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Knowing but not seeing

Yokohama Triennale 2011

Emily Wakeling
Eyeline 76
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The 2011 Yokohama Triennale had some important firsts. In what was a very understated first for the Triennale in its tenth year, women (Fumiko Hayashi, Eriko Osaka and Akiko Miki) headed all three executive roles. Secondly, it was the first time the event occupied the entire floor space of the city’s main art institution, the Yokohama Museum of Art. And most conspicuously, this was also the first major public art event in Japan to be held after the Great East Japan Earthquake of March 11, 2011.

As was widely reported across the world, coastal towns to the north of Yokohama and Tokyo have been devastated by the tsunami; most infrastructure is gone, and tens of thousands are dead or still missing. Now, insecurity plagues the zeitgeist. It stems not only from the ongoing nuclear power plant crisis, but also from the threat of electricity shortages and the possibility of more large scale earthquakes. Whether or not these fears are founded, they are a major part of the current national psyche. In March 11’s aftermath, cultural events across the country were thrown into doubt—including cherry blossom festivals and art fairs—due to conflicting opinions about what are appropriate actions in a time of national mourning and uncertainty.

The Triennale, already in its final stages of preparation by March 2011, managed to stay on course. Its theme, ‘Our Magic Hour – How Much of the World Can We Know?’, was chosen well before the tragedies occurred. A statement released in April confirmed that the show would go on as planned. A handful of artists chose to alter their commissions in response to the disasters (three are discussed below). However, director Eriko Osaka, in... The rest of this article is available to subscribers of Eyeline

Jeppe Hein, Smoking Bench, 2002. Installation view at ARoS, Denmark, 2009. Courtesy Johann König, Berlin, 303 Gallery, New York and SCAI THE BATHHOUSE, Tokyo. Photography Ole Hein Pedersen. 

Jeppe Hein, Smoking Bench, 2002. Installation view at ARoS, Denmark, 2009. Courtesy Johann König, Berlin, 303 Gallery, New York and SCAI THE BATHHOUSE, Tokyo. Photography Ole Hein Pedersen. 

Telescope pointed at Takahiro Iwasaki, Out of Disorder (Media Tower), 2011. Photography William Andrews. Courtesy the artist and ARATANIURANO.

Telescope pointed at Takahiro Iwasaki, Out of Disorder (Media Tower), 2011. Photography William Andrews. Courtesy the artist and ARATANIURANO.