, installation and performance practices. Their practice is engaged in theintersections between performativity, political imaginaries, the body and virtuality.
Largely their approach has been one of sampling materials both existing and self-authored in the form of sound, image, text, objects and recasting them into altogether
new ‘scripts.’ The result is a practice that investigates the political, visceral, material
possibilities of sound, image, text and site, taking on the form of multimedia installations and live sound/image performances.
Selected exhibitions
	Solo exhibitions include The song is the call and the land is calling, Copenhagen
Contemporary & the Glyptotek (2024, Denmark); Only sounds that tremble throughus, MIT List Visual Arts Center (2024, Massachusetts, USA); An echo buried deep
deep down but calling still, Astrup Fearnley (2023, Oslo, Norway); May Amnesia
Never Kiss Us on the Mouth, Museum of Modern Art (2022, New York, USA)/
Migros Museum für Gegenwartskunst (2022, Zurich, Switzerland).

“May amnesia never kiss us on the mouth: only sounds that tremble through us” 2020-22 | Photo: Christian Øen | © Astrup Fearnley Museet, 2023.

Maitha Abdalla
Born 1989 in Khorfakkan, UAE. Based in Abu Dhabi, UAE.

Emirati multi-disciplinary artist, Maitha Abdalla’s, practice combines film, photography,
sculpture, painting, drawing and performance. Abdalla harnesses the performativeand constructed character of the theater to tackle themes that range from folklore andmythology to gender, social conditioning and psychology. For the artist, the theater isa space where she might confront and destabilize that which she has encountered inher social world, her imaginations, memories and fantasies at an objective distance.
The artist’s fantastical scenes shift between abstraction and representation and arecharged with drama and melancholy. Abdalla’s art forms an ongoing investigation into
the self. She constructs characters that embody a distinct vector of her persona often
constrained within tight domestic spaces that expose their vulnerability. For Abdalla,
her process is a continuation of the performance. She employs a bodily approach topainting, often applying dense layers of oil and acrylic paint with her fingertips andtracing around her own figure with gestural smears of charcoal.
Selected exhibitions

	Solo exhibition includes INT. The Body - Sunrise, Cromwell Place (2022, London,
UK). Group exhibitions include Evaporating Suns: Contemporary Myths from the
Arabian Gulf, Kulturstiftung Basel H. Geiger (2023, Switzerland); Sharjah Biennial
15: Thinking Historically in the Present (2023, UAE); Portrait of a Nation II, Tabari
Artspace (2022, Dubai, UAE).
“EVAPORATING SUNS” 2023

John Akomfrah
Born 1957 in Accra, Ghana. Based in London, UK.

John Akomfrah is a hugely respected artist and filmmaker whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics, and often explore the experiences of migrant diasporas globally. Akomfrah wasa founding member of the influential Black Audio Film Collective, which he started
in London in 1982 with artists David Lawson and Lina Gopaul who he still collaborates with today alongside Ashitey Akomfrah as Smoking Dogs Films. Akomfrah has
achieved international recognition for a multi-layered visual style combining archive
footage, still photos, newly shot material and newsreel in groundbreaking multi-channel film installations.
Selected exhibitions
	Solo Exhibitions include 60th Venice Biennale, British Pavilion (2024, Italy); A Spaceof Empathy, Schirn Kunsthalle Frankfurt (2023–24, Germany); Five Murmurations,
Smithsonian National Museum of African Art (2023, Washington D.C., USA); Arcadia, The Box (2023–24, Plymouth, UK); John Akomfrah: Purple, Hirshhorn Museum(2022–24, Washington, D.C., USA).

“Vertigo Sea” 2015 | © Smoking Dogs Films; Courtesy of Smoking Dogs Films and Lisson Gallery.

10Marilyn Boror Bor
Born 1984 in San Juan Sacatepéquez, Guatemala. Based in Guatemala, Guatemala.

Marilyn Boror Bor is a Maya-Kaqchikel artist, independent curator, art professor,
and cultural manager. She has a degree in art from the Universidad de San Carlos
de Guatemala, recognized for its broad handling of materials and a socially engaged
artistic practice. She explores themes of Indigenous identity, historical memory,colonialism, and resistance. She has participated in numerous solo and group exhibitions nationally and internationally. Boror’s work has been exhibited in Guatemala,
El Salvador, Honduras, Nicaragua, Costa Rica, Panamá, Mexico, Colombia, Chile,
Argentina, Barbados, Brazil, Ecuador, United States, Spain, Switzerland, Germany,
Malaysia, and UK. Her work has been selected as part of Phaidon Art Next Generation, over 100 of the most innovative and interesting contemporary artists working in
all media worldwide.
Selected exhibitions
	Group exhibitions include Fugas de lo nuestro. Visualidades indígenas de sur a norte,
Museo de la solidaridad Salvador Allende (2024, Santiago, Chile); Musa. Perspectivas femeninas en las Colecciones del MAMM y MAC Panamá, Museo de Arte
Moderno de Medellín (2024, Colombia); 35th Bienal de São Paulo: choreographiesof the impossible (2023, Brazil); XXIII Paiz Art Biennial: I drank words submerged indreams (2023, Guatemala); COMMUNICATING VESSELS. Collection 1881–2021,
Museo Nacional Centro de ArteReina Sofía (2022, Madrid, Spain).

“They too, the mountains, gave us back concrete.” 2022

Minerva Cuevas
Born 1975 in Mexico City, Mexico. Based in Mexico City, Mexico.

Minerva Cuevas creates research-based projects that allow the audience an insight
into the social sphere through site-specific actions and artworks. She researches
the notions of value, exchange, and property inherent to the capitalist system and its
social consequences to explore the latent possibility of rebellion implicit in everyday
life. Her work encompasses a wide range of media-installation, video, muralism,
sculpture, and public intervention to explore our familiar visual references like the onesof commercial branding to question the notions present in our political imaginary,facilitating channels of social communication. The main areas of her research havebeen: ecology movements, anthropology, and corporate history. She founded Mejor
Vida Corp in 1998 and the International Understanding Foundation in 2016.
Selected exhibitions
	Solo exhibition includes Game Over, Museo Jumex (2023, Mexico City, Mexico).
Group exhibitions include Re/Sisters: A Lens on Gender and Ecology, Barbican Centre (2023, London, UK); 11th Seoul Mediacity Biennale: One Escape at a Time, Seoul
Museum of Art (2021, Korea); SOFT POWER, San Francisco Museum of Modern Art(2019, USA); Sharjah Biennial 7: Belonging (2005, UAE).

“The Trust” 2023 | Courtesy of Kurimanzutto Mexico, New York.

Elena Damiani
Born 1979 in Lima, Peru. Based in Lima, Peru.

Elena Damiani uses the disciplines of geology, geography, cartography, archaeology,
and astronomy to reinterpret such categorizations and our understanding of thephysical world. Her works propose alternative readings of geological time, history,
and the human classification of evidence. Her practice reveals a search to understandhow structures that obey a magnitude greater than the brief passage of man on Earthare composed and function. This search formulates a series of explorations that seek
to reinterpret various stages and natural processes by confronting us with the idea wehave of the world in which we live.
Selected exhibitions
	Solo exhibitions include Ensayos de lo sólido, Museo de Arte Contemporáneo deLima (2022, Peru). Group exhibitions include 12th Seoul Mediacity Biennale, THIS
TOO, IS A MAP, Seoul Museum of Art (2023, Korea); Chosen Memories: Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond, The
Museum of Modern Art (2022, New York, USA); Abundant Futures. Works from the
TBA21 Collection, C3A Centro de Creación Contemporánea de Andalucía (2022–23,
Córdoba, Spain); 56th Venice Biennale, International Art Exhibition: All the World’s
Futures (2015, Italy).

