Report REPORT About Yokohama Triennale Foreword

OR P RE

Yokohama Triennale 2020 “AFTERGLOW” Report REPORT About Yokohama Triennale Foreword

Summary The Yokohama Triennale, which started in 2001, has reached its 20th anniversary with the completon of its 7th editon, Yokohama Triennale 2020 “Afterglow.” The Yokohama Triennale is an internatonal exhibiton of contemporary art held in Yokohama once every three years. The exhibiton features both internatonally renowned and up-and-coming artsts, and presents Over these twenty years, the Triennale has been held under difcult circumstances on several occasions. the latest trends and expressions in contemporary art. The inaugural editon in 2001 endured even as it witnessed the atack on American soil on September 11, and the 4th editon (2011) opened in the aftermath of the Great East Japan Earthquake. Now the 7th editon Since its inauguraton in 2001, the Yokohama Triennale has addressed the relatonships between Japan and has been impacted by the new coronavirus, which started spreading widely in early 2020. the world, and the individual and society, and reexamined the social role of art from a variety of perspectves, in response to a world in constant flux. With travel restrictons in place, and neither the overseas-based artstc director Raqs Media Collectve nor artsts able to atend in person, preparatons for the exhibiton were completed online. To help minimize risk, The first three editons (2001, 2005, 2008) were primarily organized and overseen by the Japan Foundaton the event’s opening was delayed by two weeks, and on July 17 the Yokohama Triennale opened to the public, to enhance cultural exchange between Japan and other countries and cultures through contemporary art. becoming one of the first major internatonal exhibitons to physically open during the pandemic. It closed From the fourth editon (2011), the City of Yokohama has been the primary organizer of the event. 78 days later, having welcomed 154,000 visitors. The Yokohama Triennale is a natonal project supported by the Ministry of Cultural Afairs, and also a project that represents the ‘Culture, Art and Creatve City Yokohama.’ Many events and much of the work by volunteer guides had to be repurposed quickly to online platforms in a process that provided a valuable opportunity to think about how the online realm might be utlized by the art exhibitons of the future. The Yokohama Triennale and Its Mission

This report documents the preparaton, contents and operaton the Triennale’s many aspects, as well as the MISSION various related community programs and initatves. We hope that this report will be useful to the organizers The Yokohama Triennale, one of the leading internatonal exhibitons of contemporary art in Japan, will of other internatonal exhibitons and festvals who are in search of new ways of planning events in the face spearhead the development of ‘Culture, Art and Creatve City Yokohama’and cultvate a spiritually rich of unprecedented challenges during this pandemic. society that embraces diversity.

Last but not least, we would like to express our deep grattude to all the artsts and lenders who generously GOALS provided artworks. We would also like to thank the Agency for Cultural Afairs for its support, many other

・To open new channels through art organizatons for their cooperaton and of course the many Yokohama Triennale Supporters who in spite of By celebratng contemporary art, the Yokohama Triennale provides opportunites to engage with a wide the difcult circumstances helped make the exhibiton a reality. range of expressions, which transcend any given genre or era, to foster beter understanding between people from many diferent generatons and backgrounds. City of Yokohama ・To engage with the world Yokohama Arts Foundaton As a natonal project, the Yokohama Triennale strives to contribute to internatonal exchange and mutual Japan Broadcastng Corporaton [NHK] understanding through its commitment to conveying new principles and values. The Asahi Shimbun Organizing Commitee for Yokohama Triennale ・To engage with the community By collaboratng with partners in ‘Culture, Art and Creatve City Yokohama,’ the Yokohama Triennale enhances and promotes the unique resources in the city.

GUIDING POLICIES Striving for excellence / Nurturing future generatons / Contributng to shaping an inclusive society / Engaging with the Community / Celebratng art / Atractng business and tourism

2 3 Greetngs Yokohama Triennale 2020 —Bringing Together People, Society, and the Moment

The Yokohama Triennale 2020 “Afterglow” came to an end in October 2020 after a successful three month I am delighted that the Yokohama Triennale 2020 “Afterglow” closed successfully, despite having opened run. I would like to ﬁrst express my deepest grattude to all of the artsts who created wonderful works, with a two-week delay. and the Artstc Director, Raqs Media Collectve. I am also sincerely grateful to all those who supported the Triennale including the Agency for Cultural Afairs, the sponsors and supportng corporatons, citzen I would like to express my sincere grattude to the Artstc Director Raqs Media Collectve, who devoted supporters, and all others who made this editon possible. themselves to preparatons for the Triennale, with unceasing discussion and dialogue based on preliminary research, even as the world was plunged into unease due to the COVID-19 pandemic and travel between While the COVID-19 pandemic led to the postponement or cancellaton of many events, this Yokohama countries became impossible. Through their cooperaton and that of the partcipatng artsts, the many Triennale was held ahead of other biennales and triennales around the world. Believing in the power of art wonderful works on site in Yokohama could be realized. These works, overﬂowing with passion and creatvity, to heal our hearts, and to provide radiance and hope, we wanted to deliver a spirit of hope from Yokohama gave great encouragement not only to the visitors but also to the organizers struggling with the challenges of to many people. In such a tme, we wanted even more to deliver grattude and courage to artsts around the the exhibiton operatons. Further, through the online events and virtual tours, I am sure that the atracton of world. This was the reason for our decision to proceed. The number of visitors exceeded our expectatons, the cutng-edge expression of the works could be shared even with people who had been antcipatng the reaching 154,000; this made us realize anew that culture and art are needed by so many people. Triennale but were not able to atend physically.

While also implementng stringent ant-contagion measures, we also took on the challenge of various The emergence of COVID-19 has made us think once again about globalizaton, the environment, and new initatves utlizing ICT to ensure the Triennale would be accessible for everyone to enjoy. The release connectons and divisions between people. I am sure that many people were able to discover hints for of a virtual tour site to allow visitors to view the exhibiton online, and the use of avatar robots for viewing, co-existence with the virus through the works exhibited. The Yokohama Triennale will contnue to confront have great potental for new styles of viewing art in the future. Further, through collaboraton including with various issues, as it has in the past, and to connect people, society and the tmes through contemporary art. BankART 1929 and the Koganecho Area Management Center, as well as local Yokohama companies and art We hope it will contnue to be such a place of encounter and thought. organizatons, the “Creatve Railway” art program was developed. With areas in and around Minato Mirai Line train statons as venues, visitors could enjoy the many artworks together with the City of Yokohama. Looking back on the records of the Yokohama Triennale 2020, I would like to express my deepest thanks to all those who made it possible. The Yokohama Triennale has grown into an internatonal exhibiton with Culture and the arts have an incomparable value, bringing a spiritual abundance and enrichment to people’s a long history, that atracts atenton from around the word, and we are already taking steps towards the hearts and to society. Yokohama, as a creatve city of art and culture, believes in the power of culture and the next editon. We thank you in advance for your ongoing cooperaton to ensure that the Yokohama Triennale arts, and promotes such values in building our city and community. Drawing on our experience in organizing contnues to be a popular and sustainable event in the years to come. distnctve arts festvals in dance, music and contemporary art, we will contnue to work with you all to promote to the world the atracton of culture and the arts, and of Yokohama. KONDO Seiichi Chairperson, Organizing Commitee for Yokohama Triennale HAYASHI Fumiko Chairperson, Yokohama Arts Foundaton Representatve Honorary President, Organizing Commitee for Yokohama Triennale Mayor of the City of Yokohama

4 5 Yokohama Triennale 2020 Area Map Outline of Yokohama Triennale 2020 “Afterglow”

● Title Sponsors Osanbashi Yokohama International Port of Yokohama Passenger Terminal Yokohama Triennale 2020 “Afterglow” Nissan Motor Co., Ltd., Nomura Research Insttute, Ltd., MITSUI FUDOSAN GROUP, Mitsubishi Estate Group Yokohama Hammerhead ● Artstc Director ● Yamashita Park Raqs Media Collectve JVCKENWOOD Corporaton, Starts group, Fruits Tree Yokohama Red Brick Warehouse Kanagawa Kenmin Hall (Jeebesh Bagchi, Monica Narula, Shuddhabrata Sengupta) Dai Nippon Printng Co., Ltd, ● Seaside Park (Rinko Park) TAKASHIMAYA STORES Yokohama, Mori Building Co., Ltd., Cupnoodle Museum ZOU NO-HANA TERRACE Pacifico Yokohama ● ● Motomachi- ● Chūkagai Sta. Exhibiton Dates The Bank of Yokohama, Ltd. ● Yokohama World Porters Kanagawa Prefectural July 17–October 11, 2020 ● Government Yokohama China Town Yokohama Cosmoclock 21 ● Yokohama Bay Quater NYK MARITIME MUSEUM Open for a total of 78 days Uyeno Transtech Ltd., NTT EAST, OBAYASHI CORPORATION, ● ■ Nihon-odori Sta. Minatomirai Line Minatomirai Sta. Closed on Thursdays (except July 23, August 13, October 8) Kawamoto Industry Corporaton., Kitamura Co., Ltd., SOGO Yokohama BankART MARK IS Minatomirai Kiyoken Co., Ltd., SAKATA SEED CORPORATION, ● Station ● ● THE BAYS Yokohama Sta. ● Graduate School of film and Hours TORAY INDUSTRIES, INC., NEC Corporaton, Shintakashima Sta. ● Bashamichi Sta. New Media, Tokyo University of the Arts 10:00–18:00 Hara Model Railway Museum, The Yokohama Shinkin Bank, Takashi Hara Model The Landmark Tower ● Yokohama Stadium Yokohama Museum of Art ● BankART maya Railway Museum ● ● ● *Open untl 21:00 on October 2, 3, 8, 9, 10 and untl 20:00 on October 11 (Admission NEWoMan YOKOHAMA Yokohama Temporary Ishi Yokohama kawach City Hall (Mo ō Sta. open untl 30 minutes before closing tme) Store ● tomach ・i China PLOT 48 ● Town) JR Negishi Line Kannai Sta. Corporate Co-operaton Y Kannai Sta. okoha Sakuragicho Sta. Venues ma Sta ■ R16 Studio ACM Co., Ltd., Keikyu Corporaton, Sotetsu Group, . Yokohama Museum of Art Takashimacho Sta. Yokohama Municipal Subway DAIICHI ORIMONO CO., LTD., NYK MARITIME MUSEUM, Sakuragicho Sta. (3-4-1, Minatomirai, Nishi-ku, Yokohama, Kanagawa, Japan) Peatx Japan K.K., Fuji Xerox Co., Ltd., Yokohama Nigiwai-za ● PLOT 48 Yokohama Noh Theater ● YOKOHAMA MINATOMIRAI RAILWAY COMPANY., Ookagawa River (4-3-1, Minatomirai, Nishi-ku, Yokohama, Kanagawa, Japan［ Minato Sotetsu Line Yokohama Civic Art Gallery ● Isezaki-chojamachi Sta. Yokohama Urban Future Create Co., ltd Mirai 21 Central District Block 48］) Yokohama City Library ● [Special co-operaton: NYK MARITIME MUSEUM (3-9, Kaigan-dori, Hinodecho Sta. Support Naka-ku, Yokohama, Kanagawa, Japan)] Hatsunecho, Keikyu Line Koganecho and Natonal Culture and Arts Foundaton, Mondriaan Fund, Hinodecho Steep Slope Studio ● Neighborhoods The Obayashi Foundaton, YOSHINO GYPSUM ART FOUNDATION, Hinode Studio ■ Number of Partcipatng Artsts Nogeyama Zoo ● ifa (Insttut für Auslandsbeziehungen), 69 artsts/groups Site-A Gallery Beneath the Railways ■ Ambassade de France / Insttut français du Japon, Kogane Studio Acción Cultural Española (AC/E), ■ Organizers Embassy of Spain, Austrian Cultural Forum City of Yokohama, Yokohama Arts Foundaton, Bandobashi Sta. Japan Broadcastng Corporaton (NHK), The Asahi Shimbun, Koganecho Sta. Artst Support Organizing Commitee for Yokohama Triennale Australia Council for the Arts, Taiwan Cultural Center, As of March 2021 Taipei Economic and Cultural Representatve Ofce in Japan, Co-operaton Incheon Foundaton For Arts & Culture Agency for Cultural Afairs (Program to Support Internatonal Arts Festvals) Certﬁcaton beyond2020 Special Co-operaton The Japan Foundaton, Urban Renaissance Agency

Under the Auspices of Ministry of Foreign Afairs of Japan, Kanagawa Prefectural Government, Kanagawa Shimbun, Television Kanagawa

6 7 Contents A World in Flux

About Yokohama Triennale 2 Even before the coronavirus pandemic, Yokohama Triennale 2020 “Afterglow” was always intended to include several new challenges. Foreword 3

For one, a non-Japanese artstc director was selected for the ﬁrst tme. Raqs Media Collectve (Raqs), a Outline of Yokohama Triennale 2020 “Afterglow” 7 Delhi-based artst trio comprising two men and one woman, was chosen as a counterpoint to the tendency “A World in Flux,” KURAYA Mika 9 in Japan for biennales and triennales to be directed by Japanese men.

“The world changed, and we all matered,” Raqs Media Collectve 10 Raqs’ curatorial vision itself represented a challenge in many ways to the conventonal approach to the making of biennales and triennales. 01. Major Events Leading to Yokohama Triennale 2020 11 “The Autodidacts’ Yokohama Triennale 2020: 13 For example, directors of such large internatonal exhibitons generally exercise a large degree of direct Notes on Planning and Preparaton,” KIMURA Eriko control. In contrast, Raqs approached the project by initally sharing a set of texts that would seed their thought on ﬁve key terms: Autodidact, Luminosity, Friendship, Care and Toxicity. They then called on the 02. Exhibiton Documentaton 14 partcipant artsts and the public to join them in exploring those ideas. 03. Preventve Measures Against COVID-19 43

04. Visitor Amenites 46 They also sought to undermine the primacy of the exhibiton itself by questoning its temporal and spatal 05. Initatves for Children and Youth 47 limitatons and establishing a parallel axis called “Episōdo,” which started before and contnued after the exhibiton in locatons both in and out of the exhibiton sites of Yokohama. Episōdo refer to a diverse group of 06. Initatves for Social Inclusion 48 projects, including performances, online events and in-exhibiton exhibitons planned by other curators. 07. Yokohama Triennale Supporters 49 08. Art Programs in the City 53 A total of 69 artsts and artst groups were involved in the Triennale, most of them hailing from or based in Asia, the Middle East, Africa and elsewhere. This selecton suggested Raqs’ desire to relatvize the 09. Public Relatons and Promoton 56 Eurocentric ideas that had dictated the history of art since the 19th century. 10. Visitor Proﬁle 63 11. Economic Impact and Publicity Efects 66 Furthermore, many of the works questoned the relatonship between the human and non-human, such as the universe and partcles, DNA and poisonous plants. One of the key terms, Toxicity, was also explored 12. Income and Expenditure Report 67 under these themes, and it atracted a lot of atenton for apparently antcipatng our current lives in coexistence with the new coronavirus. Yokohama Triennale 1st-7th Editons 68 Organizaton 70 In short, Raqs, with their attude of questoning much that had hitherto been considered essental, set about unraveling everything from curator privilege, over-emphasis on the physical exhibiton, Eurocentrism, and Credits 71 anthropocentrism.

Such were the new ideas that we were working on, to shift our perspectves in many ways, when we were thrown into the global wave of the pandemic caused by the new coronavirus. We were suddenly faced with a new set of challenges, such as dealing with the fact that neither the artstc director nor the artsts could travel to Japan, reworking transportaton and installaton plans, and shiftng programs to online platforms.

We hope that this report, which documents a Triennale that played out like a raft riding through rapids, might one day become a useful reference for future biennales and triennales. As a ﬁnal note, we would not have been able to open this Triennale without the assistance of the many people who extended their generous support and also the visitors who came to see the exhibiton in person. We extend our grattude for their contributons.

Notes

1. Data on artsts and works, names of organizatons, groups, and insttutons, and ttles of individuals are current as of October 11, 2020. KURAYA Mika 2. The year (2020) is omited for dates of actvites that took place during the Triennale year. 3. “Yokohama Triennale 2020” is used for Yokohama Triennale 2020 “Afterglow.” Executve Chairperson, Organizing Commitee for Yokohama Triennale 4. “Raqs” is used for “Raqs Media Collectve.” Director, Yokohama Museum of Art 5. “AD” is used for “Artstc Director.” 6. “COVID-19” is used for “coronavirus disease 2019.” 7. The credits for photographs in “Exhibiton Documentaton” (pp.21–39) and “Yokohama Triennale 1st – 7th Editons” (pp.68-69) are listed on the “Credits” page. The photographs in “Art Programs in the City” (pp.53–55) are provided by the organizers. Other photographs without credits are taken either by the Organizing Commitee for Yokohama Triennale or by the staf of Yokohama Museum of Art.

8 9 The world changed, and we all matered 01. Major Events Leading to Yokohama Triennale 2020

As we write these lines, a debate is raging in the world about forms of morality that need to be brought [Timeline] （Major events are noted in bold, COVID-19 related events are in blue） to bear within public (and personal) life. What is the nature of the compass that gives us a directon into the future? Are our decisions and dispositons to emerge from an inventve working of values of equality that carry a nuanced idea of a just life, or are they to maintain what is culturally dominant, habitual, and 2018 Mar 27・The 20th General Meetng of the Organizing Commitee for Yokohama Triennale (Yokohama Triennale outline; exhibiton dates and venues) conventon-bound? May・The Recommendaton Commitee nominates 21 candidates for the Artstc Director (AD) June 26・The 7th Yokohama Triennale (7th editon) AD Selecton Commitee shortlists four candidates Aug 21, 24・The 7th editon AD Selecton Commitee selects Raqs Media Collectve (Raqs) as one of the finalists In some ways, the Yokohama Triennale 2020 is a site working out the nuances of principles that underline Oct 14–17・Raqs in Yokohama for the first tme (agreement / site visits to the proposed venues / discussion on the directon of the exhibiton, etc.) all our global presences, and interdependences. By staging the Yokohama Triennale 2020 as an opportunity Nov 26・The 21st General Meetng (AD approval / project schedule) to think these questons, we were able to embark on a remarkable journey to imagine responses with a large Nov 29・Press announcement of Raqs as AD of the 7th editon number of protagonists. En route we understood that the triennale as a form is critcal in today’s world for Dec ・Raqs starts research visit (Turkey) upholding a trans-global deliberatve process. We hope we have been able to communicate this sense and 2019 Feb 2 “Yokohama Art Rally” (Featuring: Shiriagari Kotobuki, Aida Makoto, JARUJARU, Chihara Tetsuya, Kuramoto Mitsuru and others) feeling to, and for, Yokohama. Goodbye, and see you in the next editon in 2023, as guests to conversatons. ・・Start audience research (finish on March 31) Feb 19–27・ Raqs in Yokohama (Meetngs with artsts Arai, Iwai, Iwama, Takekawa [Printng Sound] / research in Yokohama and Tokyo / audience research, etc.) *Inital meetngs are mentoned hereafter Online meetngs with overseas-based artsts begin October 11, 2020 ・ Feb 20・Raqs gives a presentaton for the series “Curatng Internatonal Exhibitons,” organized by Yokohama Museum of Art Raqs Media Collectve Mar ・Raqs research visit (Qatar) Artstc Director, Yokohama Triennale 2020 ・Raqs confirms the series of program to be named “Episōdo” Mar 6・The 22nd General Meetng (exhibiton dates and venue / project and budget plans for FY2019) May・Raqs research visit (Greece, the Philippines, United Arab Emirates [UAE], Qatar) / curatorial team research visits (Greece, Italy, Qatar, UAE) June・Raqs research visit (Australia) June 21– July 2 ・ Raqs in Yokohama (meetngs with artsts, Tamura, Iiyama / research visit by Franke and Vidokle / research in Kyoto and Osaka related to Shintaku, Kaneuji, Zheng, Vidokle / planning for Episōdo, etc.)

