The journey to Japan was good and easy. Â Yoshiko Maruyama, the artist/ initiator of this project, was waiting for me at Narita airport.
The Japan Foundation wanted to meet me and receive my flight invoices and this meant an hour bus trip in the wrong direction into central Tokyo, but a smiling Mr Ohnishi met us, gave us lunch and towed my suitcase for me and after the formalities of paperwork he found us the correct train for our 3 hour journey up to Kitakata. He is promising to visit us in 10 days time to give us our generous fees and expenses.
I got a little closer to understanding why this project is being sponsored by the Japan Foundation and just what their hopes for it are. It seems there is a general desire of local and national government to counter the current negative images that accompany the word Fukushima internationally, as well as a desire to re-build the cultural activity of the area. Our impressions of our visit that we give to them and local people and also take home with us are just as important as any artwork we create here. They also talk of us conveying a positive image of the area to what they call the â€˜Refugeesâ€™, in other words the survivors of the Tsunami who are living in temporary accommodation here that they must vacate after 3 years. I hope to find out more about that later.
I feel they see us as trailblazers initiating an artistâ€™s residency in Fukushima that they hope others will then be willing to come to. It is refreshing that they and the other funders are happy to support a project without any clear idea of how it will proceed, instead just letting things fall into place as it goes along.
Yoshiko and I have now joined the two Norwegians, a sculptor and an architect and the first impression for all of us is the COLD, the second is of amazing scenery and buildings.
This is my seventh visit to Japan and I have never seen it look so stunning nor have I been so cold. We are staying in a traditional farmhouse style building with sliding walls with paper â€˜glassâ€™ on the inner side and glass on the outer wall (with a metre wide buffer zone between) none of which are tight fitting. There is absolutely no insulation and there is a general reluctance to use any electricity. This seems toÂ stem partly from cost which is often mentioned â€“ although the adjacent new part of the building does have solar panels on the roof (I havenâ€™t yet had a chance to ask about that) â€“ and also from a general attempt to reduce the use of electricity after their nuclear catastrophe. No one here seems to know how many of their nuclear plants have been re-opened.
As Margretha from Norway is an architect we have had long discussions about the nature of these building which seem to have been traditionally so unsuited to this climate, but then again they have also to withstand earthquakes and extremely hot and humid summers for which they seem perfectly adapted. We also donâ€™t yet know the extent to which their approach to life was, and maybe still is, so different from our own age of â€˜comfortâ€™. The winters are cold so you just put on more clothes and donâ€™t think about it. We are trying hard to do the same with varying degrees of success. The paraffin heaters and heated meal tables are a blessing. Our hostess has just produced some electric blankets â€“ JOY.
The amount of fantastic food we are plied with also goes a long way to keeping out the cold. Today we have a â€˜partyâ€™ to which all the funders and local supporters as well as Press will be coming. Tonight apparently we are moving to a mountain farm house for 4 days.
With endless outings being promised, we are wondering when there will be any time to make work for an exhibition in 4 weeks time.
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It has been established byÂ Chris Fremantle, producer and research associate withÂ On The Edge Research,Â Grayâ€™s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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