• Artist: Motoyuki Shitamichi

  • Taro Yasuno

  • Toshiaki Ishikura

  • Fuminori Nousaku

  • Curator: Hiroyuki Hattori
  • Production

Production

March 13, 2019

Shitamichi’s drawings, nautical charts, and other materials are shipped from Tokyo to Venice. They are scheduled to arrive on March 20.

Production

March 7, 2019

The balloon is shipped from Tokyo to Venice.

Production

March 1, 2019

PR materials (text and images for social media, etc.) to be sent to the Venice Biennale Foundation are submitted to the Japan Foundation.

Production

February 27, 2019

A discussion on details of the exhibition is held at Nousaku’s office. They examine color samples for the wall that arrived from Venice and decide on the color of paint to use.

Production

February 25 – 28, 2019

Shitamichi once again shoots tsunami boulders on Ishigaki Island. This is the last video session for the project.

Production

February 16 – 17, 2019

Shitamichi attends an event for the exhibition of graduation works at the Akita University of Art as a guest. Shitamichi, Ishikura, and Hattori gather in Akita, paint an MDF board the same as the wall in the Japan Pavilion grey, and experiment in engraving characters in it with an engraving knife.

Production

January 31, 2019

A draft of the myth arrives from Ishikura. It fits together wonderfully with the Tsunami Boulder video and Yasuno’s music.

Production

January 22, 2019

Shitamichi, Tanaka, and Hattori visit Yasuno’s studio in Saitama, and match up Shitamichi’s video and Yasuno’s music for the first time. They fit together surprisingly well. The idea of engraving Ishikura’s Cosmo-Eggs creation myth on a wall emerges.

Production

January 20, 2019

The texts and images for overall catalogue and guidebook for the 58th International Art Exhibition published by the Venice Biennale Foundation are submitted to the Japan Foundation. Afterwards, they will be translated into English and Italian. Submission of some materials is delayed until February or later due to issues such as receiving signatures for permission to use images and texts.

Production

December 17, 2018

Yasuno, Nousaku, and Hattori once again visit Aerotech for the final balloon test. Yasuno buys a thick hose from a nearby hardware store and attaches it to the bass recorder flute, making it possible to produce a stable volume. The balloon is almost completed.

Production

December 6, 2018

A meeting on construction is held at Nousaku’s office, involving Higure.

Production

December 5, 2018

Yasuno and Nousaku visit Aerotech. They test out connecting the nearly-completed balloon and recorder flutes, but a problem with the sound volume arises. They have several revisions to make before the final test 10 days or so later.

Production

November 15, 2018

Shitamichi, Yasuno, and Hattori meet at Nousaku’s office to discuss the screen, wall colors, and how to hang Yasuno’s recorder flutes. Afterwards they move to Tanaka’s office to meet each other and talk about graphics.

Production

November 5, 2018

Yasuno finishes the pitch table for all fingerings for the recorder machines. All sounds outputted by the soprano, alto, tenor, and bass machines are written down.

Production

October 23, 2018

Hattori travels from Sapporo to Saitama to visit Yasuno. Higure also comes to the studio that Yasuno rented to create works, and they discuss the device for hanging the recorder flutes, and how to fix them on the ceiling of the Japan Pavilion.

Production

October 22, 2018

The idea for a movable screen with wheels is nearly finalized.

Production

October 16, 2018

Nousaku, Yasuno, and people from Aerotech Co., Ltd., the company that will be producing the balloon, meet at Yasuno’s studio to discuss a balloon. The Aerotech staff bring samples, making the ideas easy to check out.

Production

October 6, 2018

A study on 10 patterns of set-up ideas combining the screen and projector stand for Tsunami Boulder is proposed by Nousaku.

Production

October 1, 2018

Yasuno rents a studio in Saitama until February 2019 to create the works for the project.

Production

September 28, 2018

Shitamichi and Hattori go from Nagoya to Kyoto and Osaka. They look at art books in bookstores in Kyoto and Osaka to consider candidates for the graphic designer. They are drawn to the work of Yoshihisa Tanaka.

Production

September 19 – 23, 2018

Hattori visits Palermo to see the Manifesta 12. Then he moves to Venice. Shitamichi, Yasuno, and Hattori meet up there. Before and after closing of the facility, they conduct a variety of simulations, including the spatial layout, and the flow of light. They connect with Nousaku, who is in Japan, via Messenger and have a meeting on September 23.

Production

September 6, 2018

Ishikura and Hattori visit Yasuno’s workspace at Nihon University College of Art Ekoda Campus. They report about the Miyako and Yaeyama investigation and speak about a wide range of topics from myths to music.

Production

September 5, 2018

The Ishibashi Foundation announced that the Bridgestone Museum of Art (currently closed for the construction of a new building) will be renamed the Artizon Museum. They also officially release an announcement of the returning exhibition.

Production

August 27, 2018

The specifications for balloon production are almost finalized.

Production

August 9, 2018

The team tests out projection at a gymnasium in Oji, Kita-ku to decide on a projector and screen. They test out two types of projectors with the support of Canon Marketing Japan Inc. and pick the WUX500ST model as the candidate.

Production

July 30, 2018

Nousaku and Yasuno come up with a new idea for the balloon. They propose a major change from the previous idea of creating balloon stairs below the pilotis to creating a gigantic balloon bench penetrating the floor to the exhibition room.

Production

July 19, 2018

A meeting on installation is held with Higure 17-15 cas, an art work installation team that has been requested to set up the exhibition and provide technical support for the artists’ works. Consultation mainly relates to the projector and screen.

Production

July 12 – August 21, 2018

Yasuno looks for a balloon company for his music composition.

Production

June 7, 2018

A press conference is held at the Japan Foundation. The names of the artists and curator participating at the Japan Pavilion are released, along with the plans.

Production

May 17, 2018

Hattori receives a phone call at the university in Akita that his plan was selected.

Production

May 11, 2018

Six curators take turns giving presentations at the qualifier held at the Japan Foundation. 20 minutes are designated for presenting the plan, and 15 minutes for questions and answers.

Production

May 7, 2018

Hattori brings the proposal from his home in Nagoya to the Japan Foundation in Tokyo and submits it.

Production

May 6, 2018

Hattori finishes up the proposal, gets the participating artists to provide their revisions, and it is almost completed.

Production

April 18, 2018

Hattori sends e-mails to Taro Yasuno and Fuminori Nousaku to ask them to participate in the project. Hattori has experienced several of Yasuno’s works, and after researching Nousaku primarily through the internet and books, he feels a stronger sense of connection with him than with any other architect, so he decides to ask him. Hattori has only received a tiny bit of information about his character from friends but decides to take a gamble and contact him anyway.

Production

March 23, 2018

At a party to honor teachers at the graduation ceremony for the Akita University of Art, Hattori asks Toshiaki Ishikura to be involved from the concept design phase and provide advice from an anthropological perspective.

Production

March 17, 2018

Hattori once again replies by e-mail, stating that he will officially enter the competition.

Production

March 9, 2018

Hattori replies from Cuba that he will think about it, as he is visiting to set up an exhibition which he co-curated.

Production

March 8, 2018

Hattori receives a request to participate in a competition to be named the curator for the Japan Pavilion in the 58th Venice Biennale: International Art Exhibition by e-mail.