July・Raqs research visit (France, Italy) / Artsts’ site visits begin July 2・Press announcement of the exhibiton dates and venues (July 3–October 11, 2020 / Yokohama Museum of Art and PLOT 48) July 12–16 ・Raqs in Yokohama (planning of Episōdo, etc.) ・Ariane Spanier commissioned as main visual designer after interview with candidates July 13 ・ Raqs (Jeebesh Bagchi) speaks at Internatonal Symposium 2019 “Trading Places” / Asia in Resonance 2019 (Organizer: The Japan Foundaton Asia Center / Venue: Tokyo Metropolitan Theatre Gallery 1)

Aug ・Raqs proposes “Afterglow” as the ttle of Yokohama Triennale 2020 ・Curatorial team research visit (UK) Oct・Raqs research visit (UK, France) Oct 29–Nov 5 ・ Raqs in Yokohama (meetngs with artst, Takemura, Sato, Knox, Aono / research in Yokohama, Tokyo, and Sendai / planning exhibiton floor plan) ・Kudo Momoko of MMA Inc. commissioned as space designer/architect after interview with candidates Nov・Raqs research visit (Taiwan, Korea) Nov 26–Dec 5・Raqs in Yokohama (Episōdo 00 / exhibiton floor plan / wall texts, etc.) ・Artsts in Yokohama (Berrada, Franke, Wong, Malatsie, Xie [Xie stays untl Jan 31]) Nov 29・Press preview of Episōdo 00 (at PLOT 48) and launch of Sourcebook ・Launch of the Yokohama Triennale 2020 website / Press announcement of the ttle, concept, and the first list of partcipatng artsts Nov 30・Episōdo 00 (at PLOT 48) Dec 2・ Raqs meets with Hayashi Fumiko, Representatve of Honorary Presidents of the Organizing Commitee for Yokohama Triennale Dec 4 ・Open call for the Guide Service Supporters begins

2020 Jan・Artsts’ research visit in Yokohama (Farming Architects) Jan 16 The ﬁrst case of coronavirus infecton is conﬁrmed in Japan

Jan 16–20・Raqs in Yokohama (exhibiton ﬂoor plan / ﬁnalize the list of 65 groups [67 artsts] to be announced in April) Jan 25 The Government of the Hong Kong Special Administratve Region raises the response level to the coronavirus infecton to “Emergency”

Feb・Artst in Yokohama (Mohaiemen), residency stay in Yokohama (Make or Break) Feb 3 The cruise ship Diamond Princess arrives at Port of Yokohama Feb 10 Episōdo 01, originally planned to take place in Hong Kong in March, postponed (to Oct 17) Raqs Media Collectve ・ Feb 11 World Health Organizaton (WHO) ofcially names the coronavirus infecton COVID-19 (coronavirus disease 2019)

Feb 27・Open call for the Visitor Service Supporters begins (actvites are later cancelled due to COVID-19) Based in New Delhi, Raqs Media Collectve was Feb 29 Temporary closure of Yokohama Museum of Art due to the COVID-19 (untl July 16) formed in 1992 by Jeebesh Bagchi, Monica Narula and ・

Shuddhabrata Sengupta. Mar 11 WHO declares COVID-19 a pandemic Mar 21 Entry restrictons into Japan become efectve (from left) Shuddhabrata Sengupta, Jeebesh Bagchi, Mar 25・The 23rd General Meetng (outline of the 7th editon / budget plan) Monica Narula Mar 25 Natonwide lockdown in India begins (lifted on June 8)

Photo: KATO Hajime Mar 30 Announcement of one-year postponement of the Tokyo 2020 Olympic Games

10 11 Mar 31・Osaka Eriko resigns as Director of Yokohama Museum of Art (she contnues to stay as the Executve Chairperson) The Autodidacts’ Yokohama Triennale 2020: Notes on Planning and Preparaton Apr 1・Kuraya Mika assumes the positons of Director of Yokohama Museum of Art and Executve Chairperson Apr 7 The Japanese government declares a state of emergency

Apr・ Online training programs for Supporters begin ・Internal discussion on opening the Triennale under the pandemic begins / Communicaton with overseas-based artsts to adapt plans on Preparatons for the Yokohama Triennale 2020 began in August and stood not as an object-based installaton but as a collecton of producton, fabricaton, and transportaton, where necessary / Artsts based in Japan start on-site producton at PLOT 48 (Sato, Knox) 2018, when Raqs Media Collectve was selected as Artstc Director. difused light. At the same tme, Raqs paid careful atenton to Apr 13・Announcement of 65 groups (67 artsts) of partcipatng artsts through the newsleter and the ofcial website As they were the ﬁrst non-Japanese AD to be appointed by the decentralizing and diversifying of norms, not only by balancing the Apr 24・Executve Chairpersons conﬁrm cancelaton of the opening recepton and limitng guests for the preview Organizing Commitee, we, the curatorial team, imagined that it selecton of artsts and artworks, but also through the placement of Early May・ Transportaton by sea begins would take tme for us to familiarize ourselves with their thoughts. the works in the gallery spaces. The juxtapositon of 'Franke = ・Curatorial team starts working on alternatve logistc plans in case Raqs and overseas-based artsts cannot travel to Japan But as their directon and interests were made apparent during the Woman' on the exterior and 'Cave = Black' in the interior is an Mid-May・ Fabricaton starts at PLOT 48 / Online communicaton with Raqs becomes routne selecton process, our apprehensions proved groundless. Raqs example of such curatorial consideratons. Collecton of artworks and transportaton begin (by air, with delays and irregular schedules) ・ proposed not to set a theme in advance, but to start from a set of

May 14 Japanese Associaton of Museums (JAM) establishes “Guidelines for Controlling the Spread of Novel Coronavirus Infectons in texts which they called “sources.” With these, they would start The exhibiton started with the personal point of view such as the Museums” (JAM Guidelines) in response to government notficaton discussions with artsts as well as the public, so that the Triennale individual and the family, leading then to issues of ethnicity and Late May Internal discussion on ant-coronavirus measures contnues and exhibiton plans are revised to minimize risks where necessary / Installaton of ・ would not become a monolith built by the AD, but a “thicket of history, and from there shiftng to those related to the body and artworks starts at PLOT 48 (artsts on-site: Iikawa, Sato, Tan, Knox / artsts assistants on-site: Arunanondchai, Vidokle, Kawakubo) thought” conceived by partcipants from various locatons and human percepton, as well as to life and death, and ecology. The visi- May 24・The 24th General Meetng (closing of the FY2019 financial term) backgrounds. Thus, the second half of 2018 was spent discussing tors could experience this array of motfs while walking through the May 25 The government lifts the state of emergency / Entry restrictons remains efectve how we could deepen our understanding of each source, and gallery spaces of Yokohama Museum of Art and PLOT 48. The flow

May 27 Kanagawa Prefectural Government relaxes restrictons on art museums and other facilites conduct multfaceted research. The “partcipants,” or perhaps of thought demonstrated in the exhibiton, which expanded in scale June・Artworks start arriving on-site / Fabricaton starts at Yokohama Museum of Art “protagonists,” in Raqs’ term, were not to be consttuted only by from the familiar to the cosmic, also led to questoning our current ・Discuss revisions on Episōdo scheduled during the exhibiton period curators and artsts. Rather, visitors, museum docents and anyone human-centered society. June 1・The 25th General Meetng (opening date changed from July 3 to July 17) else involved in the project were also to become “autodidacts” who June 3・ Announcement on new opening date, launch of pre-booking/tme-sloted tcket system, and COVID-10 safety measures during the Mayor’s would take part in growing the thicket of thought. The ﬁrst step was Finally, a note on the impact of the COVID-19 pandemic on the daily press conference thus to conduct an audience research. In spring of 2019, a sur- preparatons for the Triennale. As the preparatons were originally to Mid-June・ Installaton starts at Yokohama Museum of Art (artsts on-site: Aono, Arai, Iiyama, Iwai, Takemura, Kaneuji / assistants on-site: Barba) vey-like project was organized and the public were asked to respond coincide with the period of the Tokyo 2020 Olympic Games, we had ・Artworks start arriving and installaton proceeds with online communicaton to the queston, "What arises within when you encounter a work that antcipated challenges in logistcs and travel arrangement of artsts,

June 19 The advisories against inter-prefectural travel are lifted calls itself art?" As a result, we collected more than 200 answers and had therefore begun preparatons with the transportaton, June 22・ Online press conference presents Raqs video message on the concept and announces the tcket sale date which were shared with Raqs. The purpose of this exercise was not fabricaton, and installaton earlier than usual. Further, working June 23・Tickets go on sale to arrive at a conclusion, but to involve partcipants in the very act of online was already the norm for communicaton with Raqs, who July・Fabricaton and installaton starts at NYK Maritme Museum contnuing to think and discuss, or in short, to become discursive. were usually in Delhi, and the artsts living overseas who required July 3・Episōdo X (online streaming) and Episōdo 02 begins (in Johannesburg through to Aug 14) "Episōdo" was conceived as an extension of these thoughts. site visits had already finished their visits and residencies before July 16・ Preview / Online and on-site press conference announcing 67 artsts/groups (held at Yokohama Landmark Hall, with Raqs partcipatng online) February, when travel restrictons began. As a result of these factors ・Performance by Takemura (untl Oct 11, mainly on weekends) Preparaton for Episōdo began around spring 2019, as a platform to coming together, there was no significant delay. However, once a ・Raqs and Curatorial Head carry out an online walkthrough for the overseas-based artsts focus on the sustainability of change, free from the traditonal state of emergency was declared in Japan, we antcipated that the frameworks of the exhibiton, bound by temporal and spatal limita- artsts who had planned to create their works on site might no longer July 17・Yokohama Triennale 2020 opens to the public tons. At the same tme, a great amount of tme was spent on re- be able to come to Japan. We therefore had to shift to ask them Episōdo 03, 04, 06, and 09 begin in the exhibiton venues ・ search into artsts and works from throughout Japan and various either to complete their works in their respectve countries, to create July 19 (July 26, Aug 9 and 23, Sept 6 and 20, Oct 11) ・Episōdo 06, Iwai’s online workshop and on-site acton starts countries around the world. Especially from Japan, the “luminosity,” them in another more stable third locaton, or even to change the ・“Online Guide” by the Guide Service Supporters begins (untl Oct 9) “toxicity” and “care” of the atomic bomb and the nuclear power form of the works themselves. Preparatons for the exhibiton Aug 21 Program for junior high and high school students begins (untl Feb 28, 2021) ・ plant, and Okinawa and its geopolitcs in relaton to the history of became possible, despite the physical absence of Raqs and the Aug 22 (on-site exhibit Aug 21–Oct 11) ・Episōdo 05 Printng Sound online project SURE INN colonizaton in Southeast Asia and the Pacific, as well as the majority of artsts from the site, with heavy use of messaging and Aug 25・Children’s Workshop “Meet the Artsts: Sato Risa” (at Minatomiraihoncho Elementary School, Yokohama) “friendship” or “care” nurtured in these communites, were subjects conferencing apps. However, it was extremely difcult to grasp an Aug 30・ Citzens’ Workshop “Catching Iikawa Takehiro’s Thoughts” / Make plans to present Episōdo 01 (in Hong Kong) and Episōdo 10 online and stream of interest, passed on to Episōdo by Iwai Masaru, Printng Sound understanding of a three-dimensional physical space projected only video works on exhibit for a limited period and Int Guerrero, as well as several exhibited works. In additon, through a small screen. This required both communicaton skills Sept・The final number of the partcipatng artsts confirmed as 69 artsts/groups rather than having people from around the world come to Yokoha- and twice the tme or more to convey the critcal points of the Sept 9・Exhibiton guide assisted by avatar robot “OriHime” begins ma, presentng Yokohama to a global audience as a platform for installaton. Performances and workshops, such as parts of Episōdo Sept 11・“BankART Life VI” and “Koganecho Bazaar 2020” begins (closes on Oct 11) discussion was made priority in the early stages. From this thought (01, 05, 06, 08, 10, etc.) in which the artsts and partcipants were Sept 12・Performance of Taus Makhacheva’s artwork begins (untl Oct 10) developed plans for Episōdo to travel to diferent locatons around intended to meet face to face, had to be altered to conduct parts of Sept 16・Episōdo 07 Sound Reasons begins (closes on Sept 27) the world before the opening of the Triennale. These were realized in the workshops online, or rescheduled. Further, with the hope of the Sept 19・Visitor number restrictons relaxed following the government’s notficaton the form of “Episōdo 01, 02, 03: Deliberatons on Discursive Justce,” virus being contained, we had contnued to pursue the possibility of Sept 24・Launch Yokohama Triennale 2020 Virtual Tour on the ofcial website which included a scenography, or a set of objects and narratves holding such programs in person once the Triennale began. But exhibited in Johannesburg and streamed online to sustain dialogues when it became clear in September that it would be difcult for Oct 1・Episōdo 08 Tamura Yuichiro begins (on-site performance and exhibiton Oct 2–11) and discussions involving not only the artsts and partcipants, but Raqs to come to Japan by the end of the exhibiton, 01 and 10 were Oct 2・Late night opening begins (Oct 2, 3, 8, 9, 10, 11) also non-human protagonists. changed to take place online after the closure of the exhibiton. As a Oct 5・Episōdo 10 Intersttum begins (selected video works online screening for a limited period) result of these external factors, the individual methods and tmings Oct 11・Closing of Yokohama Triennale 2020 Episōdo 09 Dennis Tan The case of the ringing bell contnues The preparatons for the exhibiton, which was to be conceived in were shaken, meaning that the Episōdo numbers were no longer in ・ parallel to Episōdo, began in full scale in mid-2019. In the selecton order. The non-human being that is COVID-19 contnually shook the Oct 17・Episōdo 01 Afterparty of artsts and works, and in the layout of the exhibiton, Raqs placed project’s implementaton plan right throughout the exhibiton period, emphasis on the contnuity between the works themselves, which leading to an exploraton of online projects. This Triennale required 2021 Jan 8 The government declares the second state of emergency. they termed “flow.” Eforts were made to avoid a partcular work an autodidactc process and discussion without answers, not only in Mar 2・Online release of the archive video of the exhibiton from dominatng the space in both physical and contextual terms. terms of content but also implementaton.

Mar 21 The government lifts the state of emergency. Ivana Franke’s work installed on the exterior of the Yokohama Mar 26・ The 26th General Meetng (outputs and outcomes, etc.) Museum of Art disrupted the visitors’ percepton and presented the KIMURA Eriko Mar 31・Publicaton of ofcial catalogue museum building as a ﬂuid and elusive material, while Nick Cave's Curatorial Head, Yokohama Triennale 2020 work in the Grand Gallery widened and confused the viewer's gaze Curator, Yokohama Museum of Art

12 13 30 IWAI Masaru Japan Tokyo 1975 Yokohama Museum of Art/Episōdo 02. Exhibition Documentation 31 IWAMA Asako Japan Tokyo and Berlin N/A Yokohama Museum of Art

32 KANEUJI Teppei Japan Kyoto 1978 Yokohama Museum of Art The Yokohama Triennale 2020 “Afterglow,” directed by the Artstc Director Raqs Media Collectve, was 33 KAWAKUBO Yoi Spain London and Tokyo 1979 PLOT 48 composed of two frameworks; one was an exhibiton and the other was a series of events called “Episōdo,” which expanded the Triennale beyond the exhibiton in spatal and temporal terms by commencing before 34 Lebohang KGANYE South Africa Johannesburg 1990 Yokohama Museum of Art the ofcial opening and contnuing after the closing of the Triennale, and held online and abroad as well. 35 KIM Yunchul Korea Incheon 1970 Yokohama Museum of Art

Raqs prepared “sources” as the startng points to contemplate the Triennale, derived several keywords to 36 Elena KNOX Australia Tokyo N/A PLOT 48 comprehend the world—“autodidact,” “luminosity,” “friendship, “care” and “toxicity”—, and selected 69 New York and 37 LAU Wai Hong Kong 1982 PLOT 48 artsts/groups, more than half of them showing works for the ﬁrst tme in Japan, from around the world Hong Kong

including Asia, Middle East, Africa and South America. Their works and diverse actvites were introduced in 38 Russ LIGTAS Philippines Manila 1985 PLOT 48

the exhibitons at Yokohama Museum of Art, PLOT 48 and NYK MARITIME MUSEUM and in 12 Episōdos. Make or Break 39 Australia Sydney 1978/1985 Yokohama Museum of Art (Connie ANTHES & Rebecca GALLO)

40 Taus MAKHACHEVA Russia Moscow 1983 Yokohama Museum of Art

41 Kabelo MALATSIE South Africa Johannesburg 1987 Episōdo List of Partcipatng Artsts (in alphabetcal order) 42 Naeem MOHAIEMEN UK Dhaka and New York 1969 PLOT 48

43 James NASMYTH UK ー 1808-1890 Yokohama Museum of Art

Name Place of birth Place of actvity Year of birth/death Venue/Project 44 PARK Chan-kyong Korea Seoul 1965 Yokohama Museum of Art

1 Haig AIVAZIAN Lebanon Beirut 1980 PLOT 48 45 Amol K. PATIL India Mumbai 1987 PLOT 48

2 Farah AL QASIMI UAE New York and Dubai 1991 PLOT 48 46 Printng Sound China, Japan, Korea China, Japan, Korea Initated 2018 PLOT 48/Episōdo

3 Morehshin ALLAHYARI Iran New York 1985 Yokohama Museum of Art 47 Aluaiy PULIDAN Taiwan Sandimen 1971 PLOT 48

4 Robert ANDREW Australia Brisbane 1965 Yokohama Museum of Art 48 Renuka RAJIV India Bangalore 1985 Yokohama Museum of Art

5 AONO Fumiaki Japan Miyagi 1968 Yokohama Museum of Art 49 Oscar SANTILLAN Ecuador Den Haag 1980 Yokohama Museum of Art/PLOT48

6 ARAI Takashi Japan Kanagawa 1978 Yokohama Museum of Art 50 SARKER Protck Bangladesh Dhaka 1986 Yokohama Museum of Art/PLOT48