“Relief I” 2023 | Photo: Juan Pablo Murrugarra

11

Contemporary Art
Solomon Enos
Born 1976 in O’ahu, USA. Based in O’ahu, USA.

Solomon Enos is a Native Hawaiian artist, illustrator, muralist, game designer, educator, storyteller, and community organizer with over 35 years of experience. Based in
Honolulu, Hawai’i, his work can be seen across the island chain and around the world.
Enos grew up in a family of community organizers, and from an early age, was given
a sense of purpose to share his culture and help craft hopeful narratives through his
artwork.
Selected exhibitions
	Group exhibitions include Sharjah Biennial 15: Thinking Historically in the Present(2023, UAE); Honolulu Biennial 2019: TO MAKE WRONG / RIGHT / NOW (USA);
CTRL+ALT: A Culture Lab on Imagined Futures, 477 Broadway (2016–17, New York,
USA); ’Ae Kai: A Culture Lab on Convergence, the former site of Foodland in Ala
Moana Center (2016–17, Honolulu, USA); 7th Asia Pacific Triennial of Contemporary
Art, Queensland Art Gallery | Gallery of Modern Art (2012, Brisbane, Australia).

“MMMRRRZZZMMM” 2019

Simone Fattal
Born 1942 in Damascus, Syria. Based in Paris, France.

Simone Fattal was raised in Lebanon, where she studied philosophy at the Écoledes Lettres in Beirut. She then moved to Paris, where she continued her studies at
the Sorbonne. In 1969 she returned to Beirut and began working as a visual artist,exhibiting her paintings until the start of the Lebanese Civil War.
She left Lebanon in 1980 and settled in California, where she founded the Post-Apollo
Press, a publishing house dedicated to innovative literary work. In 1988 she enrolled at
the San Francisco Art Institute, which prompted a return to her artistic practice and a
newfound dedication to sculpture.
Selected exhibitions
	Solo exhibitions include metaphorS, Secession (2024, Vienna, Austria); The
Manifestations of the Voyage, Portikus (2023, Frankfurt, Germany); Finding a Way,Whitechapel Gallery (2021, London, UK); Works and Days, MoMA PS1 (2019, New
York, USA). Group exhibition includes 59th Venice Biennale, International Art Exhibition: The Milk of Dreams (2022, Italy).

“Mushrooms in a Forest” 2023 | Photo: Wolfgang Günzel.

Fudamoto Ayako
Born 1991 in Yamaguchi, Japan. Based in Kyoto, Japan.

Based on her experiences in the food production industry and food delivery, Fudamoto Ayako started reconsidering the present-day concept of “food” after coming
across many instances in which food products were discarded without even reachinga dinner table, let alone being eaten. The act of creating replicas of such disappearing
food resources can be seen as a revival of the memories she has of food, as well asa means to provide herself with a place where she can be connected to this conceptof food.
Selected exhibitions
	Solo exhibitions include Replicant: the form of a dining table, Umeno Memorial
Museum of Art established by Tomi City (2023, Nagano, Japan); Black Box, KUNSTARZT (2020, Kyoto, Japan). Group exhibitions include Artist in Museum AiM Vol. 16
FUDAMOTO Ayako, The Museum of Fine Arts, Gifu (2024, Japan); Unsmooth Gestures, Contemporary Art in Nishio, Shoko-so Fugen-an (2023, Aichi, Japan); Kyoto
Art for Tomorrow 2022—Selected Up-and-coming Artists’ Exhibition, The Museumof Kyoto (2022, Japan).

“pavlov’s dog” 2021

12

Wendy Hubert
Born 1954 in Yindjibarndi Country/Pilbara, Australia.
Based in Yindjibarndi Country/Pilbara, Australia.

Wendy Hubert is a respected Yindjibarndi Elder, cultural custodian, artist and linguist.
Born at Red Hill Station in the Pilbara, Western Australia, Wendy lived at Red Hill
Station, Minderoo Station and Onslow before settling in Roebourne. Wendy met her
husband in Roebourne through her work in community health and together they had
three sons. Wendy began painting with Juluwarlu Art Group in 2019, and has becomea dedicated artist known for her landscape paintings recounting scenes from herchildhood and featuring important places on Yindjibarndi and Guruma Country.
“I know my Ngurra. I know its Laws. I am a Yindjibarndi Custodian, old now, but strong
in my thinking and my life.” (Wendy Hubert, 2021)
Selected exhibitions
	Solo exhibition includes Wendy Hubert: Ngurra Goonmardii, Salon Art Projects(2024, Darwin, Australia). Group exhibitions include The Good Shed, Perth Represent: Aboriginal Figurative Practice in WA, Part 2, FORM Gallery (2024, Perth,
Australia); 24th Biennale of Sydney: Ten Thousand Suns (2024, Australia); Telstra
NATSIAA, Museum and Art Gallery of Northern Territory (2023, Darwin, Australia);
Tracks We Share, Art Gallery of Western Australia (2022, Perth, Australia).

“Hunting Place” 2024

ikkibawiKrrr
Formed 2021 in Seoul, Korea. Based in Seoul, Korea.
Cho Jieun, born 1975 in Seoul, Korea / Kim Jungwon, born 1996 in Seoul, Korea/
Ko Gyeol, born 1994 in Jeju, Korea

Founded in 2021, ikkibawiKrrr is a visual research band that explores the connection
between natural phenomena, humanity, and ecology. In Korean, ikkibawi means“moss-rock” and krrr is an onomatopoeic word. Mosses live in the thin boundary
between air and soil, adapt to their surroundings despite their tiny bodies, and expand
their world along other worlds. The fact that the method of survival itself forms amovement, and that this movement sometimes thickens the layer of boundaries, is
key to the practice of ikkibawiKrrr. Incorporating the way of mosses in its approach,the collective hopes to circulate its practice beyond individual projects and extend theboundary layer between life and art.
Selected exhibitions
	Group exhibitions include 12th Seoul Mediacity Biennale: THIS TOO, IS A MAP,
Seoul Museum of Art (2023, Korea); 14th Gwangju Biennale: soft and weak like water(2023, Korea); 40th EVA International (2023, Limerick, Ireland); DMZ Exhibition:
CHECKPOINT, Camp Greaves (2023, Paju, Korea); documenta fifteen (2022,
Kassel, Germany).

“Seaweed Story” 2022

Kato Izumi
Born 1969 in Shimane, Japan. Based in Tokyo, Japan.

Kato Izumi’s paintings and sculptures are representations of undifferentiated primitive
lifeforms, fetuses, animals, or beings that are perhaps hybrids thereof. Primal relationships involving humanity, nature, and the environment can be observed in his works,
which evoke a return to the womb while also appearing to be relating new mythological stories. An invitation to exhibit at the 52th Venice Biennale, International Exhibitionin 2007, provided the artist with a boost that led to a number of highly acclaimed
presentations around the world. In addition to the conventional carved and painted
wooden sculptures, Kato has recently incorporated new materials such as soft vinyl,
plastic model kits, stone, textiles, aluminum, and bronze into his practice, extending his
painterly approach to encompass soft sculpture and installations, while being awarethat they are still paintings for him.
Selected exhibitions
	Solo exhibitions include Parasitic Plastic Models, WATARI-UM, The Watari Museumof Contemporary Art (2022–23, Tokyo, Japan); STAND BY YOU, SCAD Museum ofArt (2021–22, Savannah, USA); LIKE A ROLLING SNOWBALL, Hara Museum ofContemporary Art/Hara Museum ARC (2019–20, Tokyo/Gunma, Japan); Izumi Kato,
Fundación Casa Wabi (2019, Puerto Escondido, Mexico); Izumi Kato, Red Brick Art
Museum (2018, Beijing, China).

