March 24, 2019
Hattori is in the second day of setting up the exhibition in Venice. He holds a video conference with Shibahara, who had suddenly become involved in the editing team for the catalogue and the designer Tanaka. The Appear In online video conference service works pretty well.
March 15, 2019
Tanaka, LIXIL, and Hattori hold a meeting on the catalogue at Tanaka’s office. Finally, the overall image becomes visible, and everyone is relieved.
January 8, 2019
A visit is made to Case Publishing to discuss the publication of a catalogue.
December 25, 2018
A visit is made to LIXIL Publishing in the morning to discuss the possibility of publishing a catalogue. Afterwards, there is a meeting at the Ishibashi Foundation’s office regarding the returning exhibition. Furthermore, in the afternoon, a meeting involving Tanaka is held at Nousaku’s office to discuss the graphics and sign design in the exhibition space.
October 26, 2018
Shitamichi and Hattori meet in Nagoya and discuss the video loop and possibilities for collaboration.
October 19, 2018
Hattori travels from Kanazawa to Tokyo to visit Yoshihisa Tanaka. They talk about thoughts on design for more than an hour. There are many things that Hattori can empathize with, so Hattori discusses Tanaka’s participation in the project as a graphic designer.
October 4 – 9, 2018
Nousaku visits Venice. On October 8, a meeting is held over Messenger with Nousaku in Italy, Ishikura and Hattori in Akita, and Shitamichi in Aichi.
July 5, 2018
The first overall meeting is held at the Japan Foundation. Finally, the four artists and the curator all meet. They also visit the Ishibashi Foundation, co-organizer of the returning Venice Biennale exhibition in 2020.
May 28, 2018
Hattori holds a Skype meeting with the artists to make some minor revisions before the press release. They talk about issues that the selection committee had pointed out.
May 4 – 5, 2018
Shitamichi, Yasuno, Nousaku, and Hattori spend the night in Nagoya brainstorming ideas to flesh out a proposal. Ishikura joins the group via Skype. They imagine the floor holes and wall space in the Japan Pavilion in their actual dimensions while looking at a model to consider the composition of the project. Yasuno proposes several music plans. Essentially, he is pursuing music composition rather than sound art, so everyone settles on mimicking the songs of birds with Zombie Music on recorder flutes. Ishikura brings up egg creation myths, in which the universe is born from an egg, so they decide on “Cosmo-Eggs” as the title.
April 23, 2018
Hattori visits Nousaku’s residence and office, Holes in the House, along with Shitamichi, and is shocked by the architectural space. It is an outstanding structure. Hattori feels a sense of empathy for so much of Nousaku’s thoughts and actions and is sure that they all could create a wonderful project together.
In the afternoon on the same day, Hattori and Shitamichi meet with Yasuno at Coffee L’ambre in Shinjuku, Tokyo. They talk about how to involve a musician to launch a project centered on Tsunami Boulder.
April 15, 2018
Hattori meets with Shitamichi at Komeda’s Coffee in Hoshigaoka, Nagoya. They decide to see if Taro Yasuno and Fuminori Nousaku would be interested in participating.
April 5, 2018
Hattori has a Skype meeting with Shitamichi and Ishikura.
March 18, 2018
After seeing an exhibition at the Toyota Municipal Museum of Art, Hattori meets with Motoyuki Shitamichi at a Mos Burger restaurant in Nisshin and tells him that he will be entering the competition for Venice. They talk there about Shitamichi participating as an artist, and as Hattori was listening to him speak about his recent works and activities, he becomes interested in his Tsunami Boulder. Hattori asks him things such as if they could work on a project as a team.