7 Korakrit ARUNANONDCHAI Thailand New York 1986 PLOT 48 51 SATO Masaharu Japan ー 1973-2019 Yokohama Museum of Art

8 Rosa BARBA Italy Berlin 1972 Yokohama Museum of Art 52 SATO Risa Japan Kanagawa 1972 Yokohama Museum of Art/PLOT48

Ratnagiri and 9 Taysir BATNIJI Palestne Paris and Gaza 1966 Yokohama Museum of Art 53 Renu SAVANT India 1981 PLOT 48 Mumbai 10 Hicham BERRADA Morocco Roubaix 1986 PLOT 48 54 Ish SHEHRAWAT (Ish S) India New Delhi 1978 Yokohama Museum of Art/Episōdo 11 Nick CAVE USA Chicago 1959 Yokohama Museum of Art Kathmandu and 55 Tsherin SHERPA Nepal 1968 Yokohama Museum of Art 12 CHEN Zhe China Beijing 1989 Yokohama Museum of Art Oakland (California) 56 SHINTAKU Kanako Japan Kyoto 1994 Episōdo 13 Jesse DARLING UK London and Berlin 1981 Yokohama Museum of Art 57 Elias SIME Ethiopia Addis Ababa 1968 Yokohama Museum of Art 14 Max DE ESTEBAN Spain Barcelona 1959 Yokohama Museum of Art 58 Rayyane TABET Lebanon Beirut 1983 Yokohama Museum of Art 15 Eva FÀBREGAS Spain London 1988 Yokohama Museum of Art 59 TAKEMURA Kei Japan Gunma 1975 Yokohama Museum of Art 16 Marianne FAHMY Egypt Alexandria 1992 NYK MARITIME MUSEUM

Kuwait City and 60 TAMURA Yuichiro Japan Kyoto 1977 Yokohama Museum of Art/Episōdo 17 Alia FARID Kuwait 1985 Yokohama Museum of Art San Juan 61 Dennis TAN Singapore Singapore and Tokyo 1975 PLOT 48/Episōdo 18 Farming Architects Vietnam Hanoi Est. 2017 PLOT 48 Hong Kong and 62 Ali VAN USA 1986 Episōdo 19 Ivana FRANKE Croata Berlin 1973 Yokohama Museum of Art Minnesota 63 Venzha Christ Indonesia Yogyakarta 1973 Yokohama Museum of Art/Episōdo 20 Rahima GAMBO UK Abuja 1986 PLOT 48 64 Anton VIDOKLE Russia New York and Berlin 1965 PLOT 48 21 Zuza GOLIŃSKA Poland Warsaw and London 1990 Yokohama Museum of Art 65 Omer WASIM & Saira SHEIKH Pakistan Karachi 1988/1975-2017 Yokohama Museum of Art 22 Andreas GREINER Germany Berlin 1979 PLOT 48 66 Michelle WONG Hong Kong Hong Kong 1987 Episōdo 23 Int GUERRERO Colombia Hong Kong 1983 Yokohama Museum of Art/Episōdo 67 Lantan XIE N/A Dubai 1988 Yokohama Museum of Art/Episōdo 24 Nilbar GÜREŞ Turkey Vienna and Istanbul 1977 Yokohama Museum of Art 68 ZHANG XU Zhan Taiwan Taipei 1988 Yokohama Museum of Art 25 Tina HAVELOCK STEVENS Australia Sydney N/A PLOT 48 Lantau Island, 69 ZHENG Bo China 1974 PLOT 48 26 Joyce HO Taiwan Taipei 1983 PLOT 48 Hong Kong

27 Ingela IHRMAN Sweden Malmö 1985 Yokohama Museum of Art Artsts partcipatng in Episōdos 28 IIKAWA Takehiro Japan Hyogo 1981 PLOT 48 Episōdo 03: Merv ESPINA, PUGMENT Episōdo 04: ISHIUCHI Miyako, ISHIKAWA Mao, Kathy JETÑIL-KIJINER (with Dan LIN), Eisa JOCSON, Paul JACOULET, Cristna LUCAS, TANAKA Atsuko, 29 IIYAMA Yuki Japan Tokyo 1988 Yokohama Museum of Art Wilhelm VON GLOEDEN

14 15 Episōdo X Sourcebook and Episōdo 15 works created and ﬁlmed by partcipatng artsts and the Organizing Commitee for Yokohama Triennale were presented in digital forms on the ofcial website from July 3, the original opening date of the Triennale.

Raqs Media Collectve chose a set of five texts, or “sources,” as a startng point to deliberate the Triennale Dates: July 3–ongoing together with the partcipatng artsts. Furthermore, to expand the Triennale beyond the exhibiton in spatal Venue: Online and temporal terms, “Episōdo,” or a series of programs combining performances, workshops, and music Number of viewers: 10,773 (as of October 11) events, was organized in physical and digital spaces. Artsts and works: IWAI Masaru, Magic hour (for Episōdo), Stacking Actons (for Episōdo), and Play with graphite in Yokohama (for Episodo) Taus MAKHACHEVA, Quanttatve Infinity of the Objectve KAWAKUBO Yoi, LOOP A LIVE, EVIL A POOL Make or Break, Speaking to the Street (Koganecho/Parramata) Elena KNOX, Volcana Brainstorm Amol K. Patl, Rest, Study oneself KAWAKUBO Yoi, LOOP A LIVE, EVIL A POOL Sourcebook Dennis TAN, The case of ringing bell performance (Sangenjaya) Partcipatng artsts showing videos produced by the Organizing Commitee for The five texts consttutng the sources of Yokohama Triennale 2020 were compiled in a booklet, which was distributed free of charge at Yokohama Triennale: TAKEMURA Kei, Farming Architects, SHINTAKU Kanako, Episōdo 00. It was also made available online. Haig AIVAZIAN, Nick CAVE

Contents of the Sourcebook (*sources)

1 ・ Introducton to the Sourcebook for Yokohama Triennale 2020 by Organizing Commitee for Yokohama Triennale Episōdo 01 Deliberatons on Discursive Justce: Afterparty ・ Sharing Our Sources by Raqs Media Collectve ・ Yokohama Street Life: The Precarious Career of a Japanese Day L aborer by Tom Gill* Initally planned to open before the Triennale, but postponed due to the spread of COVID-19, the “Afterparty” was held after the closing of the ・ Bongomohilar Japan Jatra [A Bengali Woman’s Voyage to Japan] by Hariprabha Takeda* Triennale as the last event of the Episōdo “Deliberaton on Discursive Justce,” convened by Kabelo Malatsie, Michelle Wong and Lantan Xie. It ・ Scenography of Friendship by Svetlana Boym* featured DJ Phatstoki from Johannesburg with rapper Fotan Laiki and visual artst Jerome Reyes from Hong Kong and was live-streamed for ・ The Authorship and Signiﬁcance of the Nujūm al-‘ulūm: A Six teenth-Century the audience to join online. *In English only Astrological Encyclopedia from Bijapur by Emma Fl at/Nujūm al-‘ulūm [illustratons]* ・ Luminous Pursuit: Jellyﬁsh, Gfp, and the Unforeseen Path to the Nobel Prize by Osamu Date/Time: October 17/23:00–26:00 (Japan tme) Shimomura, Sachi Shimomura, John H Brineg ar* Venue: Online (live-streamed from Hong Kong and Johannesburg) ・ Yokohama Triennale 2020 to Start with the Episōdos by Raqs Medi a Collectve Number of viewers: 452

Protagonists: PHATSTOKI, FOTAN, LAIKI, SODA STUDIO, Michael, Designer: Ariane Spanier (assisted by Mineishi Keiko) Malose MAHLASELA, PIKACHU, DANCING DIGITS, SOMEONE WALKING TO GET Size/Format: h. 190 x w. 115 mm / Japanese and English editons / published on November MORNING COFFEE, SOMEONE WASHING DISHES, AFRO ASIA, AKIL WORLD Cover 29, 2019 TIME, MARIKO AND TOM, Jerome REYES, Amiya NAGPAL, PINK LIGHT FROM NEIGHBOUR’S HOUSE, PORTABLE GENERATOR, MONKEY, Linda CHEUNG, Özge ERSOY, Herman LAU, LIN On Yeung, ACO

Live streaming view

Episōdo 00 Sharing Our Sources

The ﬁrst Episōdo was held at the tme of the publicaton of the Sourcebook. Raqs presented the sources through the performances Episōdo 02 Deliberatons on Discursive Justce: Scenography for Suspended Time and lectures by the partcipatng artsts. *Japanese-English consecutve interpretaton The scenography was set up in Johannesburg to contemplate on “Deliberatons on Discursive Justce” by Kabelo Malatsie, Michelle Date/Time: November 30, 2019/14:00–18:00 Wong and Lantan Xie and explored the possibility of a paradigm (Press preview on November 29) outside relatonships of reward and retributon and other procedural Venue: PLOT 48 forms to setle disputes. An online walkthrough by the curators was Admission fee: 1,000 yen held on August 13. Moderator: Raqs Media Collectve Dates: July 3–August 14 Number of partcipants: 163 Venue: 52 Kimberly road, Lorentzville, Johannesburg Number of visitors: 48 Artsts and works: SHINTAKU Kanako, I’m stll alive Number of viewers: [Live stream] 146 TAMURA Yuichiro, Awe / If Ivana FRANKE, Chairs Outside of Human Consciousness Protagonists: PUSHIE, Mr. KING, Mr. PRINCE, MONEY PLANT, SNAKE PLANT, Lantan XIE, Speech act for a screening BUTTERFLY PALM, Hicham BERRADA, Pallavi PAUL, Cici WU, HERON, FISH, Hicham BERRADA, Présage Sunday LAI Long Sang, COPPER, NANNI, A. Leo OPPENHEIM, KINOSHITA Reading: NISHIOKA Ai (Reporter, Japan Broadcastng Corporaton [NHK] Yokoha- Takahiro, George MAHASHE, Reﬁloe NAMISE, Nicholas HLOBO, TSHEPO, Musa BALOYI, KHUMBU, YU Man Hon, YAMAHA, TRANSNET COPPER, CHURCH ON ma Staton) Photos: George MAHASHE VILJOEN STREET, HILUX, DUMI, RASHID, CATNIP, 1989 NASA REPORT, PAHARPUR BUSINESS CENTRE, Kamal MEATTLE, FISH PUMP, WORLD OF SAMOOSA’S, MOTHER IN LAW SPICE, SECURITY CAMERA, GUAN Yu, Neo DISEKO, SIMON

SHINTAKU Kanako, I’m stll alive, 2019 (Top) / Raqs giving an opening speech (Botom left) / Hicham BERRADA, Présage, 2019 (Botom right) Photos: KATO Hajime

16 17 Episōdo 03 Deliberatons on Discursive Justce: Chasing the Scent Episōdo 05 Printng Sound: SURE INN

The deliberaton on discursive justce by Kabelo Malatsie, Michelle Printng Sound, an artst group consistng of more than 40 artsts from Wong and Lantan Xie in Yokohama manifested in two works – Japan, China and Korea, presented a one-day live-streaming project a sound installaton by a sound artst Merv Espina and a work “SURE INN” featuring video, animaton, music, photographs and to contemplate on wardrobe by the fashion label PUGMENT. more. Some artworks from the program were exhibited in the lounge Espina installed radio transmiters in various places in the venue at PLOT 48 to document their actvites. and created an installaton with the sound transmited to the Date/Time: radios that docents carried with them in the venue. PUGMENT [Live streaming] August 22/20:00–22:00 proposed deliberatons through wardrobes and unfolded the project [Exhibiton] August 21–October 11 with Instagram and T-shirts, which were worn by docents in the Venues: Online, Lounge at PLOT 48 venue. A two-day webinar was held as part of Episōdo 10 to deliber- Number of viewers: [Live streaming] 900 ate discursive justce with young architect, performer, poet, writer, curator, thinkers and others in UAE, India, South Africa, Mexico, Members: on Lee, YANG Jian, Nahwan JEON, PEACE MOMO, KATAMI Yo, LU Jiawei, AOTA Shinya, JONG YuGyong, TANG Dixin, SHIMODA Hikota, Indonesia, Hong Kong and other areas. TANIZAWA Sawako, MURPHY Zhong, OSAWA Yudai, Works, XU Xiaorong, *In English only (except Ahmed & Rashid BIN SHABIB who made a HASEGAWA Yui, DJ TASAKA, Tianmu, KIM Myong Hwa, LI Tingwei, KUDO Natsumi, Absolute Purity, Yang Xi, Akira the Hustler, Dongwu Yang, LEE Kyungmin, presentaton in Japanese.) PUGMENT, Wardrobe Discussive, 2020 Photo: OTSUKA Keita MORI Takashi, 73, BuBu de la Madeleine, 6699press, TAKEZAKI Kazuyuki, TANG Ting, Date/Time: [Exhibiton] July 17–October 11 MOUNTAIN/FULL EDITION, YABUUCHI Misako, Yongkwan KIM, Huangshan, [Webinar] October 9/17:00–22:00, October 10/3:00–5:05, TAKEKAWA Nobuaki, Gaymakimaki, Hepziba KIM, Wenjun, LEE Doyun, JUST PROJECT, USUI Yui, KOBAYASHI Noa, HIRANO Taichi, AMIGOS 17:00–21:00 (all Japan tme) Venues: Yokohama Museum of Art, online Artsts and works: Merv ESPINA, Light houses made out of air / PUGMENT, Wardrobe Discussive Number of viewers: [Webinar] 643 (224 on Oct.9, 419 on Oct.10) Installaton view of Printng Sound, SURE INN (Top) Photo: OTSUKA Keita Live streaming views (Botom) Protagonists of Light houses made out of air: Merv ESPINA, THE RADIO ASTRONOMY ASSOCIATION SWITZERLAND (RAAS), PIXELSYNTH, Pallavi PAUL, SUNAPARANTA—GOA CENTRE FOR THE ARTS, ALPHABET SCHOOL, HAUS DER KULTUREN DER WELT, Alessandro GIROLA, Raghunath RAJARAM, Arundhat CHATTOPADHYAYA, Jeetn RANGHER, Saif AKHTAR, Episōdo 06 IWAI Masaru: Broom stars Vlado DZOMBETA, Shalini PASSI, Pascal MUSCH, Dayanita SINGH, Vikram DESSAI, Chrys-Ellen PETERS, Crezel COELHO, Raju BISWAS, Umesh PANT, Greg STACHOWIAK, Namisha PARTHASARTHY, Latka LOBO, Ranjit KANADALGAONKAR, Iwai Masaru explored the theme of “cleansing” and conducted a series of mask making workshops and discussions online (6 tmes), in Chantal OLIVEIRA, Tanya GOEL, Nerissa LAWRENCE, Nachiket BARVE, Nilima MENEZES, Delano D’SOUZA, Shivam RASTOGI, Roah FOBES, Namrata ZAKARIA, Amanda LAWRENCE, Barbara GAVEZOTTI, Zain MASUD, Dr. Munjaal KAPADAI, collaboraton with the Citzens’ Workshop at the Yokohama Museum of Art. He also collaborated with Yokohama Triennale Supporters and Kamna ANAND, Ranjani MAZUMDAR, Cedric G. ALMEIDA, Cheryl DSA, Waswo X. WASWO, Sriparna GHOSH, Syma TARIQ, carried out actons to clean the gallery spaces of Yokohama Museum of Art together (14 tmes). John MENEZES, Amin JAFFER, Khrisha SHAH, Kiran AMBWANI, Maleta GODINHA, Edith LÁZÁR, JAYSIMHA, Ipshita MAITRA, Anita YEWALE, Ratananmol JOHAL, Raktm PARASHAR, Ada Einmo JURGENSEN, Nelinha RAVARA, Cristna Vere NICOLL, Date/Time: Kalyani CHAWLA, Leandre D’SOUZA, Fiona AMUNDSEN, Isheta SALGAOCAR, Paul MATHIEU, Hajra AHMAD, Satya HINDUJA, [Exhibiton] July 17–October 11 * Anandi SOANS, Dipanwita BANERJEE, Odella PINTO, Katarina RASIC, Sahej RAHAL, Jenne COUAILLIER, Sree BANERJEE, [Online (mask making)] July 19, August 9, September 6/13:30–15:00 Ankita NAIK, Kabelo MALATSIE, Lantan XIE, Michelle WONG, Jeebesh BAGCHI, PHATSTOKI, SOUNDPOCKET, Shai HEREDIA, Nicholas GRUM, Amy LIEN, ALL OVER BANGALORE, JAMIA IN NEW DELHI, BOGOTA, BOTH SIDES OF VICTORIA HARBOUR IN [Online (discussions)] July 26, August 23, September 20/13:30–15:00 HONG KONG, LA PAZ DURING PITITA REVOLUTION, BLM PROTESTS BROOKLYN, UP DILIMAN CAMPUS, PRIMERA LÍNEA IN [Cleaning actons] July 19, 26; August 9, 23; September 6, 20; SANTIAGO, ÁGORA MALL SANTO DOMINGO, Pi (π), MORSE CODE, 1990S DIAL-UP MODEMS, SILBO GOMERO, KUŞ DİLİ, October 11/10:30–11:10, 16:30–17:10 and BIKES IN TOKYO Venues: Yokohama Museum of Art, online Protagonists of Wardrobe Discussive: PUGMENT, WARDROBE WEARERS Number of partcipants: [Online] 123

Protagonists of the webinar Chasing the Scent: Typhoon CHAN-HOM, Daikoku, HASHIMOTO Shino, CANDY LIFE, Number of partcipatng supporters: 10 (in cleaning actons) Honda CBX400F, Sumayya VALLY, JOHANNESBURG MINE DUMPS, VREDEFORT CRATER, DAILY SUN, Ahmed BIN SHABIB, Merv ESPINA, Light houses made out Rashid BIN SHABIB, Kenzo TANGE, Aladdin, Hala ALI, Omar AL MUKHTAR, Christan NYAMPETA, Rodrigues KAREMERA, of air, 2020 RADIO TROPIEZO, Dineo Seshee BOPAPE, Kanouté KÉMISSIN, Aki HOASHI, Grace SAMBOH, GUNUNG MERAPI, TUMPENG, Photo: OTSUKA Keita MONUMENT YOGYA KEMBALI, Griya Seni Hj. KUSTIYAH & Edhi SUNARSO, FATMAWATI, Amiya NAGPAL, SPOTIFY HACKER, SLUG HOTLINE OPERATOR, Siv GREYSON, Mamello MAKHETHA, LO TING, Mr. WAT, Abhishek HAZRA, Mark CHUNG, Santhosh S, Samantha KWOK

IWAI Masaru, Broom stars, 2020, Cleaning acton, Photo: OTSUKA Keita

Episōdo 04 Int GUERRERO: Insttute for Tropical and Galactcal Studies Episōdo 07 Sound Reasons

Presented as an Episōdo in a form of exhibiton, a guest curator Int Sound installatons by the sound artst Ish SHEHRAWAT (Ish S) and Venzha Christ, Evoluton of the Guerrero curated a themed exhibiton. Centering around the collec- the media artst Venzha Christ were exhibited, and an online walk- Unknown VII, 2020 (Top) Ish SHEHRAWAT (Ish S), An ton of Yokohama Museum of Art, the exhibit mainly focused on the through by the artsts was held on September 19. Octagon and a Square II, 2020 complex history of colonialism in the Paciﬁc islands through the (Botom) Dates: September 16–27 works by eight artsts and historical artfacts, including guest artsts Photos: OTSUKA Keita Venue: Lecture Hall, Yokohama Museum of Art and loaned works. Number of visitors: [Exhibiton] 3,267 Dates: July 17–October 11 * Number of viewers: [Live streaming] 136 Venue: Yokohama Museum of Art Artsts and works: Artsts from the collecton of Yokohama Museum of Art: ISHIUCHI Miyako, Ish SHEHRAWAT (Ish S), An Octagon and a Square II Paul JACOULET, TANAKA Atsuko, Wilhelm VON GLOEDEN Venzha Christ, Evoluton of the Unknown VII Guest artsts and loaned works: ISHIKAWA Mao, Kathy JETÑIL-KIJINER (with Dan LIN), Eisa JOCSON, Cristna LUCAS and Antng-Antng artfacts from the Philip- pines Installaton view of Paul JACOULET, from Int GUERRERO, Insttute for Tropical and Galactcal Studies, 2020 Photo: OTSUKA Keita

*The dates for Episōdo 04, 06 and 09 are the same as the exhibiton dates.