“Untitled” 2023 | Photo: Kei Okano | ©︎2023 Izumi Kato

13

Contemporary Art
Koretsune Sakura
Born 1986 in Hiroshima, Japan. Based in Hiroshima, Japan.

Koretsune Sakura obtained a BFA in painting (magna cum laude) from University of
Alaska Fairbanks, also studying native arts and sculpture. In 2017, she received amaster’s degree from Tohoku University of Art and Design in Yamagata. Whale-human relationships and the folklore of oceans inspire Koretsune’s works. Koretsune
writes and embroiders to express her journeys and imaginations based on research
and fieldwork. She continuously publishes a booklet series, “Ordinary Whales.” Koretsune worked as a researcher at the Center for Northeast Asian Studies of Tohoku
University from 2018 to 2020. From 2022 to 2023, she was a guest researcher in the
Whales of Power research project at the Department of Culture Studies and Oriental
Languages of the University of Oslo as a trainee under the Program of Overseas
Study for Upcoming Artists organized by Japan’s Agency for Cultural Affairs.
Selected exhibitions
	Group exhibitions include currents / undercurrents: Bringing together the endless flow, Aomori Contemporary Art Centre (2024, Japan); Whales of Power,
HumSam-biblioteket, University of Oslo (2023, Norway); VOCA 2022: The Visions ofContemporary Art, Ueno Royal Museum (2022, Tokyo, Japan); NITTAN ART FILE 4:
Memory of Land, Tomakomai City Museum (2022, Hokkaido, Japan); Restorations ofNarrative, Sendai Mediatheque (2021, Miyagi, Japan).

“Unraveling the Whale, Weaving the Whale” 2021 | Photo: KOIWA Tsutomu | Courtesy of Sendai Mediatheque.

Mayunkiki
Born 1982 in Hokkaido, Japan. Based in Hokkaido, Japan.

A member of Marewrew and Apetunpe, groups that practice traditional Ainu song,
Mayunkiki commenced solo performances in 2021. In 2018, motivated by an interest
in aesthetics associated with her Ainu roots, she began to research “sinuye,” a
traditional form of tattooing for Ainu women. From a strictly personal perspective, she
explores the Ainu existence and presence in our contemporary society, incorporating
her discoveries into her art.
Selected exhibitions
	Solo exhibitions include SIKNURE - Let me live, Ikon Gallery (2022, Birmingham,
UK); Mayunkiki “SINRIT teoro wano aynu menoko sinrici an=hunara”, CAI03 (2021,
Hokkaido, Japan). Group exhibitions include Where My Words Belong, Museum ofContemporary Art Tokyo (2024, Japan); Reborn-Art Festival 2021–22: Altruism andFluidity, Central Ishinomaki, Former Sauna Ishinomaki (2021–22, Miyagi, Japan);
22nd Biennale of Sydney: NIRIN (2020, Australia).

“Siknure - Let me live” 2022 | Photo: Stuart Whipps | Courtesy of Ikon Gallery.

Shaikha Al Mazrou
Born 1988 in Sharjah, UAE. Based in Dubai, UAE.

Shaikha Al Mazrou received her MFA in 2014 at the Chelsea College of Arts, University of the Arts, London where she was awarded the prestigious MFA Student Prize.
Prior to that she studied at the College of Fine Arts and Design, University of Sharjah
where she later was a Sculpture Lecturer. Currently she is an Assistant Professor
at NYU Abu Dhabi. Al Mazrou’s sculptural experimentations and investigations are
expressions of materiality—articulations of tension and the interplay between formand content as well as an intuitive, keenly felt understanding of materials and their
physical properties. She combines and evolves ideas from contemporary artistic
movements similarly preoccupied with formal and material elements, from color
theory to geometric abstraction.
Selected exhibitions
	Solo exhibitions include Dwelling in the Gap, Lawrie Shabibi (2022–23, Dubai, UAE);
Rearranging the Riddle, Maraya Art Centre (2020, Sharjah, UAE). Group exhibitions
include Art Basel Hong Kong 2024, Hong Kong Convention and Exhibition Centre(Hong Kong); Frieze Sculpture 2022, Regent’s Park (London, UK); Desert X AlUla
2022 (Saudi Arabia).

“Accordion Structure” 2022

14

Mulyana
Born 1984 in Bandung, Indonesia. Based in Yogyakarta, Indonesia.

Mulyana (Mangmoel) is a visual artist using yarn and cloth. Graduating from the
Department of Fine Arts and Crafts, Universitas Pendidikan Indonesia (UPI), Bandungin 2012, he moved to Yogyakarta the same year after his exhibition “Mogus World.”
Mogus is an alter ego octopus monster character, created with an ecosystem resembling an underwater world. Mangmoel’s practice includes explorations, using yarn
as his main material, and incorporating other materials and massive forms using ironstructures and other supports. One characteristic of each work is a modular system,
chosen to save the main material. Aware that his work practices have an indirect
impact on the environment, he began using leftover yarn from home-based factories
in Bandung City instead of newly manufactured thread. In addition to being cheaper,
Mangmoel discovered the idea of repurposing as a means of managing creative
materials, and this became a big idea in the concepts behind his work.
Selected exhibitions
	Solo exhibition includes Modular Utopia, USC Fisher Museum (2023, Los Angeles,
USA). Group exhibitions include Imagery of Eastern Nusantara Sea, KIN Space(2023, Jakarta, Indonesia); BLUTOPIA, Airside HK (2023–24, Hong Kong); Waters in
Asian Art, Fukuoka Asian Art Museum (2023, Japan); “Sea Remembers,” ARTJOG
2018: Enlightenment, Jogja National Museum (Indonesia).

“Sea Remember” 2018 | Collection of Paulus Ong.

Wangechi Mutu
Born 1972 in Nairobi, Kenya. Based in Nairobi, Kenya and New York, USA.

Wangechi Mutu’s work deals with the very idea of human representation; how weperceive and reproduce images of what we believe we are, how we view others andcreate images of what we think of them. In her ongoing conversations with figuration,
what her work looks at our value systems in Art and beyond, that either obscureor elevate our image and reflections. Internationally renowned for a practice thatencompasses various techniques and mediums including sculpture, painting, film,
installation and collages, Wangechi Mutu’s work features female hybrid creatures andvivid dystopian dreamscapes.
Selected exhibitions
	Solo exhibitions include Wangechi Mutu: Intertwined, New Museum (2023, New
York, USA)/New Orleans Museum of Art (2024, USA); Wangechi Mutu, Storm
King Art Center (2022, New York, USA); Wangechi Mutu: I Am Speaking, Are You
listening?, Legion of Honor Museum, Fine Arts Museums of San Francisco (2021,
USA); The Façade Commission: Wangechi Mutu, The NewOnes, will free Us, The
Metropolitan Museum of Art (2019–20, New York, USA). Group exhibition includes
Sharjah Biennial 15: Thinking Historically in the Present (2023, UAE).

“Sleeping Serpent” 2014 | Courtesy of the Artist and Victoria Miro London.

Nagasawa Aoi
Born 1994 in Akita, Japan. Based in Akita, Japan.

