富士の山ビエンナーレ2018 スルガノミライ


タイトル:富士の山ビエンナーレ2018 スルガノミライ


場所:静岡県富士市 – 富士本町、富士川、静岡市 – 蒲原、由比

アーティスト:飯田竜太 / 井田大介 / 入江早耶 / 大輪龍志 / カトウマキ / 木内雅貴 /北川貴好 / 小林久人 / 西原尚 / 原倫太郎 / 原田賢幸 / メランカオリ / 本原令子 / 望月章司 / 山﨑吉広


Fujinoyama Biennale 2018: Future of Suruga

October 27 – November 25, 2018

Venue :  Shizuoka Prefecture, Fuji City – Fujihoncho,Fujikawa, Shizuoka City – Kambara, Yui

Artists : Ryuta Iida / Daisuke Ida / Saya Irie / Tatsushi Owa / Maki Kato / Masaki Kikuchi / Takayoshi Kitagawa / Hisato Kobayashi / Nao Nishihara / Rintaro Hara / Masayuki Harada / Melan Kaori / Reiko Motohara / Shoji Mochizuki / Yoshihiro Yamazaki

Organizer by : Fujinoyama Biennale Committee


ミライを考えることは、今を考えることに他ならない。なぜなら、それを考える「私」は、今に生きて、変化の兆候を感じているからだ。そして、それには正否がない。さまざまな「私」から浮かび上がってきた、この地の兆候とイメージ。それらを受け止める空間が、「富士の山ビエンナーレ2018 スルガノミライ」であったような気がしてならない。






小澤慶介 富士の山ビエンナーレ ディレクター


Two or Three Signs of the Future of Suruga

To think of the future is to think of the present. This is because we, the ones who are thinking of the future, are sensing signs of change in the present in which we live. There is no right or wrong in regard to this. Signs and images of this area emerged from the various aspects of the elf. And I cannot escape the feeling that the space that captured these was this festival itself, Fujinoyama Biennale 2018: Future of Suruga.

During my regular trips on the Shinkansen bullet train from Tokyo to Fuji City over the past two years, I would inevitably see company employees in their suits as well as, many non-Japanese tourists traveling to visit the UNESCO World Heritage Site that is Mt Fuji. This vista of visitors wandering silently, backpacks over their shoulders, past the paper manufacturing factories with their chimneys noiselessly puffing, seemed like the pilgrimage of a new age. As if in response to this era and meet the demand of the increased numbers of tourists, the drab Shin-Fuji Station underwent a transformation with new cafes and eateries selling local delicacies. Leaving the station front, adorned with its slogan of “Fuji City, Starting Your Journey to the Summit,” I saw construction work taking place, apparently in order to facilitate traffic going to Mt Fuji.

All of the festival’s venues in the Fujihoncho area were buildings no longer in use. Though there drifted signs of times past, brimming with the vigor that accompanied the paper manufacturing, in that former coffee shop, beer hall, and other such places, the tables, cooking utensils, counters, and flowerpots remained just as they were. Glancing over the fingermark-smudged walls, the oil-stained tatami mats or floor cushions, and the moldy kitchens and bathrooms, it was clear that people lived and did things here. At the same time, just as the end arrives for the age that laid the foundations of our society through manufacturing, I could realize that these abandoned objects and places might start to take on new relationships with people through the form of an art festival. In this way, the increasing numbers of abandoned objects can affect how human beings live, think, and act.

Going for lunch at a restaurant in the Kanbara areas, talk would frequently turn to the poor catch of sakura shrimp. Long ago, this type of shrimp was apparently no even something one would buy, but would rather be given. That’s how plentiful it was in the area. But in recent times, there are many days when people are unable to fish or, even if they can, they come back without catching anything. What was long ago available locally is now hard to get, just as it had become well known all over the country, No one can say for sure if this is linked to climate or tectonic shifts, but it is certainly the case that our way of living is changing due to what people have done until now.

Not only that, we can perceive various other signs of the future in this area. Among the artists participating in the festival, Ryuta lida, Saya Irie, and Takayoshi Kitagawa made connections with the surrounding ocean and mountains to sense the possibilities for Suruga to change, while Masayuki Harada and Nao Nishihara conceived artworks from the buildings and objects once used by people. The likes of Melan Kaori, Shoji Mochizuki, and Maki Kato, on the other hand, gazed at the future from the relationships between humanized realms and what lies beyond.

A sign of the future is something that can be grasped intuitively, It is somewhat like a draft occasionally blowing through the rips and tears in the everyday that is flying away from us. Both the inhabitants of this area as well as its visitors walked, viewed, came into contact with, and encountered the artworks, and then sensed these signs. It is precisely because no one knows how the world will change that we have this freedom to search for such hidden signs. And this festival was the resonance of the signs of the future that emerged.

Keisuke Ozawa Director, Fujinoyama Biennale