This summer as usual, the "Setouchi International Art Festival" opened as usual. This contemporary art festival takes place on an island in the Seto Inland Sea and is held every three years, and is now in its fifth year. In the past three years, the new crown virus has ravaged the world, and for about two years from the spring of 2020, various activities in Japan have been forced to be suspended or postponed. Under such circumstances, many people involved must be relieved that this festival can be held smoothly.
"Under the difficult situation that this sense of isolation has lasted for two years, we have done everything that we can do with remote office." As the chief planner Mr. Kitagawa Fulang said when commenting on the opening of the art festival, the epidemic prevention policy Artists living overseas are not allowed to come to Japan, and many works are completed through careful online communication with Setouchi staff. As you can imagine, the unusual way of working presents a lot of difficulties. But when we see these works with our own eyes, we are immediately struck by the power of art in perfect harmony with nature. Believe in the power of art and explore new paths – the Setouchi International Arts Festival is sure to resonate with many in this unprecedented disaster caused by the coronavirus.
As in previous years, the festival is divided into three phases: spring, summer and autumn. During the 105-day period ending on November 6, 184 groups of artists (or teams) from 133 countries and regions exhibited 214 works. "Life" will introduce the highlights of this festival based on the media preview.

Place for sea dreamers Heather B.Swann + Nonda Katsalides

The Encounter of Tadao Ando Architecture and Yayoi Kusama and Takeshi Ozawa
Speaking of the art of Setouchi, almost everyone will think of Naoshima at the first time. The Benesse Art Site Naoshima, famous for its architecture and the birthplace of modern art, opened two striking new art installations in March this year, no doubt for the festival. A lot of color. One is Tadao Ando's ninth building in Naoshima, "Valley gallery"; the other is "Hiroshi Sugimoto Gallery - Corridor of Time", which further expands Hiroshi Sugimoto's work in Benesse House Park Exhibition space.
"Valley Gallery" is a semi-outdoor steel structure building based on the ancestral hall built in the mountains opposite the Lee Ufan Art Museum. The reinforced concrete walls are covered by a 12mm thick iron plate roof with geometric openings. This is a space that incorporates the breath of nature such as rain, wind, and light into the interior of the building.

Yayoi Kusama, Narcissus Garden, 1966/2022, Stainless steel spheres, Copyright of Yayoi Kusama / Valley Gallery Photo: Masatomo MORIYAMA

Inside and outside the building is Yayoi Kusama's representative installation work, Narcissus Garden. The work debuted at the 33rd Venice Biennale in 1966 and has since been exhibited around the world. Here, 1,700 stainless steel spheres fill the interior, courtyards, and pools, and they mirror not only the surrounding landscape, but each other and the people viewing them from every angle. The sphere floating on the water collided with the flow of the wind, making a brisk sound. Both visually and audibly, it will give visitors an incredible experience.
Ozawa's "Slag Sakyamuni 88: 88 Sakyamuni Buddhas Made from the Slag of Toshima's Industrial Waste" is permanently displayed by the pool. This is a work made by moulding 88 Buddha statues scattered on Naoshima and then injecting industrial waste from Toshima. Part of the display has been refurbished in preparation for this year's festival, and Toshima stone has been laid around the Buddha statue. Visitors can pick up these stones and build small piles around the boulders on the other side of the pond.

Admire Sugimoto Hiroshi's photography, sculpture, and architecture
"Hiroshi Sugimoto Gallery - Corridor of Time" is the only gallery in the world that can continuously appreciate Sugimoto's representative works of photography and sculpture. There was originally an exhibition space for Hiroshi Sugimoto in Benesse House Park. Now, this exhibition space has been expanded to the surrounding lounges and outdoors. On the basis of the original exhibits, new works such as "Hyena, Jackal, Vulture" in the "Dioramas" series shot in the American Museum of Natural History have been added. There are 15 works including the glass tea room "Omori-an" exhibited in Kyoto. Especially worth mentioning is the tea room with the Seto Inland Sea in the background, which is not only amazingly beautiful, but also a place where you can actually hold a tea party.