Nagasawa has mainly been involved in the traditional Matagi hunting culture in the
Tohoku region and she has obtained a hunting license. From her own experiencesand encounters with those other beings as a hunter, she records and expresses her
relationship with different species on her paintings. The driving force behind thispractice is the artist’s contemplation on the relationship between people, other living
beings, and nature, as well as analyzing the boundaries between them, constantly
shifting between macroscopic and microscopic perspectives. Nagasawa makes her
own pigments from stones and glue from bears’ skin and bones, using slices fromtree stumps as canvases. In this way, the mountains serve as both painting materials
and motifs. Through fieldwork in the mountains, she seeks the roots and cycles of life
and traces memories.
Selected exhibitions
	Solo exhibition includes Embraced by the Misty Mountains, Kitaakita City Ani Community Center (2021, Akita, Japan). Group exhibitions include Akeyama Arts Center,
Echigo-Tsumari Triennale 2024 (Niigata, Japan); Hirosaki Exchange #6: Bearing
Witness to Shirakami, Hirosaki Museum of Contemporary Art (2024, Aomori, Japan);Material, or, 21_21 DESIGN SIGHT (2023, Tokyo, Japan); Shin Japanese Painting:
Revolutionary Nihonga, Pola Museum of Art (2023, Kanagawa, Japan).

“Through their own Landscape” 2021

15

Contemporary Art
Dala Nasser
Born 1990 in Tyre, Lebanon. Based in Beirut, Lebanon.

As a material-based artist working through abstraction and alternative forms ofimage-making, Dala Nasser applies an interdisciplinary approach through painting,performance, and film. Nasser’s works examine the human and non-human entanglement in the perpetually deteriorating ecological, historical, and political conditions
resulting from practices of capitalist and colonial extraction. Through her indexical
paintings of land, and in opposition to the sweeping vistas offered by traditional landscape painting, Nasser’s canvases provide close-up views of the markings of politicaland environmental erosion. She has produced a body of work that takes the non-human as a witness to ecologies of slow violence, colonial theft and infrastructural failurein times where human language has been rendered out of reach.
Selected exhibitions
	Solo exhibitions include Adonis River, Renaissance Society (2023, Chicago, USA);and Red in Tooth, Kölnischer Kunstverein (2022, Cologne, Germany). Group exhibitions include Whitney Biennial: Even Better than the Real Thing, Whitney Museum of
American Art (2024, New York, USA); Sharjah Biennial 15: Thinking Historically in the
Present (2023, UAE); 58th Carnegie International, Carnegie Museum of Art (2022,
Pittsburgh, USA).

“Adonis River” 2023

Ogawa Machiko
Born 1946 in Hokkaido, Japan. Based in Tokyo, Japan.

After graduating from the Tokyo University of the Arts with a degree in crafts, Ogawa
studied ceramics at l’École Nationale Supérieure des Arts Appliqués et des Métiersd’Art in Paris. After that, she spent three and a half years in West Africa as a research
assistant for her husband, an anthropologist, learning local pottery techniques. During
her time in Paris, through her visits to the Musée de Minéralogie Mines she came tounderstand that “form already exists” within the beauty of minerals. Taking advantage of properties such as distortion, crazing, chips, and glaze crawling, she creates
utsuwa (vessels) encapsulating the dichotomy of making and breaking, and theseworks carry a kind of primordial power.
Selected exhibitions
	Group exhibitions include Shiryū Morita/Machiko Ogawa, galerie frank elbaz (2023,
Paris, France); Frieze Masters 2023 (London, UK); Enamel and Body, Ginza Maison
Hermès Le Forum (2023, Tokyo, Japan); Toucher le Feu, Musée national des arts asiatiques-Guimet (2022, Paris, France). Commision work includes “Time Unearthed,”
National Museum of Qatar (2019, Doha).

“Crystals and Memory: Five Mountains” 2020 | Photo: Tadayuki Minamoto | Courtesy of Shibunkaku

Ohkojima Maki
Formed 2023 in Tokyo, Japan. Based in Tokyo, Japan.
Ohkojima Maki, born 1987 in Tokyo, Japan.
Tsuji Yosuke, born 1983 in Tokyo, Japan.

Ohkojima Maki engages in creative activities with the theme of “life that circulates
irregularly, interwining, tangling, and unraveling” and has participated in residency
programs in India, Poland, China, Mexico, France, and other countries. As an individual artist, Ohkojima Maki joined the Tara Ocean Foundation’s Tara Pacific project in2017, where she took part in scientific exploration aboard the research vessel Tara. In
2023, Ohkojima Maki formed an art unit with Tsuji Yosuke, retaining the name “Ohkojima Maki” for the collective. Recently, Ohkojima Maki has been involved in exhibition
projects at museums and galleries, as well as in stage art.
Selected exhibitions
	Solo exhibitions include A Thousand Deer Heads, Chofu City Cultural Hall Tazukuri(2023–24, Tokyo, Japan); Tsukurikake Labo 09: Correspondences, Chiba City
Museum of Art (2022, Japan); L’œil de la baleine, Aquarium de Paris (2018–19,
France). Group exhibitions include The Manifesto of Museum Composting, Aomori
Museum of Art (2024, Japan); Continuous Contours, Sezon Museum of Modern Art(2022, Nagano, Japan).

“Tomorrow’s Harvest” 2017–18 | Photo: Mari Habaya | © Maki Ohkojima with Agros Art Project All Rights Reserved. | Deposited at Aomori Museum of Art.

16

Oki Junko
Born 1963 in Saitama, Japan. Based in Kanagawa, Japan.

Oki Junko carefully hand-stitches imageries as if to engrave traces of life into the fabric. Without any prior sketching, Oki directly stitches her motifs onto the fabric which,although technically simple, betray our understanding of embroidery and triggers aprimal sensation for viewers. Her works are a palimpsest of the passage of time andstories that the weathered fabrics and tools she uses have endured over the years,
while also incorporating her own time spent in stitching the imagery. This amalgamation yields works that are laden with elements of new life and chance. With all thatcomes into being and the certain passing of time, the many temporal layers and thefinding of different landscapes are at the crux of Oki’s practice.
Selected exhibitions
	Solo exhibitions include Oki Junko: The Exposed, Kamakura Annex of The Museumof Modern Art (2022, Kanagawa, Japan); anthology, Hagi Uragami Museum (2020,
Yamaguchi, Japan); and Moon and chrysalis, Shiseido Gallery (2017, Tokyo, Japan).
Group exhibitions include Go For KOGEI 2021, SpecialExhibition I: The Future of
Craft Aesthetics: Kogei, Contemporary Art, and Art Brut, Natadera Temple (Ishikawa,Japan); Collection 1: Nous Collection 1—sewing and living, 21st Century Museum ofContemporary Art (2016, Ishikawa, Japan).

“anthology” 2023 | FUJI TEXTILE WEEK | Photo by Kenryou Gu

Christodoulos Panayiotou
Born 1978 in Limassol, Cyprus. Based in Limassol, Cyprus.

Christodoulos Panayiotou’s work spans a wide range of media, including sculpture,
painting, installation, performance, photography, and video, and focuses on uncovering hidden narratives in the visual and material records of history and time. Drawing
from his training in dance and the performing arts, as well as his studies in history andtheater anthropology, the artist’s work often involves the re-contextualisation of foundmaterials and performance-based interventions.
Selected exhibitions
	Solo exhibitions include One Year, LUMA Arles (2023–24, France); Act II: The Island,
Camden Arts Centre (2019–20, London, UK); Days and Ages, Moderna Museet(2013, Stockholm, Sweden); and In The Light Of The Day The Fireflies Are Like Any
Other Insect, CCA Kitakyushu (2013, Japan). Group exhibition includes 56th Venice
Biennale, Cyprus Pavilion (2015, Italy).

