On November 22, 2019, [What Aichi Triennale left in town: the present of Chojamachi, Okazaki, and Toyohashi, and the future of Toyota] was held at Toyota Industrial Culture Center! Choja-machi, Okazaki City, and Toyohashi City were formerly venues for the Aichi Triennale in the town. We invited people working on art projects in various regions to discuss the future of each Aichi Triennal and their relationship with local people, and considered the future of Toyota.
Yamashiro: The Aichi triennale started in 2010, and when I talked with people around me who actually went to see it, the most talked about place was Chojamachi. Everybody felt like "Are you sure I can go in here? "
I thought that such a thing could happen in urban areas as I went to places like that and it was very close to people in the town.
Anyway,First of all, I would like to ask you about how was the Aichi Triennale came to your town and experienced it.
Muto(Chijamachi): I think the Aichi triennale was very educational. As a creative person, I don't really focus on where art takes root, so I live in a comfortable place and do it in a comfortable place.
The town of Chojamachi has been doing town planning for a long time, and there were one or two galleries, so I think it was a good location. As for the structure of Nagoya art, there is a university of beauty in the suburbs. I thought it would be better if there were more art in the city center, so I think it would be better if we could do it in Chojamachi.
Suzuki ( Okazaki City): It is difficult to continue modern art activities and keep the motivation of citizens after the Triennale. If the government decides on a budget, it can use it to carry out activities, but the private sector will not be able to do so if it wants to do something voluntarily.
Including the meaning of remaking, I thought it would change if I did it for the 2nd time in 2016, but it is still difficult.
However, I have a vague understanding of the cause of this, and I think that the Kosei area is a place where community building is thriving, and everyone is putting their efforts into it, but if art intervenes there, I feel that it is a bit divided.
Yamashiro (Toyota): I think the city of Toyota has no space left. Rather than having a vacant store, there are many public facilities such as a civic activity center, a community center and a community center. So, I have an impression that I don't have to make a place by myself.
But I also think it is difficult to create alternative places.
Now, the area with a base called "Content Nishimachi" in Nishimachi is getting excited. Architects renovated it and used it as a bakery or live house etc.
After the end of the Triennale, the area around KiTARA was redeveloped as the Rugby World Cup will be held in parallel.
KURONO (Toyohashi) :The way of operation and the like of sebone and triennale organizations are totally different, so I experienced triennale in 2016 and was influenced in many ways.
I feel like the selection of triennale places is dropping to places where there is a cohesive community. Otherwise, I think it will be harder.
Y: So, I would like to ask for advice from three people about the future of Toyota City.
Kurono: I came to Toyota City for the first time during the triennale, and today is my second visit. It is common to Toyohashi, but I think it will be easier to visit the place if you can feel the sense of the land.
I'm really interested in Okazaki... speaking geographically, Okazaki is quite hilly and has uptown and downtown areas. Toyohashi is surprisingly flat.
I think the reason Okazaki is active in town planning is that there is a strong sense of area in each place. There are people who make various towns, and there is a strong sense that they want to make the area their own.What about Toyota in that way?
Participants: Toyota City is large, so it's hard to say for sure, but the mountainous areas that joined the merger are moving in a different way from the urban areas.
In that sense, I think every town has the same problem, but the central urban area has a problem of the central urban area, and the mountainous area has a problem of the mountain area. But each of them has a key person or group.
Kurono: Well, I think the people is important but I think there are different ways of doing things in different places when art goes into traditional places or people.
Suzuki: What I'm thinking about right now is... Does it make sense to do an exhibition?(lol)
If you hold an event, the results will come out soon. How many people are there? It's very easy to understand, but educational things have a very long span to think about. That's why it's hard to pay.
However, I participated in the Triennale, and I had an experience that it was a transient event and nothing remained, so I think I need to be more active in activities that will be passed on to the next generation.
To be more specific, I think it would be better to put more effort into archiving and create a place where you can always get information about art. I think that is better to take root in the region and to cultivate the local culture.
In Okazaki, in the jazz field, there is Osamu Uchida's Dr. Jazz Studio, which has a huge number of sources of music that Dr. Uchida has left, and this one has a very high level. It's open to the public, and the more you search, the more you can learn about the history of past music.
It's hard to organize them, but I think it's better to put effort into maintaining such archives. I think it would be better to specialize in educational programs for children and other projects that will be passed on to the next generation.
M: Personally, I have a consumptive feel to the exhibition. I wonder if it's okay to just consume art. I wonder how Mr. Yamashiro thinks about where art is born and where it is headed (laughs).
Y: Eh!? (Laughter)
M: I think artist unit Nadegata Instant Party is a place where art is produced.
Y: Yes. On the other hand, I have never thought about urban development in terms of people's time frame, so I feel fresh as I am now working on a citizen art project. I suffered a lot in the first year.
No matter how many times I do it, the exhibition doesn't end and I say, "How long will this last?" lol.
But now, instead of hitting a home run at once, I want to think of a way for everyone to go up.
M: I think a concept like Nadegata is producing art, so why don't we continue with that? (Laughter)
Y: There are a lot of different players in Toyota, so I want to team up with them and move forward.
He started N-mark as an activity to see the art we want to see by himself.
The operation and direction of Art Lab Aichi, and the office of Aichi Triennial Reporter's Club (2010). Since 2012, He operated the Chojamachi transit building. Together with Aichi Triennale 2019, Chojamachi Art Pharming is held.
Masayoshi Suzuki, Gallarist.
It is a historical castle town called Kosei-machi, Okazaki City, which is the hometown of Ieyasu TOKUGAWA. He held Masayoshi Suzuki Gallery and it is the only modern art commercial gallery in Nishimikawa area.
As a member of Okazaki Art Community Promotion Council, he supported civic activities at the Okazaki venue in 2013 and 2016. After that, he engaged in the promotion of modern art culture in the local area.
Yuichiro KURONO, Architect
Member of the Executive Committee of Sebone. He is the representative director of the Otoyo Shopping Street (Daiho Cooperative Association.).
He is a central person of sebone (Art event centered on the Minakami Building in the south area of Toyohashi Station.) which became Toyohashi venue of Aichi Triennale 2016 and develops town planning by art in cooperation with local government and administration.
Yamashiro Daisuke ,Artist and Visual Artist
Moved to Nagoya for the Aichi Triennale in 2013 as an artist unit Nadegata Instant Party. Since 2017, he has been directing the RecastingClub, a civic art project in Toyota.
Translations may not be accurate as it is performed through a not professional translator. The contents may differ from the original Japanese website.
Toyota Citizen Art Project Promotion Council
2nd floor, south building of Toyoda City Hall, 3 -60 Nishi-machi, Toyoda City, Japan 471-8501