The lounge, which doubles as a coffee shop, was renovated by Hiroshi Sugimoto's Institute of New Materials, where his sculptures -- three tables called "Three Sacred Trees" were placed. The three tables use the Shindai cedar, which was buried underground by a volcanic eruption about 2,400 years ago, the Yaku cedar, which is over 1,500 years old, and the horse chestnut tree, which is over 600 years old. Reminiscent of ancient tree beliefs, the "Three Trees of Gods" use the "Opticks" series of color photographs in the background. After the light is dispersed by the prism, the color light is photographed with a polaroid, and then digitally processed and printed. This is the "Optical" series. The latest experimental photography using the optical glass prism, the sacred ancient tree, the contrast between the two is very interesting.
Like Tadao Ando, Hiroshi Sugimoto and Naoshima have a close relationship. Since 1994, Benesse House Art Museum has designated the "Seascape" series as a permanent exhibit; in 2002, as one of the "Home Project" projects, Sugimoto Hiroshi also participated in the reconstruction of Goo Shrine. It is said that the name "Corridor of Time" comes from his long-term relationship with Naoshima, his long-term exploration and questioning of "time", and the fact that visitors can feel the flow of nature and time here, and then think about history and The hope of life.

Works that make you feel the history and customs of Naoshima
In Naoshima, you can also see the new building of the architect Hiroshi Sanbuichi, which is also the sequel to "The Naoshima Plan" he created in 2011. Through buildings, blocks, and waterways, the "moving materials" of the entire Naoshima, such as wind, water, and sun, become clearly visible. The "Naoshima Project" makes people re-aware of the relationship between the islanders and nature since ancient times, as well as this the importance and new value of the relationship. Following "The Naoshima Plan 'Water'" in 2019, "The Naoshima Plan 'Living'" this time conceived and designed the longhouses where the islanders lived. Not only is it well ventilated from south to north, but it is also designed to increase the comfort of living by allowing water to flow under the house to promote air circulation. In addition, Hiroshi Sanfenichi also used traditional Japanese construction methods to try to transform the house into a structure strong enough to withstand earthquakes. Construction will be released in the spring and fall.

The Naoshima PlanHiroshiSambuichi

Starting from the "Naoshima Plan · Living", and after a short walk, you will arrive at the "Setouchi" Archives, which used to be a small steel ball store. Since 2019, the place has been investigating, collecting, and displaying the customs, folklore, and history of the Seto Inland Sea. As the theme of the exhibition changes, the text in " " will also change. During the spring exhibition period, it will be used as the "Setouchi "Kou Landscape" Museum", which will conduct various investigations on the slag "Kou" produced during copper refining. Copper smelters have been in Naoshima since 1917, which is the main industry on the island. The copper slag brick exterior walls, stairs, etc. left over from this can still be seen everywhere on the island today. This exhibition not only focuses on Naoshima, but also shows scenes from all over Japan where copper smelters once existed, and examines the footprints of Japan's modernization from a unique perspective.

New Art Works from Toshima, Shodoshima, Uno Port
Teshima is known for its art-architecture "Teshima Art Museum" and Christian Boltanski's "Archive of Heartbeats". Today, new works are appearing on DONDORO Beach on the south side of Toshima. This is the place for those who dream of seeing the sea by modern artist and architects Heather B.Swann Nonda Katsalidis. The slender benches made of iron are uniquely shaped and quietly blend into the waterfront landscape, allowing visitors to sit freely and admire the sea. The bench is very comfortable to sit on, just like the name of the work, it can immerse one in the longing for the sea.

Based on The Story Mounir Fatmi

In the Tosho area of Shodoshima, the second largest island in Setouchi, the intricate alleys left over from ancient times are called "Maze City", and you can enjoy various works when you walk through them. Takeshi Doi's "No Entry" turns everyday scenery into a special place. "No Entry" areas are set up in various places such as buildings and open spaces, allowing visitors to imagine the reasons for the ban. "Together/Friends" by Polish artist Stasys Eidrigevićius is a 2-meter-tall sculpture with a face as its theme that asks about the connection between people. Cambodian artist Sopheap Pich's "La dance" is a work made by splicing aluminum products bought from a local second-hand store. It contains various reflections on the question of the gap between the rich and the poor in modern society.