MARCH, APRIL, NOVEMBER, installation view at Sylvia Kouvali, 2021 | Photo: Lewis Ronald

Michael Rakowitz
Born 1973 in New York, USA. Based in Chicago, USA.

Michael Rakowitz is a multidisciplinary artist working at the intersection of problemsolving and troublemaking. Rakowitz explores the displacement of cultural artifacts
and people caused by colonialism, geopolitical conflicts, and other forms of forced
removal, activating everyday objects and employing unconventional approaches. In
2018, he was the recipient of the Herb Alpert Award in the Arts and the Fourth Plinth
commission in London’s Trafalgar Square. In 2020, he was the recipient of the Public
Art Dialogue Award and the Nasher Prize. He was recently granted a commission fora public project on the topic of Archaeology and Migration Flows for the Municipalityof The Hague.
Selected exhibitions
	Solo exhibitions include Legatura imperfetta, Whitechapel Gallery (2019, London,
UK)/Castello di Rivoli Museo d’Arte Contemporanea (2019–20, Italy)/Jameel Arts
Centre (2020, Dubai, UAE); The Invisible Enemy Should Not Exist, Malmö Konsthall(2019–20, Sweden). Group exhibitions include England’s Creative Coast, TurnerContemporary (2021, Margate, UK); Our World is Burning, Palais de Tokyo (2020,
Paris, France); dOCUMENTA (13) (2012, Kassel, Germany).

“The invisible enemy should not exist (Lamassu of Nineveh)” 2018 | Photo: Gautier DeBlonde © | Courtesy of the Mayor of London.

17

Contemporary Art
Silvia Rivas
Born 1957 in Buenos Aires, Argentina. Based in Buenos Aires, Argentina.

Silvia Rivas is recognized for her video-installation, performances and the articulationof objects in space, she is considered a pioneer inter-disciplinary artist in Argentina
and Latin America. Since the nineties, she has incorporated various supports andtechnologies according to its metaphorical potential for investigating the concept oftime and the human condition. Rivas seeks to generate concrete experiential associations, conjuring reflections that are at once universal and situated. In her vision,
an attitude of tenacious resistance, firmly applied to their perception of the present
moment, is the subject’s resource facing a turbulent context. Her work problematizes
the presumed realism of the moving image in order to reflect on the power of theaudiovisual storytelling, to wonder about the images and their references. She has
numerous group and individual exhibitions in art institutions and her works belong toseveral national and international private and public collections.
Selected exhibitions
	Solo exhibitions include Cronotopías, Museo de Arte Moderno de Bogotá (2024,
Colombia); Zumbido, Contemporáneo 26, Museo de Arte Latinoamericano de Buenos Aires (2010, Argentina); Everything from the outside, Museo de Arte Moderno de
Buenos Aires (2004, Argentina). Group exhibitions include 5th Mercosur Biennale:
Direções no Novo Espaço (2005, Porto Alegre, Brazil); 8th Havana Biennial: Art withlife, Wilfredo Lam Contemporary Art Center (2003, Cuba).

“Buzzing Dynamics” (video still) 2010

Saijo Akane
Born 1989 in Hyogo, Japan. Based in Kyoto, Japan.

Saijo Akane’s practice is based around the “physicality” of ceramic objects, exploring
the typical juxtaposition between rough clay texture on the inside and glossy feel on
the outside. She presents ceramic sculptures and sound performances in which
the artist and her performers blow into or send their voices into the sculptures. Saijo
also makes extended visits to ceramic producing areas around the world and createsworks based on local legends and historical facts.
Selected exhibitions
	Solo exhibition includes The Ebb and Flow of the Mountain: Cultural Village Creation
vol.3, Nara Historical, Art and Cultural Village (2023, Japan). Group exhibitions
include When Two Collections Meet: Co-curated by the Aichi Prefectural Museumof Art and the Aichi Prefectural Ceramic Museum, Aichi Prefectural Museum of Art(2024, Japan); Our Ecology: Toward a Planetary Living, Mori Art Museum (2023,
Tokyo, Japan); 1st. MIMOCA EYE; Marugame Genichiro-Inokuma Museum ofContemporary Art (2022, Kagawa, Japan), Grand Prix; 4th Triennale of KOGEI in
Kanazawa, KOGEI as Contemporary Craft: Transcending Boundaries, 21st Century
Museum of Contemporary Art, Kanazawa (2019, Ishikawa, Japan).

“Orchard” 2022 | Photo: Takeru Koroda | Courtesy of ARTCOURT Gallery | Collection of Mori Art Museum.

Sasaki Rui
Born 1984 in Kochi, Japan. Based in Ishikawa, Japan.

Sasaki Rui employs glass as a material that makes it possible to document andpreserve presence through her works, exploring subtle intimacy perceived in physicalplaces. Sasaki has been invited to various artist in residence programs internationallyand has shown her work at art museums worldwide. She is a winner of the 33rd
Rakow Commission 2018 (Corning Museum of Glass, USA) and received the grandprize at the Toyama International Glass Exhibition 2021 (Toyama Glass Art Museum,Japan). Her work has been collected in many art museums around the world, including the Latvian National Museum of Art and the 21st Century Museum of Contemporary Art, Kanazawa (Ishikawa, Japan). Sasaki has been featured in the New York Timesand other media.
Selected exhibitions
	Solo exhibitions include Blue in the Snow, ARTCOURT Gallery (2024, Osaka, Japan);
Subtle Intimacy: Here and There, Portland Japanese Garden (2023, USA). Groupexhibitions include Collection Exhibition 1, 21st Century Museum of Contemporary
Art, Kanazawa (2024, Ishikawa, Japan); Go For KOGEI 2021, Special Exhibition I: The
Future of Craft Aesthetics: Kogei, Contemporary Art, and Art Brut, Natadera Temple(2021, Ishikawa, Japan); Setouchi Triennale 2013, Awashima (Kagawa, Japan).

“Subtle Intimacy (2012–2022)” 2022 | Photo: Yasushi Ichikawa

18

Yasmin Smith
Born 1984 in Dharug Country/Sydney, Australia.
Based in Dharug Country/Sydney, Australia.

“FOREST” 2022 | Photo: THE COMMERCIAL, SYDNEY | Courtesy of the artist and THE COMMERCIAL, SYDNEY.

Tomiyasu Yuma
Born 1983 in Hiroshima, Japan. Based in Tokyo, Japan.

Yasmin Smith works with ceramics and glaze technologies, producing large-scale
sculptural installations that investigate particular sites via extensive field research,community collaboration and studio development. Her practice brings scientific andartistic concerns together to allow ecological forms of intelligence to be expressed
through aesthetic outcomes in ceramic glazes. Smith works with organic andinorganic materials, such as plants, ash, rock, coal, salt, and wild clay in her expandedmaterial investigations that involve a conceptual interrogation of labor, extractivism,colonization and political ecology. Smith has undertaken extended international
residencies for the creation of new works for international exhibitions. Her work has
been extensively acquired by major public institutions in Australia. Smith’s 2022 Work
Forest was the realization of a four-year investigation into coal fly ash glazes sourced
from eleven coal-fired power stations across Australia, creating a deep geologicaltimeline.
Selected exhibitions
	Group exhibitions include Lagos Biennial 2024: REFUGE, Tafawa Balewa Square(Nigeria); 10th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art (2021–22, Brisbane, Australia); Rethinking Nature,
Madre-Donnaregina Contemporary Art Museum (2020–21, Naples, Italy); Cosmopolis #2: rethinking the human, Centre Pompidou (2019, Paris, France); 21st Biennale of
Sydney: Superposition: Equilibrium and Engagement (2018, Australia).