18 19 Episōdo 08 TAMURA Yuichiro: Chemistry / The Story of C Exhibiton ［ Yokohama Museum of Art］

A sequel to the performance Awe / If presented at Episōdo 00 by TAMURA Yuichiro, Chemistry / The Story of C unfolded in four acts: video works and exhibiton in the Acts 1 through 3 were presented online and on-site, and the last Act 4 presented a combinaton of a on-site live performance and a video stream to be viewed through mobile devices.

Dates: [Online] October 1–ongoing [Exhibiton] October 2–11 Venues: Lecture Hall, Yokohama Museum of Art, Online Number of visitors: 2,584 Number of viewers: [Online videos] 2,166 (as of October 11), [Live streaming] 1,672

Works: Act 1, Carbonizaton (released on October 1) TAMURA Yuichiro, Chemistry / The Story of C, 2020 Act 2, Authentcity (released on October 4) Act 1, Carbonizaton (Top left) / Act 2, Authentcity (Top right) / Act 3, Act 3, Hemicorpus (released on October 7) Hemicorpus (Center left) / Act 4, Emergence (Center right) (Internet Act 4, Emergence (held on October 10 and 11) video streaming for Act1-3, live streaming for Act 4) / Act 4, Emergence, performance view (Botom), Photo: OTSUKA Keita

Episōdo 09 Dennis TAN: The case of the ringing bell

Dennis Tan presented an installaton at Plot 48 based on his ﬁrst- hand experience with ringing of a bell in the crowd in Shibuya. He has also embarked on a journey that would last for 1000 days untl the next Triennale and carried out performances related to his exhibit at various locatons. The videos of the performances were presented on the ofcial website.

Dates: July 17–ongoing * Venues: PLOT 48, online Ivana FRANKE Resonance of the Unforeseen, 2020 *

Dennis TAN, The case of the ringing bell (A reminder of sorts), Ver.1, 2020

Episōdo 10 Intersttum

13 artsts presented short videos created especially for the Triennale [Streaming of exhibited works] on the ofcial website. In additon, 15 video works in the exhibiton Artsts: ARAI Takashi, Lebohang KGANYE, IWAMA Asako, PARK Chan-kyong, SARKER Protck, Alia FARID, ZHANG XU Zhan, Tina HAVELOCK STEVENS, Rahima were screened on the website for a limited period. GAMBO, Naeem MOHAIEMEN, KAWAKUBO Yoi, Amol K. PATIL, Renu SAVANT, Anton VIDOKLE Date/Time: [Streaming of short video works] October 5–ongoing [Streaming of exhibited works] October 6, 18:00–October 11, 23:59 Venue: Online Number of views: [Streaming of short video works] 5,918 (as of October 11), [Streaming of exhibited works] 9,440

[Streaming of short video works] Artsts and works: Anton VIDOKLE, The God-Building Theory, Renu SAVANT, My Ecosystem Marianne FAHMY, Fragments of myth, fabulaton and what may come Russ LIGTAS, planet blue: epilogue Max DE ESTEBAN, Max de Esteban on Contemporary Infrastructures Make or Break, Some actons with people on bridges SARKER Protck, O great life! / !" #!$%&'( Oscar SANTILLAN, SUNLIGHT MINUS A FIREFLY Nilbar GÜREŞ, Unknown Sports Ali VAN, parterre, 2020 Rosa BARBA, Bending organizatons Ivana FRANKE, Resonance of the Unforeseen Ali VAN, parterre KAWAKUBO Yoi, The Epilogue

*In English only, except for Anton Vidokle and Kawakubo Yoi’s works which were Nick CAVE presented in Japanese and English Kinetc Spinner Forest, 2016 (recreated in 2020)

20 21 James NASMYTH ARAI Takashi Illustratons in “The Moon: Considered as a Planet, a World, and a Satellite,” Multple Monuments for 1000 Women No.1–10, 2020, and others, total 4 works 4th ed.,1903 (1st ed. in 1874)(enlarged facsimile/exhibiton copy, 20 pieces)

Robert ANDREW A Connectve Reveal-Nagula, 2020

AONO Fumiaki Max DE ESTEBAN IWAMA Asako Remnant of the House, Living Place inside Drawers, -Reclamaton of Collected Door, 2020, and others, total 6 works/133 items Red-Dot Prints from “Twenty Red Lights”, 2017, total 1 work/20 items A mound of shells, 2020

TAKEMURA Kei Lebohang KGANYE IIYAMA Yuki Rayyane TABET Time Counter, 2019-ongoing, and others, total 52 works/97 items Mohlokomedi wa Tora (Lighthouse Keeper), 2017, and other, total 2 works Old Long Stay, 2020, and others, total 3 works Orthostates, from the series “FRAGMENTS,” 2017-present, total 1 work/26 items

22 23 KIM Yunchul Nilbar GÜREŞ Chroma, 2020, and other, total 2 works Balance Board, from the series “Unknown Sports,” 2009, total 1 work/3 items

Rosa BARBA Bending to Earth, 2015

CHEN Zhe KIM Yunchul Zuza GOLIŃSKA Windows of Paradox 1, 2020, and other, total 2 works Argos, 2018, and other, total 2 works Run-up, 2015 (recreated in 2020)

IWAI Masaru KANEUJI Teppei PARK Chan-kyong Elias SIME Episōdo 06: Broom stars, 2020 White Discharge (Figure/203), 2003-2020, and others, total 5 works/207 items Belated Bosal, 2019 Tightrope: From The Belly of The Earth 1, 2020, and others, total 6 works

24 25 Int GUERRERO Episōdo 04: Insttute for Tropical and Galactcal Studies, 2020, 8 artsts and historical artfacts, total 29 works/56 items ISHIKAWA Mao (left) / Eisa JOCSON (right)

Eva FÀBREGAS Tangles, 2020

Ingela IHRMAN The Giant Hogweed, 2016 (recreated in 2020)

Taus MAKHACHEVA Omer WASIM & Saira SHEIKH Renuka RAJIV Quanttatve Inﬁnity of the Objectve, 2019-2020 Excepts from Props from an Unrealised Play, As the Light Turns, and That Cyborgs are susceptble, 2020, 33 pieces and others, total 5 works/236 items Which Lies Beyond, 2015-2020, and others, total 2 works/14 items

26 27 Tsherin SHERPA SARKER Protck Jesse DARLING Alia FARID 54 views of Wisdom and Compassion, 2013 )*+#, / Raśmi / Ray, 2017-2020, and other, total 2 works Cultural artefacts from a nonexistent archive (various), 2020, total 1 work/9 items At the tme of the Ebb, 2019

SATO Risa Oscar SANTILLAN Taysir BATNIJI Lantan XIE The Twin Trees (white), 2020, and others, total 4 works Spacecraft (do not objectfy the land), 2018, and others, total 3 works Suspended Time, 2007, and other, total 2 works when I move, you move, 2020, and other, total 2 works

SATO Masaharu Morehshin ALLAHYARI from “Dr. Reaper,” 2018, total 10 works She Who Sees The Unknown: Ya’jooj Ma’jooj, 2018, and others, total 2 works/3 items ＊

28 29 ［PLOT 48］

Make or Break (Connie ANTHES & Rebecca GALLO) Farming Architects Care for Bridges, 2020 ＊ The Space Coaliton, 2020 (object at the left side), total 1 work/2 items

ZHANG XU Zhan Dennis TAN SATO Risa Holy Mountain Pu Tuo Rock, 2020, and others, total 8 works/28 items Episōdo 09: The case of the ringing bell, 2020, and others, total 3 works The Twin Trees (blue), The Twin Trees (yellow), 2020, and others, total 4 works

30 31 KAWAKUBO Yoi (same as left) Waitng for Diogenes, 2020

Farah AL QASIMI Jazirat Al Hamra 2020, 2020

Andreas GREINER Amol K. PATIL Multtudes, 2014 (recreated in 2020) ＊ Reminiscent, 2019, and others, total 8 works

Renu SAVANT Many Months in Mirya, 2017

Hicham BERRADA LAU Wai SARKER Protck Mathematcal Omens #3 and Mass and Martyr, 2020, total 2 works There is a voice missing, 2019 (recreated in 2020) Love Kill, 2014-2015, and other, total 2 works

32 33 Elena KNOX Volcana Brainstorm (hot lava version), 2019, 2020, 1 project/61 items

Aluaiy PULIDAN Wrap, 2019, and others, total 5 works

ZHENG Bo Anton VIDOKLE Pteridophilia 1-4, 2016-2019, and others, total 1 project/6 items Citzens of the Cosmos, 2019, and other, total 2 works

34 35 Tina HAVELOCK STEVENS Russ LIGTAS Ghost Class, 2015 Planet Blue, 2020

Joyce HO Balancing Act III, 2020 ＊

Haig AIVAZIAN 1, 2, 3 Soleil! (2020), 2020 DECORATOR CRAB “Very Heavy Bag” (same as left)

IIKAWA Takehiro Korakrit ARUNANONDCHAI Oscar SANTILLAN DECORATOR CRAB “Arrangement, Adjustment, Movement,” 2020, and other, With History in a Room Filled with People with Funny Names 4, 2017 Chewing Gum Codex, 2019-2020, and others, total 3 works total 2 works

36 37 Farming Architects The Space Coaliton, 2020, total 1 work/2 items

Rahima GAMBO Tatsuniya 1, 2017, and others, total 2 works/11 items ［NYK MARITIME MUSEUM］

Naeem MOHAIEMEN Marianne FAHMY JOLE DOBE NA (Those Who Do Not Drown), 2020 Atlas Series, 2020, and other, total 2 works＊

38 39 Floor Map

Yokohama Museum of Art PLOT 48

West Exit (to PLOT 48) 1F・2F North Wing 1F South Wing 1F

Dennis TAN Printng MainEntrance Sound IIKAWA Takehiro Shop Lounge Ticket

Entrance to Farming IIkawa’s work Andreas GREINER Nick CAVE Architects South Wing Entrance Grand Gallery Joyce HO Lecture Hall Former Sound Reasons North Wing Entrance Restaurant TAMURA Yuichiro Tina HAVELOCK STEVENS Farming Exit ZHANG XU Zhan Rahima GAMBO Architects Korakrit Hicham BERRADA ARUNANONDCHAI KAWAKUBO Yoi Amol K. PATIL Oscar SANTILLAN

Café Ogurayama Museum Shop Lounge Russ Entrance LIGTAS チケット販売窓口Ticket Make or Break (Connie ANTHES & Rebecca GALLO) Main Entrance Make or Break (Connie ANTHES & Rebecca GALLO) Haig Naeem Ivana FRANKE AIVAZIAN MOHAIEMEN Exit

3F Alia FARID South Wing 2F South Wing 3F SATO Risa (Outside terrace) SATO Masaharu SARKER Protck

Int GUERRERO Oscar Jesse DARLING Farah AL Renu Omer WASIM & Elena KNOX SANTILLAN TAKEMURA QASIMI SAVANT Saira SHEIKH Taysir BATNIJI ZHENG Bo Ingela IHRMAN Kei LAU Wai Renuka RAJIV SATO Risa Aluaiy PULIDAN ARAI Takashi Anton Tsherin SHERPA VIDOKLE

James NASMYTH

Exit SARKER Protck

Robert AONO Fumiaki Taus MAKHACHEVA Eva FÀBREGAS ANDREW Lebohang KGANYE Morehshin ALLAHYARI Lantan XIE

KANEUJI Teppei IWAI Masaru Max DE ESTEBAN

Elias SIME NYK MARITIME MUSEUM IWAMA CHEN Zhe IIYAMA Yuki PARK Chan-kyong Zuza GOLIŃSKA KIM Yunchul Rosa BARBA Asako KIM Nilbar GÜREŞ Yunchul Rayyane TABET Marianne FAHMY

Main Entrance

40 41 Make or Break, Care for Bridges Exhibiton-related Programs and

《橋を気にかける》公式ウェブサイト： www.careforbridges.com インスタグラム： @careforbridges Preventive Measures Against COVID-19 Kame Bridge 亀 The artsts prepared stories on Care for Bridges 03. Visit www.careforbridges.com Publicatons or Instagram @careforbridges の橋 bridges in Yokohama and actons

今は男今月ても今だブび四だのらガしあ亀 On Turtle Bridge 夜静は日もあう日がテ、十が鋭れネくるの男か亀このっ片、今ィ野年俺いたが白男橋 A man pauses on Turtle Bridge to look down the Nakamura River はにのそ末た手男日ッ垂のは燧燧年いがの、水橋はに滑にははクれ間違石石老。亀上 towards the giant Bay Bridge, religiously white in late afternoon 二しのそ、らは元違や死、うでをい痩ので September sunlight. Slight, neatly dressed in laundered blue overalls, 十ぶ真のそか宝町うカに男。手握たせ橋 whitening hair carefully combed, gold-rimmed glasses hiding old grey 年きん日れな珠の。フすは首り灰たの eyes, he pauses, hand in pocket, clasping a well-honed fint, found years ぶを中だは灰を終ェる川をし色男上 ago on a building site. How easy it would be to jump into the river... り上に。完色手端のかの切めのはでにげ戻成のに、周亀荒っな眼、立 or to slit his wrists with this raor fint. Many a drunken, broken-down labourer has done as much. 、てるし石し亀りのんてがを洗ち少、。たをたのの橋だしら隠い止し次静の取、橋群か側ま、したま But that’s not me. to care for bridges.

飲のけだり旅の衆ら、え立ててり Forty years he lived on the wrong side of the river, in the slums of 橋出飛ばちいむさっ人たに寿の中、つとがたすのもこび町。止る青 Kotobuki. The men there scorned life. They’d drink themselves to death, の。込数ま。村 die in the gutter or jump off Turtle Bridge. But whenever he crossed も満。守とっのい川り半ちそ燧りにそむド多っ彼作 the bridge, hed carry on to Motomachi, to mingle invisibly among the ば石かくてはをだ、し神立りヤ業見 crowds around the boutiques and cafes. He’d have a quick look at the 。あ彼てに。つ紛だ街のいポ服 girls. Performance たは今よ人地れっに酔るケを下 Due to COVID-19 pandemic, major changes were made to the operaton to reduce the risk of infecton ろりそ、っの蔵てた暮っ。ッ着 But not today. にて。払川トしの男目のみらてて沈石は、を前るだしいにに、 oday he pauses at the Motomachi end of urtle ridge, at the statue ん写が、飛手いを丁引でのた白る of Jizo, the patron saint of travellers. A bald and kindly fellow, walking だ川寧真か足だ彼。ヤびをくの。 staff in one hand, wish-fulflling ewel in the other. nobserved, he slips 。のにずをっはそキ込入な川 behind the statue and retrieves a smooth grey stone hidden in the roots 中イよに止たここがんれっの of a hedge. arved with his fint, in photographic detail, is his own face. へニう、め。のの回でてた先とシに男る女橋男っし、髪の After months of work, it is done. Now he carefully adds his initials, “YS.” 緻 Size/Format: h. 297 x w. 210 mm / 放ャは。たをたたま何は場所アクション Action: ベ Today is the day. りル密石丸ち渡ち人え年丁イ 35°26’17.0”N 139°38’30.6”E さまざまな物差し A Different Measure 投をに像いをるは夫ばか寧・〒231-0024 神奈川県横浜市中区吉浜町新横空間をはかる時、わたしたちは、畳、坪、ヘクター We measure spaces in tatami, tsubo, acres, 、ブ He returns to the middle of Turtle Bridge. A quiet moment comes, and げ彫自の頭盗と人たど前に浜通りル、マイル、フィート、インチ、リーグ、ミリメートル、 hectares, miles, feet, inches, leagues, millimetres, るる裏をみい生ちれに撫リ he hurls the stone downriver. Describing a lazy arc, it splashes down 分ッ silently, halfway to the next bridge. メートル、海里……と、さまざまな物差しを使いま metres, nautical miles… Some of these terms 。、にし見つをがだ建で亀の橋は中村川の上に架かる橋で、３車線をそな「 YS 自ジす。それらのいくつかは人間の身体と関わり、また relate to the human body, some to money ゆ身潜たすも投やけ設つえ、首都高速道路の下にあります。赤く塗られたが onight, for the frst time in twenty years, he will have a little drink. through various schemes, including controlling visitor numbers through use of tme-sloted online booking Andreas Greiner, Multtudes るり優る、げっ楽現け別のものはお金や不動産に、あるいは時間に関係 and property, others to time. If we think of a の鉄製の欄干には亀の甲羅の模様̶天地をつなぐや」込しのそてただ場ら九しています。もしも橋を中間の場所や接点と考え bridge as an in-between space and a point of 顔月ものの象徴―が施されています。南端には大きなかとがんげだのいよろでれるなら、橋という空間をはかったり説明したりする connection, are there different ways we might なでな。またうう見、の石の地蔵尊が色とりどりの提灯に囲まれて置か。彫ためのさまざまな方法があるのではないでしょうア、やま。に…つ金午 Japanese and English, 7 sheets measure and account for the space of a bridge? れ、花が供えられています。1800年代に建立さら後か。呼吸や頭の上を飛んでいく生き物、空想の数ー柵つ元死。…けの A measurement could take into account breaths, れのれた亀の橋は、かつて船積みの要となる場所でしチの、町ぬ、たフを数えてみたり、橋を構成する部材（ネジ、鉄、コン critters fying overhead, daydreams. It could refer て日た。近くの卸売市場に品物を供給する拠点だったを根片ままあ、レクリート）、傷や凹み、老朽化した部分と修復した to components (screws, steel, concrete), scratches い研ののです。日雇い労働者たちが多く暮らす寿町とお描元手ででるー部分の割合を参照するのもいいでしょう。るぎ下 and dents, rates of decay and repair. きにに行酒いム洒落な元町をつないでいます。。上で、隠錫きをはのある橋のためにあなた自身の物差しを用意し、公石何げ神し杖、浴こメ

Help us devise a more sensitive accounting Location: 共空間をより細やかにはかる方法を一緒に考案しヶ、々 of public space by coming up with your own 35°26’17.0”N 139°38’30.6”E てみませんか。あなたの物差しの使い方について Approximately 20 minutes / Everyday at 13:00, 15:00, 17:00; measurement system for a specifc bridge. Shin-yokohama dori, Yoshihamachō, Naka-ku, 教えてください。そして、その方法であなたの橋を Yokohama, Kanagawa 231-0024, Japan Describe your measurement system, and (6 distributed free at the gallery and a はかりましょう。あなたの橋の写真を添えて、それ measure your bridge using this system. Share systems. In the meantme, eforts were made to provide access to those who could not visit the exhibiton in がどうなったかを、インスタグラム Kame (Turtle) Bridge is a three-lane road bridge your results along with a photo of your bridge on （@careforbridges）や、公式ウェブサイト that passes over the Nakamura River and under the Instagram @careforbridges or online at （www.careforbridges.com）でシェアしてく Metropolitan Expressway. Its balustrades describe an www.careforbridges.com. ― ― ださい。 open turtle-back pattern – a symbolic connector ― ― of heaven and earth – in red-enameled steel. At its 翻執 southern end, a large stone Jizo statue is ringed 訳筆：： with coloured paper lanterns and foral offerings. 河ト