Together / FRIENDS Stasys Eidrigevicius;Together / FRIENDS Stasys Eidrigevicius;Human Home Hermit Crab

Sandu Peninsula, located on the south side of Shodoshima, also has many unique new works. Toshimitsu Ito and colleagues from the Faculty of Arts of Hiroshima City University jointly created the giant "DAIDARAURUTORABOU". This work expresses reverence for nature through the figure of the giant who created the mountains and rivers of Japan in legend. Opposite, Julio Goya's "Boat Story" uses abandoned fishing boats on the island as materials to build a place for visitors to rest. Here, visitors can also learn about the history of the island's fisheries, which declined due to aging fishermen and a lack of successors. The giant hermit crab wood carving with its head sticking out of the old house is Daisuke Taisuke's "One Grass Hermit Crab". This work is inspired by the creation myth of Ryukyu, and the material is the solid wood board of the camphor tree. It is said that the fragrance permeated the air throughout the making process.
The vicinity of Uno Port in Okayama Prefecture is the starting point for departures to Naoshima, Toshima, and Shodoshima. Here, the most worth seeing is Mounir Fatmi's "Based on a True Story". The stage for this work is an abandoned hospital that closed down 40 years ago, and all the installations were done under remote instructions sent by the artist from France. It is said that after the hospital closed, the landlord also regularly cleaned the consultation and dispensary rooms, so they are still the same as they were 40 years ago.

ART no SHOW TERMINAL Junko Koshino

All the local staff did was put the player in place and play the video sent by the artist. This video was shot by the artist on the outskirts of Paris. By recording and broadcasting the appearance of "demolition and reconstruction", it casts doubts on the existence of modern society. The video installation is in stark contrast to the hospital in its original form when it was abandoned, which is both beautiful and creepy. Since I was visiting at night, this work terrified me vaguely. After walking for another three minutes, you can see "Red Cabin Desires for Communication" co-created by Junya Kataoka and Rie Iwatake using an 80-year-old empty house. The ancient globe that keeps turning like gears makes people unconscious. will be fascinated. These incredible dynamic pieces form an incredible connection to collages of old maps, medicine chests, and more.

Go to Ogi Island by boat
On the second day of participating in the media preview, we originally planned to travel from Uno Port via Naoshima to Takamatsu and from Takamatsu to Ogi Island. However, as soon as they arrived at the port in the morning, the Naoshima ship stopped sailing due to the thick fog. To go to Ogi Island, you can only take a boat from Takamatsu, and this route only runs every two hours. We started to feel uneasy and thought, "We may not be able to go to Ogi Island today", and then we remembered that the plan to see the exhibition across the sea can easily be disrupted by the weather. Fortunately, the fog cleared after an hour, the boat was able to sail, and there was still time to transfer at Naoshima, so we arrived at Ogi Island via Takamatsu without a hitch.
Ogi Island is a very small island with a circumference of only 4.7 kilometers and a population of about 200 people. There are few flats, dense villages gather along the steep slopes, and the view from the intricate alleys is comforting and nostalgic. Since my first visit here in 2013 during the festival, I've been wanting to do it again, admiring the high lighthouse, the shrine, and the beauty of the Seto Inland Sea from there. The strollers used by the grandmothers to buy things are also very cute. To hold an art festival on such a simple and sparsely populated island, the arrival of guests from outside the island brought some joy and happiness to the islanders, which touched me very much. Of course, it is a great experience to come into contact with the works of great artists in Naoshima and Toshima, but there is also the unique charm of the islands in the Seto Inland Sea that can only be experienced on such small islands. If time permits, I sincerely hope that in addition to Naoshima and Toshima, you can go to some smaller islands. Because only when you come into contact with art in the slow-moving daily life of the island can you truly feel the meaning of the festival.

I was rocked by a boat to and fro in the waters of the Seto Inland Sea, enjoying a long-lost trip. The pandemic has turned the world upside down, and we have to start paying attention to the distance between people. Because of this, it makes more sense to gather people who share the same ideas and visit the hometowns of people who have a different life from their own. It is precisely because almost all work can be done online that people feel the importance of "actual visit", "actual encounter" and "actual viewing". What a joy it is to take the time to go out on purpose. I hope that by visiting the Setouchi International Art Festival, more people can recall this joy.

