The Echigo Tsumari or Niigata Art Triennial was our last stop, and it, too, reflected the themes of history in landscape and rural revitalization. We visited a small portion of the 350 sites, mostly abandoned houses and schools, spread out in several hillside villages. This two month features world-class international art, much of it conceptual, and draws audiences from around Japan and the world.
The above sculpture, using local river-harvested drift wood and washed out neon colors, represents the last three students in an old school started in the Edo period. The oldest parts of the building have been opened to show the mud and bamboo walls below the plaster and paint. With only the very elderly still living in these towns, new and modern buildings that once provided education and shelter are now abandoned. These spaces provide an over-abundance of space for art, and much of it is haunting.
The school above was created only thirty years ago, and was closed nineteen years after opening. It seems to be on the verge of being reclaimed by the forest. For the Triennial, French artists Christian Boltanski and Jean Kalman turned the interior was turned into a theatrical, high art haunted house recalling the school and amplifying the gloom. Visitors enter a pitch black auditorium, covered in hay, with benches and fans. There are hallways with dark mirror windows, the sound of a heart beat, and a room full of what appear to be plexiglass coffins.
Juxtaposed with the gloom were many playful and surreal art works. Below is an outdoor grasshopper sculpture that moves as water fills the heads and cables connecting to indoor sculptures raise and shake dozens of wood puppets.
It was fun to experience the artwork and the environment with the young Nodai students. Many of them are from the countryside, and their interest and confusion in the art was palpable.
See below for more Niigata Art Triennial photos, including abandoned houses, fields, art and stories.