Originally constructed in the 1800s, Kame Bridge 合ム政・ paper tray mat version ofered in Café was once an important point for shipping; a hub 之ギ an additonal session at 19:00 for the late night opening / Number that supplied a nearby wholesale market. The bridge ル connects what was the working-class day-labouring 教 district of Kotobukicho with trendy Motomachi. 授 ― Text by Professor Tom Gill person through the actve use of ICT. of partcipants: 3,945 Ogurayama in Yokohama Museum of Art) Handout displayed at the venue (Left: surface, right: reverse) Takemura Kei, Time Counter Performance by the artst mainly on weekends / A duraton of Audience Research Project Venue Operatons several hours in the gallery space Dates: July 17–October 11 Raqs initated a research project to learn about Japanese audiences. In compliance with the natonal and prefectural policies and also in line with several Taus Makhacheva, Quanttatve Inﬁnity of the Objectve Questonnaires were distributed, guidelines such as the one suggested by the Japanese Associaton of Museums, COVID-19 Performance by gymnasts and the responses were studied to risk assessment was made on visitor ﬂow lines and high-touch surfaces, to identfy poten- Approximately 23 minutes in the gallery space / further develop the curatorial tal infecton risk and implement preventve measures. September 12, 16, 26, October 3, 10 at 14:00 and 14:45 each day concept. Dates: February 20–March 31, 2019 A questonnaire Number of responses: 219 *For informaton on performances and workshops related to Preventve measures required by the visitors Episōdo, see pp.16-20, for other workshops see p.47. (Left: surface, right: reverse) Size/Format: h. 210 x w. 148 mm / ・ Mask-wearing, frequent hand washing and sanitzaton Japanese and English ・ Social distancing among the visitors Artworks with limited capacity *For informaton on the Sourcebook publicaton, please see p.16. ・ Body temperature screening by a thermographic camera at the entrance (Persons with Lantan Xie, when I move, you move temperature of 37.5℃ or higher were not allowed to enter the exhibiton) Walking while wearing an exoskeleton (two sets) ・ Collecton of visitor informaton in order to cooperate with the public health centers for Maximum 60 minutes / Number of partcipants: 511 Printed Material for Visitors contact tracing, in case infectons were reported

Morehshin Allahyari, She Who Sees The Unknown: Ya’jooj Ma’jooj Preventve measures at the venues VR experience (three VR headsets including one reserved for Yokohama Triennale 2020 Educatonal Leaflet ・ Time-sloted online tcket system wheelchair users) A leaflet writen by Kuraya Mika to introduce the exhibiton concept ・ Sanitzaton and ventlaton Approximately 15 minutes / Number of partcipants: 2,995 and highlights. ・ Use of transparent acrylic parttons to prevent aerosol transmission Floor markings to ensure social distancing among the visitors Format: h. 297 x w. 420 mm, tri folded; Japanese only; free distributon at the ・ Iikawa Takehiro, DECORATOR CRAB “Arrangement, Adjustment, entrances / Publicaton date: First editon July 7; Second editon August 7 ・ Specific preventve measures per artwork Movement” Maximum 20 minutes / Number of partcipants: 2,429 Floor Map Preventve measures by the staf Floor map of the exhibiton layout and the directons between the ・ Monitoring body temperature and health conditons of all staf Publicatons venues ・ Providing docents with personal protectve equipment, such as face masks, face shields, and gloves Ofcial Catalog Format: h. 210 x w. 659mm, accordion The catalog, edited by Shveta Sarda with Raqs Media Collectve, folded; Japanese and English; free distributon at the entrances / Publica- Controlling visitor numbers recaps the exhibiton through Raqs’ text and conversatons. ton date: First editon July 16; Second The admission to Yokohama Museum of Art was divided into 30-minutes tme-slots to editon August 13 Title: Yokohama Triennale 2020: Afterglow control the number of visitors in the space and secure distance. The admission to PLOT 48 Photos: OTSUKA Keita Designer: Ariane Spanier (Japanese version was not tme-sloted, and the visitors with tckets could enter at the tme of their prefer- *For informaton on exhibiton guides by assisted by Shimakage Minami) ence. The tcket allowed for admission to the two venues in one day. The visitor numbers Size/Format: h. 260 x w. 190 mm; Japanese volunteer supporters and inclusive per 30 minutes/per day was raised in phases, following the government’s guidance to relax and English versions programs, please see p.48 and p.50. Price: ¥2,420 (incl. tax) the restrictons. Publicaton date: March 31, 2021 Capacity of visitors per 30 minutes at Dates Related Exhibiton Yokohama Museum of Art (capacity per day)

July 17 – September 4 70 (1,050 per day)

Exhibiton “Looking Back at Yokohama Triennale through the September 5 – September 18 89 (1,335 per day) Archive” Cover Archive exhibiton on the past six editons (2001–2017) of the September 19 – October 11* 178 (2,670 per day) Yokohama Triennale including catalogs and ﬂyers. Late night opening (untl 21:00) 178 (3,738 per day) SATO Masaharu, “Dr. Reaper” Artst’s statement on the exhib- Dates: [First term] July 17– Late night opening (untl 20:00) 178 (3,382 per day) ited works. September 2; [Second term] September 4, 2020–February 28, *The restrictons on capacity for events were relaxed by the government from September 19. Size/Format: h. 210 x w. 659 mm, half 2021 folded, Japanese and English; free distributon at the gallery Venue: Art Informaton and Media Center, Yokohama Museum of Art Organizer: Yokohama Museum of

Handout (inside double-page spread) Art

42 43 Tickets Utlizaton of ICT

Time-sloted tckets were sold at the tcket ofces of Yokohama Museum of Art and PLOT 48 as well as through the online booking system. ICT tools were used to keep the exhibiton accessible to a wide scope of audience, including those who could not visit in person due to the Ticket numbers were controlled per 30 minutes to limit the number of visitors and avoid congestons. COVID-19 pandemic.

Ticket Types Sales Results Yokohama Triennale 2020 Virtual Tour

・ Yokohama Triennale 2020 Ticket Sales period: June 23–October 11 The Yokohama Triennale 2020 Virtual Tour was launched online for free to bring a new viewing experience to those who could not visit the

Admission to Yokohama Museum of Art was tme-sloted and * The tcket ofces at the venues were open only during the exhibiton period. exhibiton in person. The program enabled a 360-degree panoramic view of the exhibits at Yokohama Museum of Art, PLOT 48, and NYK required visitors to pre-book the slots. Entry to PLOT 48 was not Maritme Museum. The wall texts and the labels accompanying the artworks were also on view. (Unit: number of tckets sold) tme-sloted but limited to visitors who had booked slots at the Launch date: September 24 Yokohama Museum of Art (Last admission 30 minutes before Yokohama Triennale 2020 Yokohama Triennale Total Languages: Japanese and English closing). Entry to NYK Maritme Museum required presentaton of Ticket Plus Ticket Supported devices: PC, tablet, and smartphone the Triennale tcket. 54,429 7,299 61,728 Total views: 13,645 (as of January 31, 2021) *Free admission for junior high school students or younger and people with disabilites (see p.48) and their caretakers (pre-booking not required)

(Tax included. Unit: JPY)

Student (University and Adult High School Student Vocatonal School)

2,000 1, 200 800

・ Yokohama Triennale Plus Ticket In additon to Yokohama Triennale 2020, admissions to “BankART Life VI” and “Koganecho Bazaar 2020” were included in this tcket.

(Tax included. Unit: JPY)

Student (University and Adult High School Student Vocatonal School) Yokohama Triennale 2020 Virtual Tour screen view Free for “BankART” and 2,800 2, 000 “Koganecho”/ 800 JPY for Ticket screenshot the Triennale 2020 Online exhibiton guide service by Guide Supporters

The online exhibiton guide service was launched by Yokohama Triennale Supporters as an alternatve to the on-spot guidance. The Guide Supporters gave presentatons of the Purchaser Proﬁles exhibiton highlights to the prebooked individuals and groups. Not only those who could not visit the Triennale but also those who were planning to visit or had already visited were Yokohama Triennale Plus Ticket Ticket ofces at the Ticket purchase Percentage of sales by tcket types [university and vocatonal all welcomed. venues 9.0% methods school student] 1.3% Yokohama Triennale Plus Ticket [adult] 10.5% (See p.50 for details)

High School Student 1.6% Exhibiton guide assisted by avatar robot “OriHime” Online exhibiton guide service

Student (university and The viewing sessions with the avatar robot “OriHime” were carried out for those who had vocatonal school) 12.2% difcultes going out of their homes due to physical or other testrictons. Adult (See p.48 for details) Online 74.4% 91.0% Online streaming of Episōdo

Among the 12 Episōdos carried out in parallel to the exhibiton, 8 projects (Episōdos X, 01, Gender Age group 70 or older 1.4% Place of residence Japan (other than Kanto) 4.8% 03, 05, 06, 08, 09, 10) were designed to be streamed online. Other Overseas 0.2% 1.3% 60–69 10–19 2.7% Kanto (other (See pp.16–20 for details) 5.4% than Kanagawa) 9.0% Exhibiton guide assisted by avatar robot “OriHime”

50–59 14.9% 20–29 Yokohama Male 28.1% 29.6% 39.1%

Female 40–49 Tokyo 59.6% Kanagawa 21.9% 40.5% Prefecture (other 30–39 than Yokohama) 25.6% 15.9%

44 45 04. Visitor Amenities 05. Initiatives for Children and Youth

The services to alleviate the visitors from the summer heat while walking between the Triennale venues were Programs including workshops by partcipatng artsts were carried out for children and youth to introduce provided in forms of rental parasols and mobility services. A variety of merchandise were sold at the muse- diferent perspectves and deepen their understanding of diverse values through contemporary art. While um shop of Yokohama Museum of Art and PLOT 48 Shop, including the ofcially designed items, “Yokoha- some programs were cancelled due to COVID-19, measures to prevent infecton, such as operatng in small ma Creators’ Goods” produced by designers working/living in Yokohama, “Tie-up Goods” with the Yokoha- groups and utlizing online channels, were taken to realize as many programs as possible. ma Triennale 2020 logo produced by local businesses, and the partcipatng artsts-related items.

● Program for junior high and high school students ● Online talk “Catching IIKAWA Takehiro’s Thoughts” Measures Against Heat Mobility Between the Venues The program for junior high school and high school students unfold- Partcipatng artst Iikawa Takehiro talked about his work DECORA- ed over a period of 7 months. Combining online and on-site pro- TOR CRAB “Arrangement, Adjustment, Movement” and conducted grams, artsts and professionals (Aono Fumiaki, Arai Takashi, a four-frame comic workshop as a way of beter understanding his Takemura Kei and Hirose Koujirou) were invited to take part in work. ● Parasol ● Yokohama Community Cycle “baybike” lectures and workshops. Parasols designed by ofcial designer Ariane Spanier were rented A temporary cycle staton of the bicycle-sharing service, Yokohama Speaker: IIKAWA Takehiro, Facilitator: KIMURA Eriko out for free to visitors moving between the exhibiton venues. Community Cycle “baybike,” was made available at PLOT 48. Number of events: 10 Date/Time: Dates: [Experiencing Art] August 23, September 6, 20, October 4, 11, August 30/14:00–15:30 ● Choi-Mobi Yokohama ● Cooling mist system November 8; [Expressing Art] November 22, December 13, January Number of partcipants: 36 A mist system was installed at PLOT 48 through the partnership Temporary parking spaces for Choi-Mobi Yokohama, a sharing 31, February 28, 2021 between Panasonic Corporaton and the City of Yokohama to service of ultra-compact EV, were made available at Yokohama Number of partcipants: 17 implement measures against heat. Museum of Art and PLOT 48. Venue: Yokohama Museum of Art (part of the programs were conducted online) ● Design for the Constructon Walls The key visual design of Yokohama Triennale 2020 appeared on the * “YT Kids Exploraton Crew,” a program planned by junior high and temporary walls enclosing the constructon site located between high school students for elementary school students, was cancelled ● School Program: Yokohama City Culture and Art Educaton Yokohama Museum of Art and PLOT 48. due to COVID-19. Originally designed parasol Platform Led by the City of Yokohama and coordinated by the Yokohama Museum of Art Educatonal Department, the program sent artsts to Cooling mist system municipal schools.

Workshop on the theme of “walk” by Hanasaki Setsu Dates/Schools/Number of partcipants: September 8 / 10 students from Sugeta Junior High School; November 16 / 12 students from Kanagawa Junior High School (Grades 1-3)

Constructon wall design ● Let’s Enjoy SATO Risa’s Work! “Expression for contemplaton – Cleaning, Masks and Catwalk” by Photo: KATO Hajime Partcipatng artst Sato Risa was invited to do a hands-on work- Iwai Masaru shop at a local elementary school. The workshop was conducted in Dates/Schools/Number of partcipants: January 9, 26, February 2, small groups in a ventlated room. 2021 / 141 students from Hongo Junior High School (Grade 2) Shops Ofcial Items Date: August 25 Organizer: City of Yokohama School: Minatomirai Honcho Elementary School Number of partcipants: 120 students ● Online exhibiton tours for schools Online exhibiton tours were held for teachers in elementary schools, ● Museum shop at Yokohama Museum of Art A total of seven ofcial items were produced: tote bag, clear plastc junior high schools, high schools, special-needs schools and The museum shop at Yokohama Museum of Art sold the ofcially folder, and notebook (ﬁve variatons). The design was supervised by compulsory educaton schools in Kanagawa prefecture. designed items and other items by local designers and business. Ariane Spanier. Date/Time: July 17–October 11/11:00–18:00 Number of events: 2 *Also open for the late night opening Dates: August 1, 29 Number of partcipants: 24 ● PLOT 48 Shop PLOT 48 Shop opened for a limited period of the Triennale. (Tax included. Unit: JPY) ● Visits by school groups Date/Time: July 17–October 11/10:00–18:00 Group visits were made available to school groups only and after the Item Price *Also open for the late night opening ● Partcipatory actons: “Episōdo 06 IWAI Masaru, Broom stars” restrictons on admission were eased in September. Students were (See p.19 for details.) Tote bag 1,500 divided into small groups to see the exhibiton.

Clear plastc Dates: September 15, 385 folder September 30, October 8 Number of schools: 5 Notebook (ﬁve 440 Number of students: 284 variatons)

Museum shop at Yokohama Museum of Art PLOT 48 Shop

46 47 06. Initiatives for Social Inclusion 07. Yokohama Triennale Supporters

Initatves were taken to make the Triennale accessible to every visitor regardless of disability, age, natonali- Yokohama Triennale Supporters is a team of volunteers who provide assistance to the operaton of the ty or any other status. Online guidance and art appreciaton sessions were provided to people with physical Triennale. For this editon, a number of their actvites were downscaled or cancelled due to the COVID-19 or other disabilites who could not visit in person. pandemic, but the online exhibiton guide service was launched and provided a new way of enhancing the visitors’ experience.

● Art appreciaton session using the Avatar Robot “OriHime” ● Program in partnership with youth-support organizatons “OriHime,” an avatar robot, was made available to access the An art appreciaton program was conducted in collaboraton with K2 Preparing for the Triennale exhibiton from remote sites. Those conﬁned to their homes, due to Internatonal, an organizaton supportng young people who face physical and other barriers, accessed the exhibiton through the difcultes in life. robot carried by their friends and families on-site. The robot was Number of events: 3 Supporters held a series of lectures and events to recruit new members and build a shared sense of purpose among the members as well as also used to run an art class for students at special-needs school. to publicize the Yokohama Triennale. Dates: September 15 (preliminary online guidance), September 23, (Cumulatve total number of people) Number of sessions: 21 October 6 Total number Dates: September 7–October 5 Venue: Online (preliminary online guidance), Yokohama Museum of Total number of Program Outline Number of sessions of partcipatng general partcipants Venue: Yokohama Museum of Art Art Supporters Number of partcipants: 138 (103 remote partcipants, 35 on-site Number of partcipants: 19 Supporters Salon / Total 11 sessions visitors) Talk events on contemporary art 170 90 Supporters Salon Extra (FY2018)

Workshops and visits to art projects carried out in Total 10 sessions Pett Tori 81 4 small groups (FY2018)

Presentaton of the Yokohama Triennale and September 21– Hama-Treats! Staton Supporter actvites during the Koganecho Bazaar 19 ― October 28, 2018 2018

Supporter Total 14 sessions Initatves(actvites Projects initated by supporters 59 26 (FY2018–2019) ● Exempton of Admission Fees initated by supporters) ● Art Appreciaton Workshop for the Deaf People with disabilites* and their caretakers (one person) could Guide Supporter training programs The workshop “Training/Sign Language/Art Project 2020 Think enter the Triennale free of charge. Number of registered Guide Supporters: 129 through Art 2” was conducted for the Deaf and hard of hearing *Persons with Identficaton Booklet for the Physically Challenged, Identficaton Exhibiton Guide Guidance: 2 sessions / Groupwork (online): 36 Total 67 sessions ― ― partcipants with the support of the Agency for Cultural Afairs. It Booklet for the Mentally Challenged, Identficaton Booklet for the Intellectually Service sessions / Venue visit:4 sessions / Rehearsal (online): (FY 2019–2020) combined online and on-site events, and was accompanied by a Challenged (Ai-no-Techo), Medical Care Certficate for Specified (Intractable) 18 sessions / training video (online): 7 sessions deaf interpreter.* Diseases, Medical Care Certficate for Independent Living Support, or equivalent * From February through to August 2020 documents *Interpretaton by a deaf person whose first language is sign language. Presentatons of the Yokohama Triennale and Total 2 sessions Other events ― ― Number of events: 2 Supporter actvites at community events (FY2018–2019) Other initatves to support people with diferent needs Dates: September 19, October 25 ● - Access guides for those using wheelchairs and strollers were Venue: Online, Yokohama Museum of Art posted on the ofcial website. (Cooperaton: Yokohama City Target partcipants: the Deaf and hard of hearing people, who are Wheelchair Associaton) high-school-aged or over - Wheelchairs, strollers, writng boards, magnifying glasses and Number of partcipants: 12 canes were made available for loan, free of charge. Organizers: The Toto Foundaton, supported by the program Promo- - Transcripts of the film works without subttles were provided. ton of Cultural and Artstc Actvites for People with Disabilites, - Basic informaton were ofered in multple languages. Agency for Cultural Afairs - Online guides in English and Chinese were given by Yokohama Co-organizer: Organizing Commitee for Yokohama Triennale Triennale supporters.