Interview with Furang Beichuan
"Life": The success of "Echigo-Tsumari Art Festival" and "Setouchi International Art Festival" has a lot to do with the background of China's rapid economic growth at the same time, do you think so? I heard A large number of volunteers from China participated.
Kitagawa Fulang: I think so too. There have been teams from more than 50 provinces, cities and counties in mainland China, and there have been invitations to hold the same art festival in their own region. There are many such cases. In 2018, more than half of the supporters of the "Land Art Festival" were foreigners, especially in China. So I think the number of people in Setouchi will increase this year (2019).
"Life": After the art festival in Setouchi started, schools that were once closed on Ogi Island were reopened, and the movement to protect the leprosy facility in Oshima also started, and many things happened. What do you think about this situation?
Kitagawa Fulang: Those who create works, those who protect works, and those who watch works are related to many people, and new products are born in art. These are really things we didn't know before we started art. But this is the power of the work of art itself, and the power of everyone, including volunteers, to protect and nurture art. The existence of these two has spread something that has never been seen in previous art exhibitions to the whole world, which is a shock beyond our expectations. Being able to feel this is the biggest reward for myself.
"Life": Mr. Beichuan and Mr. Fukutake have one thing in common, that is, they both realize that China has a vast market. Apart from that, is there any other reason you think China is important?
Beichuan Fulang: We all share the culture of Chinese characters and have the same cultural literacy. Also, for me personally, there is a legacy of aggression from the past, so there's always been a strong desire to help wherever I can. In addition, although modern art centered on Europe and the United States is very interesting, there are also many great art in Asia. Whether it is Echigo-Tsumari or Setouchi, I have a special awareness of Asia from the beginning.
"Life": In this regard, the two are also very important as part of the common consciousness.
Kitagawa Fulang: Because this is the essence of art. The so-called diversity, and its rebellious spirit.
Art has the power to change the future, and many people can really feel this through the festival. Do you have any new discoveries by actually getting in touch with these young people who are related to the festival?
Beichuan Fulang: The city has the stimulation of the city, but what really matters is what is produced in the countryside, where the real human nature lies. Art is not knowledge, but experience and feeling through the land, which is the original way of existence of the art festival. I think this is being passed on to the younger generation very well.
"Life": There are many people working for it every day, and the increase in hiring employees also shows this. Is it fair to say that the festival itself has become a small industry.
Kitagawa Furang: Indeed. At Echigo-Tsumari, 600 people are working for paid during the exhibition, and 100 people are working normally. I didn't count Setouchi, but it should be more than that. For the village, this is an industry. In Echigo-Tsumari, it is also interesting that young bosses of IT companies become official supporters. Not by way of investment, but by way of personal experience to participate in activities, and also to participate in planting and harvesting training. It's not just donations, unlike corporate sponsorships to date. I think it's important to be associated with the event and experience it later. You might think that it shouldn't work if it's just IT, but it's probably a human instinct. In the future, the land itself with its own life and culture must also be the protagonist, and I feel that many things are starting to change now.
Life: Although there are various art festivals in various places, what do you think are the main reasons for their success and failure?
Beichuan Fulang: I think what is most needed is the power of the locality itself and the respect for the local residents. In addition, although there are cases in which the state or companies contribute, it is also important to maintain a posture of basically operating independently. Also, what kind of artists are invited to come is also very important, because this is the core. For art, for the understanding of this land, no matter what aspect is lacking, it is not enough.
Life: How do you think about the future of art festivals in Setouchi?
Kitagawa Fulang: I want to show more traditional culture rooted in the land, such as focusing on the local industry of making umbrellas or fans. There is also awareness of the need to further deepen relations with Asia. Megishima and Indonesia, Awashima and Vietnam, Hondo and Thailand, and Shodoshima have deepened their connection with artists from China and Taiwan. I want the residents of the island to experience the direct contact with foreign countries through their respective local governments. There are various people and various countries.
"Life": China is also experiencing a boom in local creation. D&DEPARTMENT opened its first Chinese store in a remote village and town in Huangshan in 2018, which became a topic of conversation.
Kitagawa Fulang: I think there is finally a good form combining Japan and China. Realizing that it is really important to value the countryside and that the relationship between man and nature is the foundation of everything. Therefore, sometimes I am also related to urban projects, but basically I have a great interest in the living culture of rural areas. There are also many places in China that have sent me invitations, and I am traveling to Yunnan, Guizhou, Chengdu, Zhejiang, Guangzhou and Shandong in the process of studying.
"Life": You liked China very much from the beginning, didn't you?
Kitagawa Fulang: I have read Chinese poetry since elementary school.
"Life": Before, you said that you wanted to travel to China leisurely.
Beichuan Fulang: There is no such time at all. It is really all work. It is really a dream to go to China outside of work. (laugh)

Article Source:生活月刊

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