Tomiyasu Yuma creates works that explore the boundary between reality andunreality, using as motifs unseen things and matters that have not been scientificallyelucidated, such as psychic and paranormal phenomena and dreams. Recent works
include large-scale experiential installations that make viewers aware of overlapping perspectives and shifts of dimensions, using diverse media including painting,sculpture, video, sound, VR, and theatrical staging. She has a strong interest in thenested structure of paintings such as picture-within-a-picture, and in her most recent
works in particular, Tomiyasu has presented installations in which nested paintings areimportant objects. The artist picks up on uncertainties and ambiguities that are often
overlooked in contemporary society, and explores structures that allow viewers toexperience the overlapping of dimensions and a bird’s-eye view of the world.
Selected exhibitions
	Solo exhibitions include In Presence of Shadows, Maruki Gallery For The Hiroshima
Panels (2023, Saitama, Japan); Aperto 15 TOMIYASU Yuma, The Pale Horse, 21stCentury Museum of Contemporary Art, Kanazawa (2021–22, Ishikawa, Japan); KAATEXHIBITION 2020: Yuma Tomiyasu: Shadows of Wandering, KAAT Kanagawa
Arts Theater (2021, Japan); 12th shiseido art egg: Yuma Tomiyasu: Obsessed With
Dreams, Shiseido Gallery (2018, Tokyo, Japan). Group exhibition includes Setouchi
Triennale 2022, Teshima (Kagawa, Japan).

“The Doom” 2021 | Photo: Masanobu Nishino | Courtesy of Art Front Gallery.

Adrián Villar Rojas
Born 1980 in Rosario, Argentina. Lives and works nomadically.

Adrián Villar Rojas conceives long term projects, collectively and collaboratively
produced, that take the shape of large-scale and site-specific installations, both
imposing and fragile. Within his research, which mixes sculpture, drawing, video,
literature and performative traces, the artist explores the conditions of a humanity atrisk, on the verge of extinction or already extinct, tracing the multi-species boundaries
of a post-anthropocene time folded in on itself, in which past, present and future
converge.
Selected exhibitions
	Solo exhibition include The End of Imagination, Art Gallery of New South Wales, The
Tank (2022, Sydney, Australia)/The Bass Museum of Art (2022, Miami, USA); The
Theater of Disappearance, Geffen Contemporary at MOCA (2017–18, Los Angeles,
USA)/Metropolitan Museum of Art (2017, New York, USA)/NEON at Athens National
Observatory (2017, Athens, Greece)/Kunsthaus Bregenz (2017, Austria); Fantasma,
Moderna Museet (2015, Stockholm, Sweden); Today We Reboot the Planet, Serpentine Gallery (2013, London, UK). Group exhibition includes dOCMENTA (13) (2012,
Kassel, Germany/Kabul, Afghanistan).

“Mi familia muerta (My Dead Family)” 2009 | Photo by Carla Barbero

19Performing Arts
AKN PROJECTFormed 2020 in Okinawa, Japan. Based in Okinawa, Japan.

Launched in 2020 by Chinen Akane to perpetuate the works of Chinen Seishin(1941–2013), whose “Human Pavillion” was the first play by an Okinawan playwrightto win the Kishida Kunio Drama Award. Premiered by theater group Sozo in Koza
(Okinawa City), the play’s starting point is the “Human Pavilion incident” of 1903, whenhumans were displayed at the Academic Human Pavilion on the periphery of Japan’s
Fifth National Industrial Exhibition in Osaka. Interweaving Japanese language with
Okinawan and Uchinaa-Yamatoguchi (a hybrid of the two) in an experimental screenplay, this play is a monument in the history of Okinawan drama. Classical musician
Chinen Akane’s AKN PROJECT performs her father’s play as “Human Pavillion – A
Comedy” following a broadcast under COVID-19 pandemic in 2021, and a theater
performance in 2022 at the Naha Cultural Arts Theater NAHArt marking the fiftiethanniversary of the “Reversion” of Okinawa to Japan.
Selected performances	Performances include “Human Pavillion – A Comedy,” Naha Cultural Arts Theater
NAHArt (2022, Okinawa, Japan); “Human Pavillion – A Comedy,” Online Streaming(2021).

“Human Pavilion - A Comedy” 2022 | Photo: Masahiko Kotaka

Black Grace
Formed 1995 in Auckland (Tāmaki Makaurau), New Zealand (Aotearoa).
Based in Auckland (Tāmaki Makaurau), New Zealand (Aotearoa).

Black Grace, New Zealand’s leading contemporary dance group. Motivated toprovide a different perspective and a fresh voice in the dance scene, Neil Ieremia
founded his own company, Black Grace, in 1995, with ten dancers of Pacific, Māori
and New Zealand heritage. Drawing from his Samoan and New Zealand roots tocreate innovative dance works that reach across social, cultural and generational
barriers, Ieremia has changed the face of contemporary dance in New Zealand andturned Black Grace into one of the most recognizable and iconic cultural brands.
His company tours the length and breadth of New Zealand developing new audiences and a new appreciation for dance. The work itself is highly physical, rich in thestory-telling traditions of the South Pacific and expressed with raw finesse, unique
beauty and power. The Company features some of New Zealand’s finest dancers
and has toured internationally to the USA, UAE, Australia, Canada, Europe, Japan,
Scotland, Mexico, South Korea, Taiwan and New Caledonia.
Selected performances	Performances include “Paradise Rumour,” Sharjah Biennial 15: Thinking Historicallyin the Present (2023, UAE); “O Le Olaga – Life,” Jacob’s Pillow Dance Festival
Massachusetts (2022, USA); “Crying Men,” ASB Waterfront Theatre (2018, Auckland,
New Zealand); “As Night Falls,” Herald Theatre, Aotea Centre (2016, Auckland, New
Zealand); “Vaka,” 9th Busan International Dance Festival (2012, South Korea).

“Paradise Rumour” 2023 | Photo: Toaki Okano

Kwon Byungjun
Born 1971 in Seoul, Korea. Based in Seoul, Korea.

Kwon Byungjun started his career as a singer-songwriter in the early 1990s. Kwon’s
oeuvre consists not only of six music albums whose genre range from alternative rockto minimal house, but musical operations and performative acts in diverse platformsof movie soundtracks, theater, fashion show, and modern dance. He spent the late
2000s in the Netherlands studying art-science and working as a hardware engineer
at STEIM, a research center for new musical instruments in the electronic performing
arts. Since returning to Korea in 2011, he has developed and utilized new musicalinstruments and stage devices to produce dramatic ‘scenes,’ creating and directing
new media performances that encompass music, theater, and art. He is a leading
player in multi-channel sound installation using Ambisonic technology. He won Korea
Artist Prize 2023 for his sense-stimulating performative installation with robots.
Selected exhibitions
	Solo exhibitions include “We Will Have a Serious Night” by Ghost Theater, HongDong Reservoir (2022, Seoul, Korea); “We Will Have a Serious Night” by Ghost
Theater, Namsangol Hanok Village (2021, Seoul, Korea); Neverland Soundland: Kwon
Byungjun - Sound Walk, Busan Museum of Art (2021, Korea); Club Golden Flower,
Cosmo 40 (2020, Incheon, Korea). Group exhibition includes Korea Artist Prize 2023,
National Museum of Modern and Contemporary Art, Korea (2023–24, Seoul, Korea).