Supporters Salon “Surprising Facts about Pett Tori Trip to “Water and Land Niigata Art Festval Hama-Treats! Staton Contemporary Art” 2018”

Supporters Initatves Cooking Club 2020 Guide Supporter training program Workshop at the 27th Ookagawa Sakura Festval

48 49 Actvites during the Triennale Supporter’s Proﬁle

Changes were made to Supporter actvites due to the COVID-19 pandemic: the visitor service actvity was cancelled; the artst support Number of registered supporters: 80–89 0.2%(4) Unknown actvity was carried out in limited scope; and the exhibiton guide service actvity shifted to an online platform. A limited number of Supporter 1,671 as of October 11 Gender Age group 70–79 0.7% (11) Initatves were carried out as planned. Number of actve supporters: 2.9%(49) 10–19 2.1%(35) cumulatve total of 220 60–69 (actual number: 83) 8.6% Yokohama Triennale 2020 Supporter Actvites (144) Eligibility: Male 20–29 25.4% 50–59 ・ 16 years of age or older (approval of 28.4% (425) 14.4% Total parent or guardian is required for those (474) Total (240) Number of number of Program Actvites Outline Locaton number of under 18) sessions partcipatng Female partcipants ・ Expenses for transportaton and meals 40–49 Supporters 74.6% 16.5% 30–39 are not provided. (1,246) (275) 26.3% Presentaton of exhibiton highlights to (439) Online exhibiton pre-booked groups and individuals guide service Number of registered Guide Online 92 182 845 (live version) Supporters: 129 (Number of actve Exhibiton guides: 57) Guide Service Place of residence Breakdown by ward 12 3,871 Online exhibiton Pre-recorded video presentaton of *Number *Total views guide service Online 12 Nishi-ku 68 Konan-ku 52 exhibiton highlights of videos (August 23– Other (archive version) Naka-ku 83 Asahi-ku 43 presentatons October 11) 7.4% (123) Kohoku-ku 102 Tsurumi-ku 35 Cleaning acton of Tokyo Yokohama Kanagawa-ku 79 Isogo-ku 39 “Episōdo 06: 20.6% Partcipated in the cleaning actvity Museum of 10 10 ― IWAI Masaru, (345) Totsuka-ku 67 Izumi-ku 28 Art Yokohama Artst Broom stars” 55.4% Hodogaya-ku 61 Tsuzuki-ku 29 Support Kanagawa (926) Support for “Episōdo Prefecture Aoba-ku 66 Midori-ku 27 06: IWAI Masaru, Partcipated in the technical rehearsal Online 1 9 ― (other than Yokohama) Minami-ku 59 Sakae-ku 24 Broom stars” 16.6% (277) Kanazawa-ku 52 Seya-ku 12

Supporter Initatves ・ Yokohama Leaps Through Time II: An original city guide produced by the supporters for on-site distributon at the venues ・ Yokotori Trivial Pursuit: Quiz on Yokohama Triennale trivial facts Reasons to register as a Supporter (Multple answers allowed)

*Answers collected from 330 newly-registered supporters from April 1, 2018 to December 31, 2020

Interested in contemporary art 249 Interested in learning about art 157

Interested in the Yokohama Triennale 284 Interested in volunteer work 190

Interested in internatonal exhibitons 137 Interested in local events 113

Interested in the artst 22 Interested in meetng people 99

Interested in working with artsts 71 Other 20

Online exhibiton guide service (live version) Online exhibiton guide service (live version) Online exhibiton guide service (archive version) Supporter’s Survey Results

The registered supporters were asked to cooperate with the 1. Have you partcipated as a Yokohama Triennale Supporter survey by e-mail. The survey included multple choices and previously? If so, when? (Multple answers allowed) comments.

Survey system: Online survey system “Questant” 2001 (1st) 4 Survey target: Registered supporters who subscribed to the 2005 (2nd) 11 Supporters’ newsleter as of November 12 (1,268 members) 2008 (3rd) 15

Tabulaton period: November 12–December 6 2011 (4th) 21 Artst Support Artst Support Supporter Initatves Number of valid responses: 98 Cleaning acton of “Episōdo 06: IWAI Masaru, Broom Cleaning acton of “Episōdo 06: IWAI Masaru, Broom On-site distributon of actvity handouts 2014 (5th) 31 stars” stars” 2017 (6th) 38

2020 (7th) 54

Have never partcipated 45

50 51 2. Did you partcipate in Supporter actvites 3. Did you partcipate in Supporter actvites 4. Would you like to partcipate in before the Triennale (FY2018–2019)? during the Triennale? Supporter actvites again? 08. Art Programs in the City

Yes 37 Yes 37 Yes 88

No 61 No 61 No, I would not Yokohama Triennale takes part in promotng arts and culture in the city with the local art NPOs, corporatons, 10 (I cannot) organizatons and the creatve community through the following schemes: “combinaton tcket programs” (2 programs), “te-up programs”(8 programs), “support programs” (56 programs), “te-ups” (12 projects), “te-up goods” (5 items by 2 companies), and “Yokohama creator goods”(136 items by 45 groups). Which actvites did you partcipate in? Which actvites did you partcipate in? Which actvites would you like to (Multple answers allowed) (Multple answers allowed) partcipate in? (Multple answers allowed)

Supporter Initatves 9 Guide service 31 Producton 60 Combinaton Ticket Programs Guide Supporter training support for artsts 19 Supporter programs 6 Initatves FY2019 orientaton Exhibiton guide 54 22 meetng Artst support 9 Yokohama Triennale 2020 collaborated with BankART Life Ⅵ and Koganecho Bazaar 2020 to launch the “Yokohama Triennale Plus Ticket,” Visitor informaton service 46 Hama-Treats! Staton 3 which allowed admission to these exhibitons so that visitors could enjoy the broader contemporary art scene in Yokohama when visitng the Other 1 Supporter Hama-Treats! 23 Triennale. 6 Initatves orientaton 2018 Other 2 Supporters Salon 2 ● BankART Life Ⅵ – Inserton into City Life Tadashi KAWAMATA Pett Tori 5 The exhibiton of Kawamata Tadashi, the artstc director of the Yokohama Triennale in 2005, introduced his new project using metal plates at Bashamichi Staton, Minato Mirai Line, and in and around BankART Temporary, an art space utlizing former Dai-ichi Bank. Also displayed on Yokohama Art Rally 2 a 200-meter wall at BankART Staton in the basement of Shin-Takashima Staton was a series of drawings on his projects from early to Other 4 present days. The photos of his projects after 2012 were also exhibited for the ﬁrst tme in Japan.

Dates: September 11–October 11 Time: 11:00–19:00 Supporters’ Voices Venues: BankART Staton, BankART Temporary, Bashamichi Staton Organizer: BankART1929

Supporter actvites in general ・ As I admire art, I am grateful for this opportunity to take part in the museum actvites. Volunteer programs open the museum up to the community and reveal its vital role. ・ It would be great if the program could contnue after the exhibiton period. Casual follow-up events and exchanges would encourage us to contnue our commitment to art at our own pace. ・I learned a lot from my fellow supporters. It was great to have an opportunity to get exposed to new and diferent ideas and perspectves. ・I joined volunteer actvites for the ﬁrst tme in my life. It was a precious experience for me. ・It would be even beter if there were more varietes in actvites and modes of partcipaton. ・ I gained a valuable experience to enrich my life. This program gave me an excellent learning opportunity to enhance my knowledge and interest. ・Reading newsleters made me excited about what is planned next. Photos: BankART1929 ・ I was interested in assistng artsts for producton of artworks. It is a pity that this was not realized due to the pandemic. I hope there will be more on-site actvites in the next editon. ● Koganecho Bazaar 2020 Artsts and Communites Exhibiton Guide Service Under the theme of “Artsts and Communites,” the ﬁrst part presented the works of 42 artsts who were engaged in the Koganecho Artst in ・We tried new things and also worked on improving it. I think we were able to ofer rich contents in the end. Residence (AIR) program; the second part exhibited the works of 9 artsts who were selected through an open call and invited for a residency. ・ I found it both interestng and challenging to give an online exhibiton guide service. I notced that the audience was very atentve event through the monitor. Dates:［ Vol.1］ September 11–October 11 ［ Vol.2］ November 6–November 29 ・I enjoyed a lot. It was surprising that we could communicate with one another so well although we had never met in person. Time: 11:00–19:00 ・I had a meaningful tme connected with people far apart while talking about the Yokohama Triennale. Venues: Studios and galleries under the railways, and other indoor and outdoor spaces around the Koganecho area ・ I thought the online exhibiton guide service was a great alternatve during the pandemic. Everything was new but we were able to discuss Organizers: Koganecho Area Management Center, the Hatsunecho-Koganecho and Hinodecho Environmental Cleanup Initatve Commitee and organize the online contents quite efciently. Online guide services could be a standard program in the future editons.

Artst Support ・It was fun to work with Mr. Iwai. ・It was simply a joy. I hope there will be more chances to join this kind of project.

Supporter Initatves ・I was glad to see the handouts distributed at the venue. ・It was good to get acquainted with those who were interested in contemporary art. Gaeun Kim, somewhere along ・I realized many things could be done online. the journey, 2020 (Left) Photo: Yasuyuki Kasagi Tomoko Abe, BI /OTO /P, 2020 (Right) Photo: Ujin Matsuo

52 53 ● Art Guide App “Public Art’s Light” Tie-Up Programs The app on public art was developed to encourage users to walk around and enjoy public art in the Minato Mirai 21 district. It provided 3 routes to encounter public artworks in the area between Yokohama Museum of Art, PLOT 48 and Yokohama Staton. Informaton was A wide range of art programs were jointly carried out in collaboraton with corporatons, NPOs in the Creatve City Core Area Bases and other distributed at the venues of the Triennale, Shiseido Global Innovaton Center (S/PARK) and organizatons in Yokohama. other places. Dates: August 3–October 11 ● Creatve Railway - Art in the Minatomirai Line statons Organizer: Nomura Research Insttute, Ltd. Contemporary art exhibitons and performances were held at and around the statons of Minatomirai Line, which runs along the port of Yokohama through uniquely-designed statons. ● Street Furniture Competton Dates: September 26–October 11 Out of the 209 proposals received for the open-call competton for street furniture, Venues: Statons of Minatomirai Line (from Shin-Takashima to Motomachi-Chukagai) and the surrounding area 3 proposals were selected and installed in public space. Organizers: City of Yokohama, YOKOHAMA MINATOMIRAI RAILWAY COMPANY, Creatve Core Area Bases Dates: October 1–11 Venue: Grand Mall Park (in front of Yokohama Museum of Art) Organizer: Commitee of Yokohama Street Furniture Competton

● Art Program “Let’s play with paper clay and make a tree of manju (steamed bun)!” The art program with partcipatng artst Sato Risa was held in the suburbs of Yokohama to provide an opportunity to appreciate contemporary art to the local community.

Date/Time: [Workshop] September 27/10:00–17:00 [Exhibiton] September 27–October 11 Number of partcipants: 82 / Number of works completed: 110 Shin-Takashima Staton Nihon-ōdōri Staton Motomachi-Chūkagai Staton Venue: Urban Design Center Namiki Lab (1-17-7 Namiki, Kanazawa-ku) Organizer: Organizing Commitee for Yokohama Triennale ● Yokohama Paratriennale “Our CurioCity - toward an open city” Co-organizer: Yokohama Kanazawa Seaside Area Management Commitee (Ashita Town Yokohama Paratriennale is an art project where people with disabilites work with profes- Project) sionals in various fields. This was the third tme that the project was held, presented in a new format that integrated online and real events. ● Triennale in the City Stamp Rally Preliminary programs: August 24–ongoing The digital stamp rally “Triennale in the City Stamp Rally” was carried out to encourage a ・ “Yokohama Paratriennale 2020 Open Class” tour around the venues of the Triennale and Creatve Railway. August 24/14:00–15:50/Yokohama City Hall (Atrium, 1F) [Yokohama Triennale 2020 course] September 11–October 11 ・ “Yokohama Paratriennale Documentaton Exhibiton” Rally points: 5 locatons (Yokohama Museum of Art, PLOT 48, Venues of BankART Life Ⅵ August 24–August 29/9:00–20:00/Yokohama City Hall (Presentaton Space, 2F) and Koganecho Bazaar 2020) ・ “Paratri TV“ Photo: KATO Hajime Number of partcipants: 2,414 August 24–ongoing/Ofcial YouTube channel of Yokohama Paratriennale [Creatve Railway course] September 26–October 11 Core programs: November 18–November 24 Rally points: 5 locatons (Shin-Takashima Staton, Minatomirai Staton, Bashamichi Sta- Venues: Yokohama City Hall (Atrium, 1F and other places), online ton, Nihon-ōdōri Staton, Motomachi-Chūkagai Staton) Organizers: Rendez-vous Project Yokohama Commitee, SLOW LABEL (a specified Number of partcipants: 1,025 non-profit corporaton) Organizer: Organizing Commitee for Yokohama Triennale, City of Yokohama Cooperaton: NIPPON TELEGRAPH AND TELEPHONE EAST CORPORATION

● Nissan Art Award 2020 Finalists Exhibiton Based on Nissan Motor’s corporate vision of enriching people’s lives, the Nissan Art Award ● ”BankART School Outreach Program” + “Let’s play! with Mr. Kobayashi, the Pink Cat Project” was established with the aim of supportng talented artsts in Japan and contributng to the To engage with the community in the suburbs of Yokohama, a series of lectures on the city’s future development of Japanese culture. The exhibiton presented new works by 5 ﬁnalists urban planning, with references to the history of Kanazawa ward and the city center of Yokohama, who were selected by globally renowned jury members. was held in two locatons, and an art project by the partcipatng artst Iikawa Takehiro was held in Kanazawa ward. Dates: August 1–September 22 Venue: NISSAN PAVILION (6-2-1 Minatomirai, Nishi-ku) [BankART Outreach Program] November 20, 30, December 19, 2019; January 11, 25 Organizer: Nissan Motor Co., Ltd. Venues: BankART Staton, Kanazawa-hakkei campus of Yokohama City University, Urban Design Center Namiki Lab, around Kanazawa-hakkei Staton Tie-up panel discussion DECORATOR CRAB - Mr. Kobayashi, the Pink Cat -, 2020 “Perspectves from Curators and Artsts on the New Normal” [Workshop “Gardening for Mr. Kobayashi, the Pink Cat” ] December 8, 2019 Photo: Takafumi Sakanaka Panelists: Ute META BAUER, NANJO Fumio, Raqs Media Collectve, KURAYA Mika Venue: Urban Design Center Namiki Lab (1-17-7 Namiki, Kanazawa-ku) Date/Time: August 4/19:00–20:30 (online) [Live sculptng and outdoor installaton: Decoratorcrab – Mr. Kobayashi, the Pink Cat] January 22–March 1, 2019 Co-Organizer: Organizing Commitee for Yokohama Triennale Venue: Namiki Clinic (2-9-4 Namiki, Kanazawa-ku) Cooperaton: SUPER DOMMUNE Organizer: YOKOHAMA AIR ACT Commitee (BankART1929+Koganecho Area Management Center) Support: Yokohama Arts Foundaton, City of Yokohama Tie-up panel discussion Cooperaton: Yokohama Kanazawa Seaside Area Management Commitee (Ashita Town Project)

54 55 Press releases 09. Public Relations and Promotion The press e-newsleters were sent as follows:

Various channels were used for publicity and promoton of Yokohama Triennale, targetng both profession- Date Topics als and the general public. Digital media, in partcular, was exploited in order to reach potental visitors. Yokohama Triennale 2020 Announcement In-depth coverages of the Triennale were made by journalists of arts and culture secton of major broad- 1 November 29, 2018 The Raqs Media Collectve Appointed as Artstc Director for Yokohama Triennale 2020 sheet newspapers as a result of publicizing Raqs’ curatorial concept and approach in detail. However, as event-listngs and other leisure pages were nearly inactve due to COVID-19, the number of coverages in Yokohama Triennale 2020 Announces Dates and Main Venues media targetng the general public decreased. 2 July 2, 2019 July 3 - October 11, 2020 Yokohama Museum of Art and PLOT 48 The publicity materials were designed by Ariane Spanier, who created a key visual image based on a color spectrum. The variatons of the image were developed for use according to diferent media including ﬂyers, 3 April 20, 2020 The First Announcement of Partcipatng Artsts

posters, website and banners. Promotonal actvites made actve use of digital advertsement and online 4 June 24, 2020 Opening Date to Change from July 3 to July 17 contents, expanding the use of digital media and tools for public relatons and promoton. 5 July 3, 2020 Digital Space, “Episōdo X”

6 July 16, 2020 Yokohama Triennale 2020 will open to the public on July 17

Explore Yokohama Triennale 2020 from home Publicity 7 September 24, 2020 New virtual tour released September 24

8 October 6, 2020 “Episōdo 03: Deliberatons on Discursive Justce- Chasing the Scent” Press conferences “Episōdo 10: Intersttum” 9 October 7, 2020 The press conference in November 2019 was held in the form of Episōdo at the proposal of artstc director to launch the Triennale. Osaka －The Penultmate Episōdo with video presentatons by artsts Eriko and Kuraya Mika, Executve Chairpersons of the Organizing Commitee for Yokohama Triennale, atended the mayor’s regular press 10 October 12, 2020 Yokohama Triennale 2020 “Afterglow” closes conference held on June 3 and made an announcement on the postponement of the opening for 2 weeks. The press conference on June 22 was live-streamed to prevent the spread of infecton, and the conference on July 16 was atended by a limited number of press people and 11 October 16, 2020 Invitaton - YOKOHAMA TRIENNALE: “Episōdo 01: Afterparty” live-streamed online as well.

