Since the Triennale began, we have received many messages of support and encouragement. In addition to these, constructive advice and suggestions are also sincerely appreciated. In particular, while many people praised the Kenzo Tange exhibition as a job well done, some noted that more explanations are needed and that the writing is hard to read. Thank you for bringing these points to our attention and my sincere apologies to all concerned. I take full responsibility for the decisions made. We are working on addressing all these issues right away, including getting the catalog out as soon as possible.
Some visitors have also pointed out safety issues concerning access to some of the art sites and we are now implementing countermeasures. We receive frequent inquiries about admission fees as well. Again, we treat all such issues as urgent and respond as quickly as possible. Reports on problems and countermeasures form the contents of our daily evening meetings.
On July 22, I met members of the Santal tribal community of West Bengal in India who will be participating in “New Port – Masala Blue” by Sohei Iwata & Prominority on Honjima island in the Autumn Session. The Santal, who speak Bengali, were from the university town created by Tagore* and connected with Japanese scholar Tenshin Okakura. They seemed very happy to hear about the Bengalis from Bangladesh and it would be nice if they could meet.
The symposium at Fukutake House began with artists from each of the seven participating countries explaining the works followed by a Q&A period. Lunch, which was provided by the Fukutda Asian Diner in Fukutake House, included Indonesian style curry, Korean style noodles, and Fukuda chirashi zushi [sushi rice with toppings sprinkled over it]. The 200 participants ate outside. In the afternoon, I Yong-Cheor, Director of the Gwangju Asia Art Center in Korea gave a key note speech, followed by talks from Osamu Ikeda of BankART, Takashi Nishibori, an artist participating from Thailand, and Lin Shuen Long from Taiwan, followed by a discussion by the curators from the seven participating countries concerning globalization and the distinctive cultures of their regions. The symposium launched an experiment in a new style of exchange platform in which people from other countries will gather in a rural Japanese village and learn about Japanese culture and the world while working with people of other nationalities. The residents of Fukuda, Shodoshima are providing a supportive and hospitable environment for the participants.
From the evening of July 18, I accompanied Soichiro Fukutake, the General Producer. During time snatched between events, we consulted about the direction of Fukutake House. Begun as a mobile art gallery in 2006 at Echigo Tsumari, Fukutake House is now berthed in Fukuda Elementary School, its mother port, as it prepares to head in new directions.
*Tagore (1861-1941), an Indian poet, writer and philosopher who was awarded the Nobel Prize for Literature in 1913. He wrote in Bengali and translated some of his own works into English. His activities covered a broad range of fields and included a movement for agricultural reform. He is said to have been a mental support to Gandhi’s independence movement.
Some visitors have also pointed out safety issues concerning access to some of the art sites and we are now implementing countermeasures. We receive frequent inquiries about admission fees as well. Again, we treat all such issues as urgent and respond as quickly as possible. Reports on problems and countermeasures form the contents of our daily evening meetings.
On July 22, I met members of the Santal tribal community of West Bengal in India who will be participating in “New Port – Masala Blue” by Sohei Iwata & Prominority on Honjima island in the Autumn Session. The Santal, who speak Bengali, were from the university town created by Tagore* and connected with Japanese scholar Tenshin Okakura. They seemed very happy to hear about the Bengalis from Bangladesh and it would be nice if they could meet.
The symposium at Fukutake House began with artists from each of the seven participating countries explaining the works followed by a Q&A period. Lunch, which was provided by the Fukutda Asian Diner in Fukutake House, included Indonesian style curry, Korean style noodles, and Fukuda chirashi zushi [sushi rice with toppings sprinkled over it]. The 200 participants ate outside. In the afternoon, I Yong-Cheor, Director of the Gwangju Asia Art Center in Korea gave a key note speech, followed by talks from Osamu Ikeda of BankART, Takashi Nishibori, an artist participating from Thailand, and Lin Shuen Long from Taiwan, followed by a discussion by the curators from the seven participating countries concerning globalization and the distinctive cultures of their regions. The symposium launched an experiment in a new style of exchange platform in which people from other countries will gather in a rural Japanese village and learn about Japanese culture and the world while working with people of other nationalities. The residents of Fukuda, Shodoshima are providing a supportive and hospitable environment for the participants.
From the evening of July 18, I accompanied Soichiro Fukutake, the General Producer. During time snatched between events, we consulted about the direction of Fukutake House. Begun as a mobile art gallery in 2006 at Echigo Tsumari, Fukutake House is now berthed in Fukuda Elementary School, its mother port, as it prepares to head in new directions.
*Tagore (1861-1941), an Indian poet, writer and philosopher who was awarded the Nobel Prize for Literature in 1913. He wrote in Bengali and translated some of his own works into English. His activities covered a broad range of fields and included a movement for agricultural reform. He is said to have been a mental support to Gandhi’s independence movement.
