Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial

Klien, Susanne

doi:10.1515/cj-2010-010

Cited by 13 publications

(11 citation statements)

References 7 publications

(5 reference statements)

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“…Community building through art has drawn attention as the 'Tsumari Approach' and has been referred to by curators and people in the art industry in the US, Europe, and Asia, as well as by the delegations of local governments, international conferences, and symposia [66]. The ETAT emerged from a prefectural incentive that pushed regions to rely on the specificities of their environments to overcome socio-economic decline [67,68].…”

Section: The Etatmentioning

confidence: 99%

The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan

Cai

Gao

et al. 2020

IJERPH

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After the recession in Japan in the 1990s, Japanese art exhibitions began to appear. The purpose of these exhibitions was to revitalize these areas through the presentation of art (attracting visitors and tourists). Correspondingly, this study explores the significance of exhibition-driven tourism in Japan. The Echigo–Tsumari Art Triennial (ETAT) was used as a case to study how exhibition-driven tourism has impacted sustainable tourism, economics, and the population. The current paper collected panel data from 1900 to 2018. These panel data were analyzed by descriptive statistics and a correlation analysis (a one-way ANOVA and a Pearson correlation analysis in SPSS26). The empirical analysis showed that the Echigo–Tsumari Art Triennial (exhibition-driven tourism) had positive impacts on sustainable tourism, economics, and the population; its correlations with Niigata were also clear. This study generated results that are valuable from both academic and industry perspectives (exhibition-driven tourism), as this field has not been extensively researched. The current paper also presents the theoretical and practical implications of the statistical results.

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Section: The Etatmentioning

confidence: 99%

The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan

Cai

Gao

et al. 2020

IJERPH

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“…While there is plenty of space in which to critique how this satoyama space is being deployed and concretized in various less-than-convincing art practices present at the triennale (Klien 2010), it nonetheless remains important to recognize the possibilities it gives of alternative eco aesthetic explorations. Such explorations, indeed, as undertaken by an expanding group of Hong Kong-based artist-farmers, whose practices in this Japanese landscape represent a soon to be decade-long commitment to build cross-cultural conversations and solidarities from the margins, in ways that articulate with their own local concerns in Hong Kong.…”

Section: Encountering Other Eco Materials In East Asia: An Illustrationmentioning

confidence: 99%

Art, climate change and (other) eco materials: rethinking the cosmopolitanization of aesthetics and the aesthetics of cosmopolitanization with Ulrich Beck

Thorsen

2020

Global Networks

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Based on fieldwork in Japan and Hong Kong, I ask how methodological cosmopolitanism, as formulated by Ulrich Beck, may afford new and highly needed modes for grappling with climatically concerned art and aesthetic practices across geographical regions. I will argue that methodological cosmopolitanism serves as an important framework for approaching such art practices, and suggest that two overall intertwined strands concerning aesthetic practices engaged in global issues of climate change, emerge from this – the cosmopolitanization of aesthetics and, reversely, the aesthetics of cosmopolitanization. Departing from my fieldwork among farming artists in the Hong Kong countryside and in the Japanese satoyama – rural mountain – areas, I will, on the one hand, argue that art practices are ‘cosmopolitanized’ by the awareness of global risks, manifested in anticipation of the comprehensive climatic changes (in)discriminately affecting across nations and regions. At the same time, and importantly, art practices are actively attending to this ‘risky’ cosmopolitanization, giving aesthetic voice, form and ‘visuality’ to unfolding climatic issues and concerns and hereby practising what I will call an ‘aesthetics of cosmopolitanization’.

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“…Despite agricultural innovations that once yielded a strong export industry centered mainly around rice production, the region has fallen into a state of decline as the younger generations have continuously moved away for better financial prospects in Japan's cities and metropolitan areas. The Echigo-Tsumari region is larger than the entire Tokyo metropolitan area of 23 wards, but has a population of only 70,000less than 0.2 percent of Tokyo's 37.8 million people (Klien, 2010). As of 2008, 30 percent of Echigo-Tsumari's population was over 65 years old.…”

Section: Festivals For Revitalizationmentioning

confidence: 99%

Contemporary Japanese art: between globalization and localization

Tagore-Erwin

2018

AAM

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.

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Collaboration or confrontation? Local and non-local actors in the Echigo-Tsumari Art Triennial

Abstract: This article deals with selected contemporary art projects that have involved the collaboration of heterogeneous actors in the framework of the

Cited by 13 publications

References 7 publications

The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan

The Positive Impacts of Exhibition-Driven Tourism on Sustainable Tourism, Economics, and Population: The Case of the Echigo–Tsumari Art Triennale in Japan

Art, climate change and (other) eco materials: rethinking the cosmopolitanization of aesthetics and the aesthetics of cosmopolitanization with Ulrich Beck

Contemporary Japanese art: between globalization and localization

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