Date/Time Venue Announcement No. of atendees

[Agenda] Performances and lectures to share the sources (and AD’s Episōdo 00: Sharing comments on ttle and concept), ttle, concept and the ﬁrst group of Our Sources PLOT 48 (Minato Mirai 21 partcipatng artsts 52 November 29, 2019 Central District Block 48) [Presenters] Raqs Media Collectve, SHINTAKU Kanako, TAMURA 14:00–18:00 Yuichiro, NISHIOKA Ai (reading), Ivana FRANKE, Lantan XIE, Hicham BERRADA, KOMATSU Kazumichi (music)

[Agenda] 2nd Press Exhibiton outline and partcipatng artsts, measures to prevent the 124 Conference Live-streamed from a café in spread of infecton (number of June 22, 2020 Yokohama Museum of Art [Speakers] Raqs Media Collectve (video message), OSAKA Eriko, viewers） 14:00–15:00 KURAYA Mika, MATSUMOTO Kimiyoshi, HOASHI Aki (moderator)

[Agenda] 88 3rd Press Introducton of the exhibiton and partcipatng artsts, photo session (including the Conference Yokohama Landmark Hall/ [Speakers] HAYASHI Fumiko, KONDO Seiichi, OSAKA Eriko, KURAYA satellite venue) July 16, 2020 Lecture hall, Yokohama Mika, Raqs Media Collectve (online), KIMURA Eriko 14:30–15:30 Museum of Art (satellite venue) Artsts: AONO Fumiaki, ARAI Takashi, IIKAWA Takehiro, IIYAMA 676 online viewers Yuki, IWAI Masaru, Elena KNOX, SATO Risa, SHINTAKU Kanako, (including general TAKEMURA Kei, TAMURA Yuichiro, Dennis TAN public)

Episōdo 00: Sharing Our Sources 2nd Press Conference (Live streaming) 3rd Press Conference Photo: KATO Hajime Photo: KATO Hajime

56 57 Volume of media exposure Value of publicity efects of Japanese and overseas media: approximately 5.09 billion yen (see p.66 for details) Publicity Materials Volume of Japanese media exposure (November 2018–January 2021)

TV TV Free Japanese media Radio Newspapers Magazines Online Total Terrestrial CATV magazines Designers in Japan and overseas were invited to propose a design concept for the Triennale, and Ariane Spanier was selected as a result. The key visual design incorporated a broad range of color spectrum and randomly inserted pixels, reﬂectng “luminosity,” “toxicity,” “coexistence” April 2018-June 2020 8 84 6 41 41 25 742 947 and “passage of tme.” A range of paterns and a moving image were developed for use in various digital media. July 2020 4 7 16 56 13 14 561 671

August 2020 7 234 3 37 17 8 443 749

September 2020 4 13 5 35 16 13 807 893 Designer: Ariane SPANIER (Ariane Spanier Design)

Octover 2020 0 0 6 45 7 4 311 373 Based in Berlin, Spanier and her studio work on graphic design and art directon, for mainly but not limited to print media, and also for moving image and animaton. She worked with Raqs on the 11th Shanghai Biennale (2016) as designer. November 2020-January 2021 1 0 0 78 3 3 263 348

Total 24 338 36 292 97 67 3127 3981 Flyers and Logos Volume of overseas media exposure (November 2018–January 2021)

Free Total no. of Overseas media TV Newspapers Magazines Online Total Region magazines appearances November 2018- ENGLISH + 0 0 2 0 76 78 China 20 ENGLISH JAPANESE June 2020 YOKOHAMA ヨコハマ Taiwan 32 20 トリエンナーレ July 2020 0 0 4 0 62 66 TRIENNALE 20 YOKOHAMA South Korea 14 20 August 2020 0 1 5 0 33 39 20 TRIENNALE Other Asian September 2020 0 0 2 0 23 25 38 countries

Octover 2020 0 0 2 0 12 14 Middle East 10 November 2020- 0 2 7 0 26 35 Europe 58 Key visual January 2021 JAPANESE ヨコハマ Americas 31 Total 0 3 22 0 232 257 20トリエンナーレ Oceania 5 20 ENGLISH + JAPANESE + ヨコハマ Other 49 SUBTITLE VERSION 1 トリエンナーレ 20 Media Coverage Summary Total 257 YOKOHAMA Television Magazines TRIENNALE 20 The NHK programs “Gogo Nama” (the “museum at home” segment) The art journal Bijutsu Techo featured a long interview on Raqs by and “Hirumae Hoto” featured the Triennale with curators explaining Miki Akiko, co-director of the 6th editon of Yokohama Triennale. (front) (back) the artworks for the audience with few opportunites to engage with Magazines in various ﬁelds also featured the Triennale including JAPANESE + art. The NHK programs “Nichiyo Bijutsukan” and Television Kanaga- women’s magazines SPUR and madame FIGARO japon, which SUBTITLE VERSION 1 ヨコハマ wa’s “Hamanavi” introduced the exhibiton with their guests appre- interviewed partcipatng artsts, and BRUTUS and OZ magazine 20トリエンナーレ ciatng hands-on works or partcipatng in workshops and the giving interviews to curators. Due to COVID-19, some magazines had keywords of the Triennale in great detail. The NHK Shutoken-Net- to cancel or postpone publicatons of their issues. 20 ENGLISH + work broadcasted Triennale’s initatves for social inclusion, and JAPANESE + ヨコハマ cable television featured children’s workshop, focusing on the Online media SUBTITLE VERSION 2 Triennale’s commitment in the community. The online art journal Bijutsu Techo Web presented an exhibiton 20トリエンナーレ report and a special interview with the curatorial head. Photo tour in YOKOHAMA Radio ART iT and artscape’s report on social inclusion and appreciaton, 20 TRIENNALE Curators made appearances to introduce the Triennale on the radio as well as te-up artcles posted on the cultural journal CINRA ran a programs of NHK Yokohama “Hama☆Kira” and FM Yokohama. City series of reviews on the Triennale by prominent musician, DJ and ofcials also spoke on the radio programs of FM Yokohama and writer. The Japanese idol group Momoiro Clover Z’s video report Radio Nippon to introduce the exhibiton and preventve measures atracted new audience. Digital versions of the newspapers, maga- of COVID-19. zines and free publicatons also carried news on the Triennale. Logos

Newspapers Overseas media Broadsheet newspapers, The Asahi Shimbun, Mainichi Shimbun, Interviews of Raqs were reported in The New York Times and The Yomiuri Shimbun, Nihon Keizai Shimbun and Sankei Shimbun, ran Indian Express. Since overseas journalists were unable to travel to artcles on “toxicity,” one of the key terms of the Triennale, in relaton Japan, local reporters writng for the internatonal art journals, Art to the situaton with COVID-19. The Kanagawa regional editons of Review Asia, Flash Art and ART AGENDA, covered the Triennale in JAPANESE + ENGLISH / (inside) NO TITLE ヨコハマ each of these newspapers and Kanagawa Shimbun introduced detail, with a focus on the exhibiton during the pandemic. Flyer (h. 297 x w. 420 mm, half folded): distribu20ton started inトリエンナーレ June 2020 various actvites including interviews with partcipatng artsts, YOKOHAMA support programs for visitors, workshops with elementary school 20 students, measures to counter COVID-19 and actvites speciﬁc to 20 TRIENNALE 20 Yokohama. Kyodo News’ readers campaign atracted more than 20 6,500 readers natonwide to apply for complimentary gift, contribut- 20 YOKOHAMA YOKOHAMA TRIENNALE ed to disseminate informaton on the Triennale widely. TRIENNALE ヨコハマヨコハマトリエンナーレトリエンナーレ 58 59 Yokohama Triennale 2020 website Promoton A teaser site went live on November 8, and the Yokohama Triennale 2020 website was launched on November 29, 2019. The website presented the outline of the Triennale, a message from artstc Advertsing on public transport and in the vicinity of venues director, the informaton on “sources,” “Episōdos,” partcipatng artsts and online events. The website also introduced useful Advertsements were displayed in the Minatomirai area where the venues were located. services for visitors and informaton on local art scenes as well as a pre-booking online tcket sales page to comply with the new meas- Locatons Type of ad ure to control admission. The website was also used as a platform to Grand Mall Park Flag (2 kinds, small and large) present live streaming and video works by artstc director and partcipatng artsts. Entrance of Yokohama Sign The outline, the tcket, and the access pages were translated by Museum of Art automatc translaton system and were made available in 7 languag- Yokohama Staton Signboard es. The total number of sessions (visitors) was 932,887, and the total Minatomirai Staton Signboard/Digital signage number of page views was 2,145,922. (from November 8, 2019 to Digital signage (platform protecton October 11, 2020) Statons of Minatomirai Line gates)

Train cars of Minatomirai Line Ad-wrapped train

Train cars of Yokohama Digital signage Landing page view Municipal Subway Signboard at Yokohama Staton

The new Yokohama City Hall Digital signage Social media

Twiter Instagram Advertsements Prior to the opening, informaton on the Triennale was tweeted From September 2020, midway through the exhibiton period untl whenever informaton was updated. After the opening, informaton closing, photos and the informaton on the artworks by partcipatng Advertsements were placed on social media to run digital promotons that reached out directly to target audiences. Digital media, including on tcket availability and opening hours were tweeted every day. In artsts were posted every day to introduce the exhibiton and the overseas websites for contemporary art and e-newsleter services were also proactvely used for publicity abroad. additon, video works and live streaming by partcipatng artsts, work. Artsts abroad shared the posts and disseminated informaton online events, informaton on special services and other useful worldwide. Media Number of ads informaton were tweeted to feed the art fan followers, with the informaton on the Triennale. E-mail news Twiter 8 Informaton on press release and news published on the special Facebook 9 Facebook website were delivered by e-mail to subscribers in Japanese and Social Media In conjuncton with Twiter, Facebook posted informaton on the English in a tmely manner. (Japanese: 40 tmes, English: 11 tmes) Instagram 14 exhibiton and events. Facebook Events were also created to an- Listng ads 6 nounce events in Episōdo 02 and was used to contact partcipants.

In Japan Magazines（cultural） 1

Overseas Websites for contemporary art, e-newsleters 6

Aug. 30 35,000 Featured in NHK “Nichiyo Bijutsukan” Jul. 17 Opening 30,000 Number of pageviews Number of sessions Facebook Likes 25,000 Twiter Followers

20,000 Flag at Grand Mall Park Signboard at Minatomirai Staton Signboard at the entrance of Yokohama Museum of Art 16,799 Jun. 3 15,000 Announcement on the opening date

10,000 10,367

5,000

0 Digital signage in Yokohama Municipal Subway Ad-wrapped train of Minatomirai Line

Nov. 8, 2019 Dec. Jan. 2020 Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. 11 Ad on Instagram

60 61 Promotonal event Yokohama Art Rally “The Line between Art and Comedy” 10. Visitor Profile A promotonal event was held in 2019 featuring players in comedy and art to cultvate a new audience aside regular art fans and to provide them with an opportunity to enjoy art. Total number of visitors: 153,528 Date/Time: February 2, 2019 / [Part 1] 12:30–14:00 [Part 2] 15:00–16:00 [Part 3] 17:00–18:00 Number of partcipants: [Part 1] 385, [Part 2] 320, [Part 3] 282 Yokohama Museum of Art PLOT 48 NYK Maritme Museum Total Venue: Yokohama Port Opening Memorial Hall (1-6 Honcho, Naka-ku, Yokohama) Visitors 73,782 44,269 10,251 128,302 Featured guests: SHIRIAGARI Kotobuki, AIDA Makoto, Jaru Jaru (GOTO Junpei & FUKUTOKU Shusuke), KURAMOTO Mitsuru, AKI INOMATA, AOTA Shinya, LEEKANKYO, TANAKA Iichiro Public program partcipants 25,226 Planning: KURAMOTO Mitsuru, HONDA Ashita Total 153,528 Cooperaton: Yokohama Triennale Supporters Ofce

* Visitors who were in junior high school or younger: 8,619; People with disabilites and their caretakers: 5,244; Non-Japanese visitors: 1,198 * The number of public program partcipants is the total number of people who entered the free-admission zones and those who partcipated in workshops and other public programs.

Average number of daily visitors

Yokohama Museum of Art PLOT 48 NYK Maritme Museum Total

Weekday average 660 402 72 1,133

Weekend/holiday average* 1,336 794 213 2,343 Stage view AIDA Makoto SHIRIAGARI Kotobuki Daily average 946 568 131 1,645

*August 13 and 14 counted as holidays Constructon walls at Minato Mirai 21 Central District Block 37

To publicize the Triennale widely in the area and to mark the route between the venues, the key visual of Yokohama Triennale 2020 appeared Smallest number of visitors on a single day on the temporary walls enclosing the constructon site located along the way between the west entrance of Yokohama Museum of Art and Largest number of visitors on a single day (among the days when all three venues were open) PLOT 48 (see p. 46 for details). October 11 Late night opening Weather: Cloudy July 28 Weather: Cloudy, partally rainy

Yokohama NYK Yokohama NYK Parasol Museum of PLOT 48 Maritme Total Museum of PLOT 48 Maritme Total Art Museum Art Museum

200 parasols were produced exclusively for Yokohama Triennale 2020 and rented free of charge for use between the venues (see p.46 for Number Number 2,983 1,875 563 5,421 274 193 58 525 details). They were also used in an umbrella sharing service around Tokyo Staton and in the Ueno area in Tokyo among other places to of visitors of visitors publicize the Triennale.

Daily Visitor Numbers October 3 No. of visitors exceeds 100,000 5000 September 6 September 19 October 8 No. of visitors exceeds 50,000 Event capacity restrictons Typhoon No. 14 relaxed by the government (Chan-hom) Sunny 4000 Cloudy Rainy Constructon walls Parasol Photos: KATO Hajime 3000 September 5 Visitor restrictons revised *p.43 for details

2000

1000 July 17 July 19 July 26 2 August 9 August 16 August 23 August 30 August 6 September 13 September 20 September 27 September October 4 October 11

62 63 4. How would you rate your experience with 5. Would you recommend the Triennale to Visitor Survey the Triennale? your family or friend? Very dissatsfied Reasons to recommend or have recommended the Dates: July 17–October 31 4.4% Triennale (excerpts) Survey method: Online survey ・ The Triennale provides a very meaningful experience Number of valid responses: 2,161 Somewhat during the pandemic. dissatsfied Would not Artstc expression is very inspiring and thought-pro- 10.2% ・ Very satsfied recommend it voking. 26.5% Visitor profiles 28.7% Yes, I would. ・ Located in Minatomirai, even those who are not very Neutral 41.7% familiar with art could enjoy it as a casual visitor. 16.5% 70 or older Reasons not to recommend the Triennale (excerpts) Gender Age group 2.2% Place of residence Japan (other than Kanto) 6.1% Have already Because of the COVID-19 pandemic. Other 2.2% 19 or younger Overseas Reasonably satsfied ・ Kanto recommended it My family and friends who are not interested in art 2.9% 0.2% 42.4% ・ (other than 29.6% may think the works in this editon is a bit difcult. Kanagawa) 60–69 Because I found a few works with sexual contents. 10.3% ・ 7.9% 20–29 18.6% Yokohama Male 32.9% 50–59 35.0% 24.7% 6. How would you rate our guidance of the 7. How would you rate your experience with 30–39 tme-sloted tcket booking system? the pre-booked entry? Female Tokyo 19.6% 62.8% 34.8% Kanagawa Prefecture 40–49 (other than Somewhat hard Very hard to follow Somewhat hard Very hard to follow 24.1% Yokohama) to follow 1.9% to follow 2.2% 15.7% 7.4% 10.3%

Very easy to follow Very satsﬁed With whom did you visit the Triennale? Previous visits to the Yokohama Triennale Neutral 32.8% Neutral 35.3% 23.6% Other family members 30.7% Past editons atended by those who answered 6.2% Other 0.5% Reasonably Romantc “Have visited before” Reasonably partner 7.6% (Multple answers allowed) easy to follow satsﬁed 27.2% 28.6% Have visited First tme before 2017 (6th) 78.9% Children 37.8% 62.2% 11.4% None 2014 (5th) 67.3% 45.0% 2011 (4th) 52.3% Spouse 12.4% 2008 (3rd) 42.1% 8. Do you know about the following art events coinciding with 9. What is your image of the Yokohama Triennale? 2005 (2nd) 34.1% the Triennale? (Multple answers allowed) Acquaintances 66.7% or friends 2001 (1st) 28.1% Internatonal 58.7% 16.9% 49.1% Much-talked-about 49.8% 44.1%

Cutng-edge 44.8% 34.9% About Yokohama Triennale 2020 29.4% More than an exhibiton 18.6% 21.1% Authentc 17.6% 1. How did you ﬁrst ﬁnd out about the Triennale? 2. What motvated you to visit the Triennale? 12.7% Familiar 16.2% 10.8% 10.7% (Multple answers allowed) (Multple answers allowed) 8.3% 6.1% 6.1% Photogenic 13.7%

Website 32.3% Interested in art 76.3% Easy to understand 10.2% BankART Life Ⅵ Koganecho Bazaar 2020 Creatve Railway SNS 27.1% Interested in Yokohama Triennale 70.6% N/A 6.0% From friends or 17.6% Informaton on the Internet 14.6% No Yes but will not atend Yes and will atend Have already atended acquaintances Informaton on newspaper and TV 8.9% TV 15.6% Invited by friend or acquaintance 8.2% Poster 11.2% Had plans to go to Yokohama 5.3% Newspaper 7.1% Interested in exhibitng artsts 4.3% 10. How much would you value each of the followings? Koho Yokohama 5.8% PR brochure Received complimentary tcket 1.7% Internatonal 20.5% 29.9% 29.0% 8.1% 8.2% Very much Flyer 4.3% Work or school-related visit 1.7% Magazine 3.7% Much-talked-about 15.6% 34.6% 23.4% 12.2% 10.6% To some extent Happened to pass by 0.9% Cutng-edge 25.2% 31.4% 24.7% 7.4% 6.8% Happened to pass by 2.7% Other 7.3% No opinion Also ofering atractons in From teacher at school 1.6% 14.8% 27.4% 24.9% 13.3% 14.9% additon to the exhibiton Not much

Radio 0.8% Authentc 38.7% 31.6% 17.9% 3.1% 4.3% 3. Which venues did you visit today? Not at all

Familiar 13.8% 25.8% 29.6% 10.8% 15.4% * No-response is not counted. Yokohama Museum of Art 99.5% Photogenic 8.5% 16.2% 24.3% 16.1% 30.1% PLOT 48 77.8%

NYK Maritme Museum 19.4% Easy to understand 21.4% 28.4% 27.0% 9.4% 9.1%

64 65 11. Economic Impact and Publicity Effects 12. Income and Expenditure Report

Economic Impact Exhibiton and Project (FY2018-2020)

Economic impact was calculated using 2011 Yokohama municipal inter-industry table, the most recent at the tme of estmaton. Visitor Income (Unit: JPY) expenditure estmates are based on questonnaires administered to visitors, and organizer procurement estmates are based on expenses Item FY 2018 FY 2019 FY 2020 Total at the end of ﬁscal period related to preparaton and operaton. The economic impact in Yokohama, combining visitor expenditure and organizer procurement, totaled City of Yokohama 63,767,067 149,065,401 396,097,041 608,929,509 approximately 2.3 billion yen. Agency for Cultural Afairs 0 0 180,000,000 180,000,000

Total economic impact (in Yokohama) (Unit: million JPY) Sponsorship and grants 0 359,281 46,447,062 46,806,343

Economic impact (induced producton amount) 2,314 Ticket sales 0 0 122,703,700 122,703,700

Primary impact 2,030 Catalog and merchandise sales 63,600 66,051 156,309 285,960

Secondary impact 284 Event tcket sales 1,098,500 90,000 0 1,188,500

Number of jobs created 187 (people) Other operatng income 871,815 2,997,290 228,591 4,097,696

Total 65,800,982 152,578,023 745,632,703 964,011,708 [Breakdown]

Economic impact of visitor expenditures Economic impact of organizer procurement Expenditures (Unit: million JPY) (Unit: million JPY) (Unit: JPY)

Economic impact (induced producton amount) 1,581 Economic impact (induced producton amount) 733 Item FY 2018 FY 2019 FY 2020 Total at the end of ﬁscal period

Primary impact 1,395 Primary impact 635 Producton 2,671,479 14,122,005 236,969,895 253,763,379

Secondary impact 186 Secondary impact 98 Fabricaton and installaton 0 30,000,000 69,867,171 99,867,171

Number of jobs created 142 (people) Number of jobs created 45 (people) Operaton 0 24,642,135 231,145,157 255,787,292

PR and promoton 4,143,885 12,536,286 55,486,962 72,167,133 [Ref.] Amount of visitor expenditures (in Yokohama) (Unit: JPY) Art programs in the city 0 2,000,000 0 2,000,000

Day trip Overnight stay in Yokohama Overnight stay outside Yokohama Catalog and other printed materials 245,586 106,718 17,420,745 17,773,049

Expenditure per person 8,730 33,273 12,270 Event-related expense 0 0 3,266,803 3,266,803

Ticketng 0 0 18,754,780 18,754,780

Travel 1,785,777 6,551,467 0 8,337,244

Outsourcing 16,307,651 28,749,379 48,660,063 93,717,093 Publicity Efects Supporters-related expense 8,000,000 3,043,379 698,732 11,742,111

The total of advertsing conversion value of Yokohama Triennale 2020 for Japanese and overseas media coverage from November 2018 to Administraton 32,646,604 30,826,654 63,362,395 126,835,653 January 2021 amounted to approximately 5.09 billion yen (tax included). Total 65,800,982 152,578,023 745,632,703 964,011,708

Japanese media (Unit: million JPY) Overseas media (Unit: million JPY)

Types of media Conversion value Types of media Conversion value TV 3,612 Newspapers 3 Commitee Administraton (FY2018-2020) Flagship TV statons 3,552 Magazines / books 17 Income (Unit: JPY) Regional TV statons 26 WEB 22 Item FY 2018 FY 2019 FY 2020 Total of three years CATV 34 Total 42 City of Yokohama 1,232,933 4,934,599 19,042,959 25,210,491 Radio 94 Carried forward from previous FY 49,672,655 Newspapers 635 49,672,655 41,767,777 39,895,166 (incl. supply and stock) ※FY 2018 only Natonal newspapers 345 Total 50,905,588 46,702,376 58,938,125 74,883,146 Natonal newspapers (regional editons) 151

Regional newspapers 129 Expenditures (Unit: JPY) Other 10

Magazines/books 54 Item FY 2018 FY 2019 FY 2020 Total of three years

Free newspapers 7 Commitee operaton 7,563,272 5,348,510 8,027,097 20,938,879 Administraton WEB 651 Ofce rental 1,574,539 1,458,700 1,736,837 4,770,076

Total 5,053 Carried forward to next FY 49,174,191 41,767,777 39,895,166 49,174,191 (incl. supply and stock) ※FY 2020 only *Figures following decimal points are rounded of, so breakdown may not add up to total. Total 50,905,588 46,702,376 58,938,125 74,883,146

66 67 *1 The unit/numeraton of the numbers of partcipatng artsts varies with each editon depending on curatorial directon. Yokohama Triennale 1st-7th Editons *2 The numbers are the total numbers of visitors to paid exhibiton venues except for the second editon. *3 The opening was delayed by two weeks due to the COVID-19 situaton.