“We Will Have a Serious Night” by Ghost Theater, 2022, HongDong Reservoir | Photo: ARKO

20

OLTA
Formed 2009 in Kanagawa, Japan. Based in Tokyo, Japan.

OLTA is a collective of five artists engaged in a broad variety of activities including
painting, installation, video, performance, and theater, in a practice developed throughnegotiating the systems of visual arts/performing arts and conducting sociological/
ethnographic fieldwork. Members are Inoue Toru, Saito Takafumi, Hasegawa Yoshiro,
Meguninja, and Jang-Chi. Contextualized by sets representing late modern Japan,
their stage performances use physical expression to question the repetitive structureof alienation and oppression in history. Shaking the foundations of various communities reveals the ways of thinking, customs, language, and ways of life that underlie
them.
Selected performances and exhibitions
	Performances include “The Japanese Ideology,” Yokohama International Performing
Arts Meeting 2023, BankART Station (Kanagawa, Japan)/ROHM Theatre Kyoto(2023, Japan); “Hyper Popular Art Stand Play,” ROHM Theatre Kyoto (2020, Japan);
16th Seoul Marginal Theater Festival (2014, Korea). Group exhibitions include Busan
Biennale 2016: Hybridizing Earth, Discussing Multitude (Korea); Visceral Sensation— Voices So Far, So Near, 21st Century Museum of Contemporary Art, Kanazawa(2013, Ishikawa, Japan).

“Land of the Living” 2021 | Photo: Hideto Maezawa

Selma & Sofiane Ouissi
Selma Ouissi, born 1975 in Tunis, Tunisia. Based in Tunis, Tunisia and Paris, France.
Sofiane Ouissi, born 1972 in Tunis, Tunisia. Based in Tunis, Tunisia.

The duo of choreographers, dancers and curators Selma and Sofiane Ouissi havebeen creating and dancing together since the beginning of their career. They are
major figures in contemporary dance in the Arab world.
They are also co-founders and artistic directors of L’Art Rue, a cultural structure
founded in Tunis in 2007 and dedicated to the production and distribution of contemporary art and contributing to art and education in Tunisia.The duo also co-funders
and artistic directors of Dream City, an interdisciplinary festival of contextual arts,
which has been held since 2007.
Selected performances and screenings	Performances include “Bird,” Festival d’Automne (2024, Paris, France); “Bird,” Sharjah
Biennial 15: Thinking Historically in the Present (2023, UAE); “Le moindre geste,” 49
Nord 6 Est Frac Lorraine (2017, Metz, France); “Les yeux d’Argos,” Tate Modern (2014,
London, UK). Video screening includes “Wajdan,” Guggenheim Abu Dhabi (2020,
UAE).

“Bird” 2023 | Photo: Pol Guillard

TAIHEN
Formed 1983 in Osaka, Japan. Based in Osaka, Japan.

“The disabled body itself is an art.” TAIHEN is a theatrical performance group of physically disabled people, performing professionally in Japan since 1983. Kim Manri has
found that the disabled body has an expression that no one else can create. Twisted
and distorted bodies, normally considered to be ungainly, are transformed into peculiar beauty. What she has started is a completely new genre, neither Butoh nor dance,that has given much inspiration and hope to all people, whether disabled or not.
TAIHEN is a troupe of artists deeply expressing their inner selves through physicalperformance. The performers’ motions are far from standard, but they crawl, wriggle,
squirm, walk, run, and jump unaided. Even if individual movements are not straightor rigorously controlled, the resulting expressions are finely balanced, demonstrating
how one’s movement is directly connected to one’s inner life.
Selected Performances	Performances include “We came from Africa,” ABC Hall (2023, Osaka, Japan); “Songof White Petals,” AI HALL (2022, Hyogo, Japan); “Wandering Love” (trilogy), Yokohama International Performing Arts Meeting 2021 (Kanagawa, Japan); “The Legendof Maha-Laba Village,” Theater der Welt (2005, Stuttgart, Germany); “DEPARTEDSOUL,” 11. Berner Tanztage (1997, Switzerland).

Photo: Hikaru Toda

21

Learning

The Aichi Triennale 2025 Learning Programs aim to create
an environment in which everyone can feel safe and enjoy
themselves. Our mission is to create a framework allowing
visitors, people from the local community, and the volunteers who
have supported the art festival for a decade and a half since Aichi
Triennale 2010, to participate actively in their respective roles.
Specifically, we are setting up learning centers at the Aichi
Arts Center and in Seto City, to be run as places for both learningand relaxing. They can be made available for resting and chatting
as well as for programs such as training, lectures, and workshops.
We are also considering a program that would allow volunteers
greater autonomy in the roles that they play in the art festival.
We are continuing with activities that were successful atpast Triennales, such as programs coordinated with schools that
expose children to contemporary art and guided tours conductedby volunteers. In addition, we are working to boost activities thattake into consideration people who have disabilities, and those
who are pregnant, have small children with them, or whose native
language is not Japanese.
In the lead up to Aichi Triennale 2025, we are setting up
pre-event centers in Seto City for a limited time, from October
to November 2024. We will also launch “Learning, learning”
pre-events as the first part of “Learning how to learn,” and, going
forward, plan to hold study groups and walking programs within
the local communities.
Five people with diverse areas of expertise—an architect,
design researcher, photographer, art manager, and artist―
are planning and running the Learning Programs for this art
festival. We continue to engage in discussion as we consider
the kinds of learning that are possible, based on the theme ofthis art festival, in a society that is home to a diverse range of
people. We try to make good use of the specialist expertise andexperience we gained through different roles in our individual
practices. Reflecting regularly on our own individual experiences
and perspectives, we aim to make this an art festival in which
everyone feels safe and enjoys themselves.

22

Learning Team

Tsuji Takuma
Born in Shizuoka, Japan. Based in Shizuoka, Japan.
After graduating from the architecture course of the Department of Architecture andBuilding Science at Yokohama National University in 2008 and then the Yokohama
Graduate School of Architecture (Y-GSA) in 2010, architect Tsuji Takuma formed the“403architecture [dajiba]” architectural collective in 2011. He established “tsujitakuma
and projects” in 2017, incorporating it as Tsujitakuma and Projects LLC in 2022. Healso currently serves as special advisor at Takashi Watanabe Office. Tsuji won the
30th Yoshioka Award for “The Ceiling of Tomitsuka” in 2014. He participated in theJapan Pavilion exhibition that won a special mention at the 15th International Architecture Exhibition, Venice Biennale (2016, Italy).** Awarded as the collective 403architecture [dajiba].

Asano Kakeru(From left to right) Murakami Satoshi, Noda Tomoko, Tsuji Takuma, Kuroda Natsuki, Asano Kakeru

Born in Hyogo, Japan. Based in Aichi, Japan.
Asano Kakeru (he/his) is a design researcher based in Aichi, Japan. Dedicated toachieving social inclusion through design research, he offers comprehensive solutions spanning survey design, branding, product development, and business strategy.
His approach is characterized by qualitative studies that consider the context of socialtransformation, employing methods tailored to capture evolving societal dynamics. His work focuses on understanding context and crafting compelling visions touncover unexplored challenges and opportunities. After earning a master’s degree
in design, engineering, and management from the Kyoto Institute of Technology in2014, he established his practice in Nagoya. He is also a co-founder of Arimatsu
Yamori, LLC, a community development company that revitalizes local neighborhoods
through innovative urban planning and management strategies.

