Flying Mud Boat
Nagoya City Art Museum (outside)
9:30 – 16:30
(Closed on Sep 2, 9, 17, 24, 30, Oct 7, 15)
Born 1946 in Nagano Prefecture (Japan), based in Tokyo. Fujimori is a leading researcher into modern Japanese architecture and is renowned as the architectural historian who coined the term “billboard architecture” for the flat-façade commercial buildings that sprang up in Tokyo after the destruction of the great 1923 earthquake.
Fujimori founded the Architecture Detective Unit in 1974, and together with Genpei Akasegawa et al. was also a founding member in 1986 of the ROJO Society, a group that scours the urban landscape for objects that have evolved a significance that they did not originally have. He later made his architectural debut with the unusual structure of the Jinchokan Moriya Historical Museum (1991), and went on to design several unique homes and teahouses, including his own residence (“Dandelion House”, 1995) and “Takasugi-an / Too-high Tea House” (2004), forming the Jomon Architecture Group to build them.
Fujimori’s buildings have a sense of belonging in their particular place, and though they are the sort of thing that exists nowhere else, or that we think we’ve never seen before, they also induce feelings of familiarity, even nostalgia, earning the label “International Vernacular.”
Fujimori exhibited in the Japanese pavilion at the 10th Venice Architecture Biennale (2006). The acclaim he received there led to his exhibiting in Britain, Australia, Taiwan, and elsewhere overseas. Fujimori is especially noted for his humorous teahouses, like the “Flying Mud Boat” in Chino City (2010) and the “Walking Cafe” in Munich (2012).
“4.temporal pattern” , “ Holistic Strata”
photo : Ryuichi Maruo (YCAM)
Courtesy of Yamaguchi Center for Arts
Since receiving critical acclaim from the director of France’s Rencontres Chorégraphiques Internationales in 2002, Umeda has expanded his activities beyond Japan. During that time he has been invited to perform at a number of international festivals and theaters, including joint productions in 2008 with Festival d’automne à Paris and Romaeuropa. In 2011 he presented “Holistic Strata,” in another joint production, this time with YCAM.
He also launched a choreographic project called “Superkinesis” in 2009, leading to his first group work, “1.centrifugal,” to the use of hip-hop dancers in “2.Repulsion” in 2010, and to the unveiling of “3.isolation” in 2011. He won an Honorary Mention at the 2010 Prix Ars Electronica, and in recent years has extended his practice to include video installations and other new outlets for expression.
At the Aichi Triennale 2010, he presented “Haptic installation version.” His contribution to this Triennale, “4.temporal pattern,” employs dancers from other parts of Asia. It is a totally new work and his first production in cooperation with theater groups from other Asian countries.
East Shadow by Jiří Kylián. In the picture Sabine Kupferberg and Gary Chryst.
Photo by Jason Akira Somma
Jiří Kylián (Czechoslovakia, 1947) started his dance career at the age of nine, at the School of the National Ballet in Prague. He left Prague when he received a scholarship for the Royal Ballet School in London in 1967.
After this, he left to join the Stuttgart Ballett led by John Cranko. Kylián made his debut as a choreographer here with Paradox for the Noverre Gesellschaft. After having made three ballets for Nederlands Dans Theater (Viewers, Stoolgame and La Cathédrale Engloutie), he became artistic director of the company in 1975.
In 1978 he put Nederlands Dans Theater on the international map with Sinfonietta. That same year, together with Carel Birnie, he founded Nederlands Dans Theater II, which was meant to function as a breeding ground for young talent. He also initiated Nederlands Dans Theater III in 1991, the company for older dancers, above forty years of age. This three dimensional structure was unique in the world of dance.
After an extraordinary record of service, Kylián handed over the artistic leadership in 1999, but remained associated to the dance company as house choreographer until December 2009.
Jiří Kylián has created nearly 100 works of which many are performed by ballet companies and schools all over the world. Throughout his career he has received many awards among which the ‘Chevalier de la Légion d’Honneur’ (Paris, 2004) and the Highest cultural award for ‘Art and Science’ of the order of ‘Oranje Nassau’ by Queen Beatrix (2008).
At the 2013 Aichi Triennale his new work “East Shadow” will premiere. “East Shadow” is inspired by the world of Samuel Beckett and dedicated to the victims of the Tsunami that hit Japan in 2012. Performed by Sabine Kupferberg and Gary Chryst and pianist Tomoko Mukaiyama, video by Jason Akira Somma.
Sep 22 and 23
photo © Christian Lartillot
Born 1967 in Paris. After studying visual arts and cinema, Nauzyciel enrolled in the École du Théâtre National de Chaillot. In parallel with acting, he has staged numerous plays ranging from Shakespeare, Molière, Chekhov, and Beckett to contemporary works, and since 2007, heads the Centre Dramatique National Orléans.
L’Image (making its Japan premiere at the Triennale) is a reading-dance performance that takes as its text the very short story of the same title by Samuel Beckett. But a few pages in length and containing no punctuation, save a single dot at the end, it spans the last moments of a man’s life as he recalls the memory of a spring day spent with a woman and a dog.