1st Editon 2001 2nd Editon 2005 3rd Editon 2008 4th Editon 2011 5th Editon 2014 6th Editon 2017 7th Editon 2020

Exhibiton dates September 2 - November 11 September 28 - December 18 September 13 - November 30 August 6 - November 6 August 1-November 3 August 4 -November 5 July 17 - October 11 (Number of days opened) (67 days) (82 days) (79 days) (83 days) (89 days) (88 days) (78 days) *3

Main venues (paid) [2 venues] [1 venue] [4 venues] [2 venues] [2 venues] [3 venues] ·Yokohama Museum of Art ·Paciﬁco Yokohama Exhibiton ·Yamashita Pier ·Shinko Pier ·Yokohama Museum of Art ·Yokohama Museum of Art ·Yokohama Museum of Art ·PLOT 48 Hall (C, D) No. 3 and No. 4 Warehouses ·NYK Waterfront Warehouse ·NYK Waterfront ·Shinko Pier Exhibiton Hall ·Yokohama Red Brick Warehouse (Special co-operaton: ·Yokohama Red Brick Warehouse (BankART Studio NYK) Warehouse No. 1 NYK MARITIME MUSEUM) No. 1 ·Yokohama Red Brick Warehouse (BankART Studio NYK) ·Yokohama Port Opening No. 1 Memorial Hall (Basement) ·Sankeien Garden

Theme/ Exhibiton ttle MEGA WAVE Art Circus TIME CREVASSE OUR MAGIC HOUR -How Much ART Fahrenheit 451: Sailing into Islands, Constellaton & AFTERGLOW — Towards a New Synthesis [Jumping from the Ordinary] of the World Can We Know? - the sea of oblivion Galapagos

Directors/ Curators Artstc Directors: Artstc Director: KAWAMATA Artstc Director: Director General: Artstc Director: Co-directors: Artstc Director: KOHMOTO Shinji Tadashi MIZUSAWA Tsutomu OSAKA Eriko MORIMURA Yasumasa OSAKA Eriko Raqs Media Collectve TATEHATA Akira Curators: Curators: Artstc Director: Associates: MIKI Akiko (Jeebesh Bagchi, Monica Narula, NAKAMURA Nobuo AMANO Taro Daniel BIRNBAUM MIKI Akiko AMANO Taro KASHIWAGI Tomoh Shuddhabrata Sengupta) NANJO Fumio SERIZAWA Takashi HU Fang OODATE Natsuko YAMANO Shingo MIYAKE Akiko KASHIWAGI Tomoh Hans-Ulrich OBRIST KAMIYA Yukie Beatrix RUF HAYASHI Sumi

Number of partcipated artsts *1 109 artsts 86 artsts 70 artsts 77 groups / 79 artsts / 1 collecton 65 groups / 79 artsts 38 artsts/groups, 1 project 69 artsts/groups

Number of artworks 113 works 84 works 66 works 337 works 444 works 344 works 269 works and 5 projects

Total operatng expenses Approx. 700 million yen Approx. 900 million yen Approx. 900 million yen Approx. 900 million yen Approx. 900 million yen Approx. 900 million yen Approx. 1 billion yen

Total number of visitors Approx. 350,000 Approx. 190,000 Approx. 550,000 Approx. 330,000 Approx. 210,000 Approx. 260,000 Approx. 150,000 *Visitor access was restricted following measures to counter COVID-19.

Total number of visitors from overseas Not available Not available Not available Approx. 3,000 4,501 7,059 1,198

Total number of visitors, junior high Not available Not available Not available 24,205 26,381 26,988 8,619 school students or younger

Number of visitors (to paid venues) *2 Approx. 350,000 Approx. 160,000 Approx. 310,000 Approx. 300,000 Approx. 210,000 Approx. 250,000 Approx. 130,000 *Ticket valid 2 days (valid on any 2 days) *Ticket valid one day *Ticket valid 2 days(valid on any 2 days) *Ticket valid one day per venue *Ticket valid one day per venue *Ticket valid one day per venue *Ticket valid one day *Free for pre-school children *Free pass available *Free for junior high school students or *Free for junior high school students or *Free for junior high school students or *Free for junior high school students or *Free for junior high school students or *Free for junior high school students or younger younger younger younger younger younger

Number of tckets sold Approx. 170,000 Approx. 120,000 Approx. 90,000 Approx. 170,000 Approx. 100,000 Approx. 100,000 Approx. 60,000 *Visitor access was restricted following measures to counter COVID-19.

Number of media coverage More than 237 publishers 1,089 1,233 1,763 3,899 6,923 4,238 (Over 36 were overseas media) (Including 40 overseas media) (Including 165 overseas media) (Including 139 overseas media) (Including 117 overseas media) (Including 314 overseas media) (Including 257 overseas media) *Number of coverage not available

Volunteer/ supporter registraton 719 1,222 1,510 940 1,631 1,474 1,671

2001 2005 2008 2011 2017 History

1997 Ministry of Foreign Afairs announces organizing recurrent internatonal exhibiton 1999 Organizing Commitee for Yokohama Triennale (The Japan Foundaton, City of Yokohama, Japan Broad castng Corporaton [NHK], The Asahi Shimbun) is founded 2001 YOKOHAMA 2001: Internatonal Triennale of Contemporary Art Mega Wave Towards a New Synthesis 2004 Creatve City Measures are initated by the City of Yokohama and the Yokohama Triennale becomes its leading project 2005 YOKOHAMA 2005: Internatonal Triennale of Contemporary Art Art Circus [Jumping from the Ordinary] 2008 YOKOHAMA 2008: Internatonal Triennale of Contemporary Art TIME CREVASSE 2010 Members of Organizing Commitee for Yokohama Triennale is reorganized, with members consistng of City of Yokohama, Japan Broadcastng Corporaton (NHK), The Asahi Shimbun 2011 Agency for Cultural Afairs designates Yokohama Triennale as “Program to support Internatonal Arts Festvals” Yokohama Triennale 2011: OUR MAGIC HOUR -How Much of the World Can We Know?- 2012 Yokohama Arts Foundaton joins as a member of the Organizing Commitee for Yokohama Triennale 2014 Yokohama Triennale 2014: Art Fahrenheit 451: Sailing into the sea of oblivion 2017 Yokohama Triennale 2017: Islands, Constellatons & Galapagos 2020 Yokohama Triennale 2020: Afterglow 2014 2020

68 69 * Yokohama Museum of Art (Yokohama Arts Foundaton) Organizaton ** City of Yokohama Credits

Organizing Commitee for Yokohama Triennale P.21-39 P. 68-69 Photos: OTSUKA Keita, KATO Ken (photos marked with *) (2001) Honorary Presidents Exhibiton Text TSUBAKI Noboru + MUROI Hisashi, The Insect World / Locust, HAYASHI Fumiko (Mayor, City of Yokohama) [Representatve] Shveta SARDA P. 21 2001 MAEDA Terunobu (President, Japan Broadcastng Corporaton [NHK]) Nick CAVE｜Courtesy of the artst and Jack Shainman Gallery Photo: Mikio KUROKAWA WATANABE Masataka (President and CEO, The Asahi Shimbun Assistant Designers MINEISHI Keiko (Sourcebook), YAMAGIWA Ryo (PR, Exhibiton), P. 22 (2005) Commitee Members ITO Kohei (Exhibiton) James NASMYTH｜“Astrocurio Collecton” by TSUNODA Tamao Photo-souvenir Daniel BUREN: On the Waterfront : 16.150 Flames, KONDO Seiichi (Chairperson, Yokohama Arts Foundaton) [Chairperson] TAKEMURA Kei｜Producton supported by Gunma Sericultural Technology Center, Agriculture, work in situ, Yokohama, Japon, September 2005. OSAKA Eriko (Director, The Natonal Art Center, Tokyo) [Executve Chairperson] Documentaton Sericulture, Hortculture Promoton Division, Gunma Prefectural Government, Supported by Kyoto © DB - ADAGP Paris KURAYA Mika (Director, Yokohama Museum of Art) [Executve Chairperson] Bisho Photo: ANZAÏ KAKOI Kenichiro (Director, Cultural Promotons Center, Japan Broadcastng Photography Lebohang KGANYE｜Courtesy of AFRONOVA GALLERY Corporaton [NHK]) OTSUKA Keita, KATO Ken, KATO Hajime, KAMIIISAKA Hajime (2008) SAWA Kazuki (President, Tokyo University of the Arts) P. 23 Elmgreen & Dragset, Catch Me Should I Fall, 2008 JINBU Hiroshi (Director General of Culture and Tourism Bureau, City of Yokohama) Video Robert ANDREW｜Courtesy of the artst and Milani Gallery, Brisbane Photo: Tadahisa SAKURAI TAKASHINA Shuji (Director, Ohara Museum of Art) NISHINO Masanobu (Directon), MARUO Ryuichi, Max DE ESTEBAN｜CGAC Collecton, Santago de Compostela / Courtesy of the artst and CGAC TATEHATA Akira (President, Tama Art University) TOMITA Ryohei / HARADA Takeaki (Directon) Collecton, Santago de Compostela (2011) TSUKA Hiroko (Executve Vice President, The Japan Foundaton) Rayyane TABET｜Courtesy of Sfeir-Semler Gallery Beirut/Hamburg YIN Xiuzhen, One Sentence, 2011 HORIKOSHI Reiko (Executve Director, Cultural Projects and Business Develop- Administraton Team Courtesy ALEXANDER OCHS GALLERIES BERLIN | BEIJING ment, The Asahi Shimbun) PR & Promoton P. 24 Photo: KIOKU Keizo TAKAHASHI Nobuka*, IWATA Tomoko KIM Yunchul｜Developed as part of the Collide Internatonal Award, a partnership program between Auditor YONEZU Itsuka (Design Producton / Documentaton Coordinator) Arts at CERN and FACT, and was co-produced by ScANNER. (2014) Bay-Tax Tax Co. Michael LANDY, Art Bin, 2010/2014 Yokohama Triennale Supporters’ Ofce P. 25 Photo: KATO Ken Artstc Director Selecton Commitee for the 7th Yokohama Triennale HANZAWA Nanami, Nilbar GÜREŞ｜Collecton of Galerist, Istanbul / Courtesy of the artst and Galerist, Istanbul Commitee Members (the ttle is as of November 2018) YAMANO Shingo, TATEISHI Saori, YAMANO Kei, KANDA Miki (Koganecho Area Elias SIME｜Courtesy of the artst and James Cohan, New York (2017) ASADA Akira (Critc / Director, Graduate School Academic Research Center, Kyoto Management Center / fiscal year 2018-2019) AI Weiwei, Safe Passage, 2016, Reframe, 2016 University of Art and Design) [Chairperson] P. 28 © Ai Weiwei Studio KURAYA Mika (Chief Curator, Department of Programs Development, The Natonal Administraton Tsherin SHERPA｜Courtesy of the artst and Rossi & Rossi Photo: KATO Ken Museum of Modern Art, Tokyo) OSANAI Yukie*, TAKABAYASHI Mariko*, TSUCHIDA Kaori* Oscar SANTILLAN｜Collectons of LA COLECCIÓN JUMEX, MÉXICO and LLANO OSAKA Eriko (Director, Yokohama Museum of Art / Executve Chairperson, SATO Masaharu｜Collectons of IHARA Shinji, KAWAKAMI Tomoko, Northern Ark, KOJIMA Yuki, (2020) Organizing Commitee for Yokohama Triennale) City of Yokohama NODA Yasushi, YOSHIOKA Emiko, NISHIJI COLLECTION and KEN NAKAHASHI / ©Estate of Nick CAVE, Kinetc Spinner Forest, 2016 (recreated in 2020) SAWARAGI Noi (Art Critc / Professor, Tama Art University) AKASAKI Yuka, IMANISHI Megumi, IWANAMI Ai, OGAWA Tetsu, OGAWA Yoshiyuki, Masaharu Sato / Courtesy of KEN NAKAHASHI © Nick Cave WASHIDA Kiyokazu (Philosopher / President, Kyoto City University of Arts / KIMURA Ayaka, TAKADA Satoshi, TSUGANESAWA Yasuyuki, TSURUMI Tempei, Photo: OTSUKA Keita Director, sendai mediatheque) HIRABAYASHI Otohiko, MARUYAMA Akiko, YAMADA Takahiro P. 30 ZHANG XU Zhan｜Collecton of Project Fulfill Art Space / Courtesy of the artst and Project Fulfill Organizing Commitee for Yokohama Triennale Ofce Art Space Senior Managing Director: MATSUMOTO Kimiyoshi** Yokohama Museum of Art (Yokohama Arts Foundaton) Managing Director: IGARASHI Seiichi* KURAYA Mika [Director] P. 32 Managers: AKIYAMA Daisuke (Japan Broadcastng Corporaton［ NHK］) IGARASHI Seiichi [Deputy Director], KASHIWAGI Tomoh [Deputy Director] Amol K. PATIL｜Courtesy of Vibha Galhotra and Rahul Aggarwal KAJIWARA Atsushi** HOASHI Aki* Curatorial Department P. 34 YAMAKI Naofumi (The Asahi Shimbun) NUMATA Hideko, YATSUYANAGI Sae, NAKAMURA Naoaki, UCHIYAMA Junko, Elena KNOX｜©Osamu Kajitani (Left side at top) / ©Dee Lee (NNNI) (Right side at top) / ©NNNI MATSUNAGA Shintaro, KIMURA Eriko, KATADA Yuko, SHOJI Naoko, (Botom left) / ©Marina Komiya (Botom right) Yokohama Triennale 2020 AIHARA Kanako, OSAWA Sayoko, KANAI Mayuko, SAKAMOTO Kyoko, HASEGAWA Tamao, HIBINO Miyon, KUMASAKA Kumi, OSAWA Tomoji, ONISHI Ayako, P. 35 Artstc Director HASEGAWA Naho, MIYATANI Tomomi, KATO Aki, KATO Aya, SUZUKI Rieko, Anton VIDOKLE｜Courtesy of the artst, Asakusa and Vitamin Creatve Space Raqs Media Collectve HIRAGA Kaoru P. 37 Project Manager: HOASHI Aki* Internatonal Division Korakrit ARUNANONDCHAI｜Courtesy of the artst, Bangkok City City Gallery, C L E A R I N G New Administraton Manager: KAJIWARA Atsushi** HOASHI Aki (Curatorial Dept.), FUKUOKA Ayako, OSANAI Yukie, TAKAHASHI York/Brussels, Carlos/Ishikawa Communicaton Manager: NISHIYAMA Yuko Nobuka, TAKABAYASHI Mariko, TSUCHIDA Kaori

Curatorial Team Educatonal Department YAMASAKI Yu, SEKI Junichi, KINOSHITA Takahiro, HAYAMA Satoko, YANAGAWA Curatorial Head/Curator: KIMURA Eriko* Fumihide, SAKURABA Rumi, OIWA Kumi, OTA Masako, KITAGAWA Yusuke, Curator: HAYASHI Sumi KOTO Minami, SATO Takumi, MORI Mineku, ISHIZUKA Miwa, NAKANO Hazuki, Assistant Curator: HIBINO Miyon* ROKUSHIMA Yoshiro, SAITO Kayo Research Assistants: Kaushal Ajay SAPRE, IMAMURA Tyuki, SHIOZAKI Erica Administraton Department Exhibiton Head/Curator: UCHIYAMA Junko* NARAZAKI Kazuo, YOSHIKAWA Yukiko, MIZUTANI Hidetoshi, ADACHI Yoko, Coordinaton Head/Registrar: SUZUKI Yuko SAKODA Toshinori, OKUTSU Eri, KAWABE Moe, KOYA Akiko, SAKAGUCHI Shuhei, Coordinators: KURASHIGE Natsuko (Curatorial), TAKEI Mariko (Episōdo), TANABE Masako, FUKAWA Yukiko, NAGATA Asako, YAMAUCHI Ryoko, FUJII Satoko, TOMIYASU Reiko (Curatorial Registrar), SHIBATA Haruka (Curatorial Assistant), ERIKAWA Fumie, UMEZAWA Nodoka, YAMAMOTO Noriko, ISSHIKI Azusa, KOBAYASHI Maiko, IMASEKI Yurika NAGAHAMA Sawako, IMANO Maki, KOSUGI Hiroko, ISHII Yuko, SAITO Kanako, Technical Coordinators: YAMAMOTO Shiro, ITO Yuya, OKAMOTO Akio, TANAKA Shinji MORITA Michiyo, MIYAKAWA Izumi, DOI Toshie, YAMADA Hiroki (Intern, Sapporo Cultural Arts Community Center SCARTS) MURAMATSU Kazuhiko (YOKOHAMA Artst Corp.)

Assistant Project Manager: FUKUOKA Ayako* Japan Broadcastng Corporaton [NHK] / Project Coordinator: SUZUKI Keiko Japan Broadcastng Corporaton [NHK] Yokohama Interns (2019): ISODA Minori, IMASEKI Yurika, TOMINAGA Risako YOSHIIKE Ayako, MAEDA Yoshihiro, NISHIOKA Ai

Designer The Asahi Shimbun Ariane SPANIER TAKEBE Shoma

Architect MMA inc. (KUDO Momoko, NOMIYAMA Sakura, AKIMOTO Hirokatsu, KOBAYASHI Natsuko)

70 71 Yokohama Triennale 2020 “Afterglow” Report English Editon

Published in June 2021

Supervised by: Organizing Commitee for Yokohama Triennale

Edited by: AMINO Nao (torch press) TAKEI Mariko

Translated by: Edan CORKILL (p.9) Meri JOYCE (pp.4, 5, 13) HOASHI Aki, SUZUKI Keiko, SUZUKI Yuko (Organizing Commitee for Yokohama Triennale)

Printed by: Azuma Printng Co., Ltd.

Published by: Organizing Commitee for Yokohama Triennale Yokohama City Hall 30F 6-50-10, Honcho, Naka-ku, Yokohama 231-0005 JAPAN www.yokohamatriennale.jp