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Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial

Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial AbstractThis article deals with selected contemporary art projects that have involved the collaboration of heterogeneous actors in the framework of the Echigo-Tsumari Art Triennial, which started in 2000 in southern Niigata Prefecture. Originally initiated as a revitalization plan to tackle depopulation and obsolescence in this vast rural area, the triennal has been envisaged and implemented by the Tokyo-based commercial gallery Art Front Gallery (AFG) in cooperation with municipal and prefectural agencies. I will examine how the collaboration between local residents, non-local artist(s), and volunteers has evolved in three projects that were all carried out in mountain villages. The first project entitled “Ubusuna no Ie” was initiated by a Tokyo-based editor and his staff for the 2006 festival, involving the restoration of an abandoned house, which now serves as a space to exhibit pottery. As a result of the project, the village women have started a restaurant in the house, which has been an enormous success, attracting hundreds of visitors per day in August 2009. The second project implemented in 2006 involved the cooperation of a British artist group called Grizedale Arts with the locals in a secluded marginal village called Toge in order to find ways to revitalize the village. The third ongoing artwork is concerned with promoting a brand of traditional Japanese paper (washi) by combining it with contemporary design and involves the cooperation between the vernacular washi production site and a Yokohama-based artist. Introducing a model to examine the development of kyodo [literally: “working together”] by defining various stages of cooperation, the key issues I intend to explore are as follows: (1) What are the main factors that influence the implementation of the project, the intensity of cooperation, and its success? (2) What stages do we observe in the individual cases discussed here? http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Japan Taylor & Francis

Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial

Klien, Susanne
Contemporary Japan , Volume 22 (1-2): 26 – Jan 1, 2010
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Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial

Abstract

AbstractThis article deals with selected contemporary art projects that have involved the collaboration of heterogeneous actors in the framework of the Echigo-Tsumari Art Triennial, which started in 2000 in southern Niigata Prefecture. Originally initiated as a revitalization plan to tackle depopulation and obsolescence in this vast rural area, the triennal has been envisaged and implemented by the Tokyo-based commercial gallery Art Front Gallery (AFG) in cooperation with municipal and...
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Publisher
Taylor & Francis
Copyright
© 2010 Walter de Gruyter
ISSN
1869-2737
eISSN
1869-2729
DOI
10.1515/cj-2010-010
Publisher site
See Article on Publisher Site

Abstract

AbstractThis article deals with selected contemporary art projects that have involved the collaboration of heterogeneous actors in the framework of the Echigo-Tsumari Art Triennial, which started in 2000 in southern Niigata Prefecture. Originally initiated as a revitalization plan to tackle depopulation and obsolescence in this vast rural area, the triennal has been envisaged and implemented by the Tokyo-based commercial gallery Art Front Gallery (AFG) in cooperation with municipal and prefectural agencies. I will examine how the collaboration between local residents, non-local artist(s), and volunteers has evolved in three projects that were all carried out in mountain villages. The first project entitled “Ubusuna no Ie” was initiated by a Tokyo-based editor and his staff for the 2006 festival, involving the restoration of an abandoned house, which now serves as a space to exhibit pottery. As a result of the project, the village women have started a restaurant in the house, which has been an enormous success, attracting hundreds of visitors per day in August 2009. The second project implemented in 2006 involved the cooperation of a British artist group called Grizedale Arts with the locals in a secluded marginal village called Toge in order to find ways to revitalize the village. The third ongoing artwork is concerned with promoting a brand of traditional Japanese paper (washi) by combining it with contemporary design and involves the cooperation between the vernacular washi production site and a Yokohama-based artist. Introducing a model to examine the development of kyodo [literally: “working together”] by defining various stages of cooperation, the key issues I intend to explore are as follows: (1) What are the main factors that influence the implementation of the project, the intensity of cooperation, and its success? (2) What stages do we observe in the individual cases discussed here?

Journal

Contemporary Japan – Taylor & Francis

Published: Jan 1, 2010

Keywords: collaboration; interaction; contemporary art; revitalization

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