L’Image was created in Dublin by the actress Anne Brochet, and was presented amongst other cities in New York by Lou Douillon, and will be recreated in Japan with the young and talented French actress Julie Moulier; danced by Damien Jaret, who appeared in works by Wim Vandekeybus and is known for his close work for over ten years with Sidi Larbi Cherkaoui; music by Winter Family.
SHIMIZU Yasuaki + Carl STONE
photo:Yasuo Konishi photo:Tomohiro Ueshiba
Born 1954 in Shizuoka Prefecture (Japan). Composer and saxophonist Yasuaki Shimizu’s musical explorations range from classical to free improvisation. Renowned for his groundbreaking interpretations of J.S. Bach, Shimizu also collaborates on video, multimedia and dance projects, and scores music for television and film. His career took off in the 1970s as his saxophone playing gained notice.
In 1983 he launched the project Yasuaki Shimizu & Saxophonettes, which has since become the focus of his recording activities. From 1985 through 1991 he based himself in Paris and London, recording three albums with a host of international artists. His acclaimed Bach recordings “Cello Suites 1.2.3” (1996) and “Cello Suites 4.5.6” (1999) – marked the first-ever rendition for tenor saxophone of the “Six Suites for Unaccompanied Cello”, and in 1997 he released the Japan Record Award-winning album “Bach Box”. In 2006 he relaunched the Saxophonettes as a saxophone quintet. Their latest album “Pentatonica” (2007) is a collection of original compositions based on the pentatonic scale. In February 2010, Shimizu reaffirmed his passion for Bach by premiering in Tokyo the world’s first saxophone/double bass arrangement of Bach’s “Goldberg Variations”.
One of the pioneers of live computer music, Carl Stone has been hailed by the Village Voice as “the king of sampling” and “one of the best composers living (in the USA) today.” He has used computers in live performance since 1986.
Stone was born in 1953 in Los Angeles and now divides his time between California and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney, and has composed electro-acoustic music almost exclusively since 1972. His works have been performed in the US, Canada, Europe, Asia, Australia, South America and the Northeast Africa. In addition to his schedule of performance, composition and touring, he is on the faculty of the Information Media Technology Department, School of Information Science and Technology at Chukyo University in Nagoya.
Stone’s music has been used by numerous theater directors, filmmakers and choreographers including Hiroshi Koike (Pappa Tarahumara), Akira Kasai, Bill T. Jones and Blondell Cummings. Musical collaborations include those with Yuji Takahashi, Kazue Sawai, Aki Takahashi, Yasuaki Shimizu, Sarah Cahill, Wu Wei, Haco, Samm Bennett, Kazuhisa Uchihashi, Michiko Akao, Stelarc, z’ev, Tosha Meisho, Otomo Yoshihide, Min Xiao-Fen and Mineko Grimmer.
Tenor Saxophone: SHIMIZU Yasuaki
Laptop Computer: Carl STONE
Ho Ho-Do “Ho Ho-Do@Landlady’s Requests”
Sep 21 and 22
photo: Ririko Arai
The 155cm-tall dance duo of Mika Arashiki and Mari Fukutome have so far performed in more than 20 different cities around Japan and beyond.
Since 2009 they have stepped out of the theater to develop their “Ho Ho-Do@” series in which they incorporate the charms and characteristics from each specific time and place, including weather conditions or people passing by, as the context for a one-off, site-specific dance performance.
They dance once a month in some everyday location – maybe a café, a corridor in some building, a school, a tunnel, a traditional Japanese house – or in some unlikely place that they’ve discovered on their extensive and meandering travels. Each performance is then uploaded to YouTube.
At the same time, Ho Ho-Do has been experimenting with a variety of ways to expand the possibilities of dance, through a series entitled “Ho Ho-Do x DJs!!,” in which the two women combine their choreography with music from several musicians playing different music.
For the Triennale they will present a new work based on their research of central Nagoya centered on Chojamachi that involves scenes, memories and people unique to the area with the city as its stage. The work will also be webcast live as a program viewable from any location.
Directed by OTOMO Yoshihide
“Festival FUKUSHIMA in AICHI”
Sep 7 and 8
“Orchestra FUKUSHIMA!,” August 2011
photo : Hikaru Fujii
The huge earthquake and tsunami that hit northeastern Japan on March 11, 2011 dealt an unprecedented blow to Fukushima Prefecture, where the disaster was made worse by the release of radioactive materials from one of Tokyo Electric Power Co.’s nuclear power plants located on the devastated coastline.
In response, the battered region came up with Project Fukushima, exploring the reality of Fukushima Now and prospects for Fukushima Future. Musician Yoshihide Otomo, musician Michiro Endo, and poet Ryoichi Wago – all native sons, and some are still resident in the prefecture – are the frontmen for this venture, which was launched in May 2011 and draws on the talents of many volunteers from inside and outside Fukushima.
On August 15 of the same year, “Festival FUKUSHIMA!” was held for the first time, attracting around 10,000 visitors. The following year it was expanded into a “synchornized worldwide event.”
A host of other activities, including internet broadcasting station “Dommune Fukushima!,” the educational “School Fukushima!” and a platform for sympathetic artists to share their creativity and fund-raising channel “DIY Fukushima!,” have also been running continuously to help with the recovery effort.
The Triennale will see them stage a participatory Aichi version of “Orchestra FUKUSHIMA!”