Kuroda Natsuki
Born in Kanagawa, Japan. Based in Tokyo, Japan.
Photographer Kuroda Natsuki won the grand prize at the 8th 1_WALL Photography
Competition in 2013. She is interested in the interactions that take place through photographs in the absence of face-to-face contact between people. Recently, she has
also been creating video pieces that involve fieldwork and workshops. Her activities
are wide-ranging, including taking part in an anniversary project at a public zoo fromthe planning stage. Major group exhibitions include Zoo Escape Drill, Tokyo Biennale(2023, Japan). Major solo exhibitions include Halfway Happy vol. 3 Natsuki Kuroda:
The Photograph Begins, galleryαM (2021, Tokyo, Japan) and Art Lab 13 Kuroda
Natsuki: Birdwatching day, Chiba City Museum of Art (2023, Japan).

Noda Tomoko
Born in Gifu, Japan. Based in Kyoto, Japan.
Art manager Noda Tomoko has engaged in creating an environment conducive toart and culture, and in collaborating with artists since 2020, when she cofounded theart production company Twelve Inc., which focuses on art management and media
production. She is a member of the artist collective “Nadegata Instant Party”. Major
projects include management of the learning section at Aichi Triennale 2019 (2018 –
19), learning coordinator at Aichi Triennale 2022 (2021 – 22), and producer of Art Site
in Nagoya Castle, an art project set in Nagoya Castle (2023 – present).

Murakami Satoshi
Born in Tokyo, Japan. Based in Nagano, Tokyo, Chiba, Japan.
Murakami Satoshi is an artist. Focusing on the relationship between the private
and the public, his art explores the impact of individuals’ lives on society. Recently,
he has been working on the Murakami Benkyo Do project, which is developing air
conditioning that utilizes natural phenomena on land purchased in Sammu City, Chiba
Prefecture. Exhibitions include SATOSHI MURAKAMI Living Migration, 21st Century
Museum of Contemporary Art, Kanazawa (2020, Ishikawa, Japan) and TERRADA
ART AWARD 2023 Finalist Exhibition, Warehouse TERRADA (2024, Tokyo, Japan).
Authored books include Ie wo Seotte Aruku (The life with a small mobile house,
Fukuinkan Shoten Publishers, 2016).

23

Key Visual

Creating an illustration of this simple, expressive poem.
My first thought was “Where do roses blossom?”
Are ashes the result of outrageous destruction and death?
If that’s the case, perhaps roses bloom in the land of the dead.
So I drew ghosts, as the inhabitants of the land of the dead.
While I was drawing, I felt that those ghosts, whichshould be dead, were coming to life a little.
What I was thinking of as “the land of the dead” maywell be “the land of those who have yet to be born.”That’s what this illustration is about.

24

Igarashi Daisuke
Born 1969 in Saitama, Japan. Based in Kanagawa,Japan.
After graduating from the Department of Painting in
the Faculty of Art and Design at Tama Art University,
manga artist Igarashi Daisuke made his debut winning
the newcomer award Afternoon Shiki Sho Awards
presented by the manga magazine Gekkan Afutanun(Monthly Afternoon) published by Kodansha in 1993.
With expressive depictions and delicate brush strokes,
he creates worlds that somehow manage to be bothhorrifying and beautiful. Into these worlds he mixes
nature and the creatures that inhabit it. Major works
include the series “Little Forest” (2002–05), which was
turned into live-action films in Japan and South Korea,
and “Witches” (2003–04) and “Children of the Sea”
(2006–1 1), both of which won the Japan Media Arts
Festival Manga Division Excellence Award. Igarashi iscurrently working on the “Kamakura Bake Neko Club”
serial in Kodansha’s manga magazine Be Love. He also
provides numerous illustrations for insert and cover ofthe books.

Typeset/Logotype

あいうえおかきくけこさしすせそなにぬねのはひふへほまみむめもやゆよらりるれろわをん 〇一二三四五六七八九十
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

The Ishii Gothic font used for the Japanese text and
the Gerstner-Programm font used for the Westerntext were both developed for use in phototypesetting
and fell out of use with the transition to desktop
publishing, but have recently been revised for use
in the digital environment. The phototypesetting
technology that took the place of letterpress enabled
the efficient transmission of information through theflexible combination of letters and characters, and was
adopted for a range of uses in the postwar period.
Through a reconsideration of these fonts, whichhave come down to us through the complexities ofhistory, we embody the Triennale’s concept of looking
at the relationships between human beings and theenvironment.

Okada Wanaka

Photo: Daiki Oka

Born 1990 in Aichi, Japan. Based in Aichi, Japan.
Graphic designer Okada Wanaka has worked ingraphic design since 2018, after graduating fromthe Faculty of Arts at Shinshu University. Her work
is predominantly in the field of art, mainly producing
designs for PR publications and books. Major graphic
design works for PR purposes includeα M Project2023–2024 Re-development of Development, GalleryαM (2023, Tokyo, Japan) and Frame and Wave, Toyota
Municipal Museum of Art (2023, Aichi, Japan).

Kano Daisuke

Photo: Takeshi Miyamoto

Born 1992 in Aichi, Japan. Based in Kanagawa, Japan.
Graphic designer Kano Daisuke handles book design,with a particular focus on the areas of art and culture,
as well as exhibition PR materials and other projects.
He is a part-time lecturer in the graphic arts course at
Tama Art University. Major projects include the magazine NEUTRAL COLORS (NEUTRAL COLORS, 2020
– present), the design journal Ilmm (FLOOAT, 2024
– present), and the Japanese version of “Radicant” byNicolas Bourriaud (Film Art, Inc., 2022).

25

Seto City

Main Venues

Aichi Arts Center

Aichi Prefectural
Ceramic Museum

Osaka

Aichi Arts Center
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 and culture 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; theAichi Prefectural Art Theater, which includes the Main Theater, Concert Hall, andMini Theater; and the Aichi Prefectural Arts Promotion Service, which consists ofan Art Space, Art Library, and Art Plaza.

Aichi Prefectural Ceramic Museum
In 1978, the Aichi Prefectural Ceramic Museum was established in Seto, a leading ceramics hub in Japan. In 2013, it underwent a name change to emphasize
its status as an art museum, marking a fresh beginning. Set within lush green
surroundings, the museum’s expansive grounds feature two main exhibition
spaces -the Main Hall and the South Hall- in addition to the Ceramic Craft
Studio for pottery-making experiences and the Old Kiln-Sites House showcasing ancient kiln remains. It serves as a dedicated museum focusing on ceramics,
offering a multi-faceted approach to pottery. Following renovations, the museum
will reopen in April 2025.

Seto City
Seto City is located roughly 20km north-east of central Nagoya, with a population of approximately 130,000. It is surrounded by low mountains and has morethan a thousand years of tradition of pottery and ceramics.
Blessed with an abundant supply of high-quality clay, the city’s ancestors
established it as a ceramic capital by flexibly adopting new techniques andcultures. The city’s name is indeed the origin of the word seto-mono, a synonym
for ceramics.
In 2017, Seto was registered to Japan Heritage as part of Rokkoyō (the Six
Ancient Kilns) along with Tokoname, Echizen, Shigaraki, Tamba, and Bizen.
Today, numerous ceramicists and creatives are producing new works every day
in kilns and studios in the city. The pottery city’s unique characteristic can beseen everywhere, such as walls and fences built with potter’s tools and bridge
rails decorated with ceramics.

26

Aichi

Tokyo

Inquiry about Aichi Triennale 2025:
Aichi Triennale Organizing Committee Office(Public Relations Department)
E-MAIL: press@aichitriennale.jp
Information for Press (Request form of using press images):aichitriennale.jp/en/press/picture.html
Website: aichitriennale.jp