In the 13th installment, we feature “inVisible”, a non-profit organization whose concept is to develop projects using art as a catalyst to “make visible what isn’t.” By exploring art used in day-to-day life while incorporating community engagement strategies, they have developed projects that enable societal change. In this installment, we met with managing director Akio Hayashi and deputy director and artist Hiroko Kikuchi at the venue where they reported on their efforts for their new project “MINDSCAPES TOKYO”, which rethinks mental health from an art perspective.

Akio Hayashi
NPO “inVisible” co-founder and managing director. Born in Tokyo in 1984. While a student at Ritsumeikan Asia Pacific University, Akio got involved in the non-profit “BEPPU PROJECT”, becoming the art project event manager for the organization. In 2012, he became the executive office head of “Konyoku Onsen Sekai”. He resigned in 2013 and started the non-profit inVisible in 2015. He was also involved as a curator in “OKUYAMATO MIND TRAIL Museum in your mind”, among other projects.

Hiroko Kikuchi
Deputy director of “Invisible”, artist, and creative director. Born in Tokyo. Hiroko has a B.F.A. in Sculpture at Boston University, and an M.F.A. from Tufts University. After twenty years in the U.S, she moved back to Japan in 2011 after the Tohoku Earthquake. She has been involved in community engagement strategy and development for the MIT List Visual Arts Center, the Museum of Fine Arts, Boton, the Aichi Triennale 2013, and for the Mori Art Museum.

Finding value in what isn’t visible

–– “inVisible” has been involved in developing many projects. I’d like to ask how you started the organization in the first place.

Akio Hayashi: I had personally been helping out with an art project eventually called “Relight Project”, which aimed at relighting Tatsuo Miyajima’s public art project “Counter Void”. For various reasons, it became difficult for the organization that initially ran the project to continue, so they asked me to take over. I was skeptical of trying to do it alone… then I found out about Hiroko on the Internet.

She was an artist who had been involved in community engagement for multiple projects in America. We didn’t know each other, but when I contacted her and met with her, there were a lot of things we agreed on. So we decided to establish an organization and work together in a light-hearted way, then started it in 2015.

However, instead of an organization meant for a specific project or issue, I wanted a way to be able to continuously interact with society and art. “Invisible” is about finding value in what isn’t visible. We’ve come so far and have been blessed with the other wonderful members on our team.

We work on many projects, but our main priority is to use art as a catalyst to communicate with people, to discover new perspectives, and to find something new from there. Of course, increasing the quality of the work or project is a part of it, but we are not only aiming for high-quality. We are also emphasizing the importance of whether or not communication is generated by the presence of the work or project.

It might take time, but we hope that the people who experience it or are a part of it can change. While we believe that it’s important to affect change on a large number of people, we also find it crucial to deeply impact each individual person at the same time.

In our projects, I mostly take care of the event planning and overall coordination and management. Hiroko handles most of the artist direction and the specifics of the projects.

–– I’d like to ask you about the specific projects as well. You develop art projects that spend a lot of time collaborating with locals.

Hayashi: We’re based in two locations: Tokyo and Tomioka Town in Fukushima Prefecture. We spend about half the month in Tomioka Town, where we’ve been working on a project called Professional in School Project (a.k.a. PinS) since 2018, which is a kind of artist residency-like program at elementary and middle schools.

I believe that the main objective of artist residencies is for the artist to create. PinS is the same in that the artists create, but they are enrolled as transfer students instead, not as artists. We have them do their work there daily, and the children can come and go as they please, and they can talk amongst each other. That’s how the children and the teachers can encounter “worlds that they don’t know”.

So far, a carpenter, Takatsune Hayashi, Mr. Tatsuo Miyajima, a painter, Akira Kamo, Yoshihide Otomo, and a designer, Akiko Koike, came as transfer students and created artworks. Mr. Otomo even created the new school songs for the elementary school and the junior high school. I think that the presence of professionals with creative abilities in schools has some influence on the value formation of children and teachers, with art and artists serving as one catalyst.

Hiroko Kikuchi: Another ongoing project we’ve developed is called “Tsumugu Project”. As part of the “Community Engagement Programs” jointly operated by Roppongi Hills and Mori Art Museum, I have been directing this project from the beginning, carefully gathering and expressing the thoughts of people who have walked together with the community in Roppongi.

In my role, I believe in the importance of unlocking the unseen or unheard aspects, as there are incredibly valuable stories in those hidden and unheard voices. By delving into them, I hope to reveal a previously invisible side of the community and bring it to light.

The Tsumugu Project aims to weave together the context of the community with the participation of the local people. While there is an artist at the center of it, the artist serves as the catalyst, allowing the stories to emerge from the process of communication among community memebers. What is interesting is that as this gradual sense of community building takes place, people naturally start describing art in their own words. This project is like weaving together these small stories.

I believe that art should inherently be a part of society, and I think that this project reflects that aspect. Our activities are tied to the concept of “social sculpture,” and we explore how to create society while harnessing the power of creativity. Instead of making significant changes, I believe there is potential in making numerous small changes that collectively contribute to shaping society.

If we set our goals too high, it can be challenging to reach them. But how do we bring about happiness that feels like a warm hug for ourselves? If we consider things on a personal or emotional level, suddenly it seems like there are a lot of things that can be done. While planning, I keep in mind the idea of creating such relationships between people and communities, hoping to bring that into fruition.

What is “mental health”, as explored during the COVID-19 pandemic?

–– “MINDSCAPES” is a cultural program by ”Wellcome Trust”, a UK-based charitable foundation, to deepen understanding, have discussions on, and fundamentally reexamine mental health. It’s an international project that is also conducted in the United States, India, and Germany. It is a perfect match for the activities of inVisible, which has been entrusted with the project as a partner in Japan.

Hayashi: “MINDSCAPES TOKYO” was launched in 2022 with Wellcome Trust and inVisible as co-organizers. The “Convening” was a dialogue meeting in Tokyo and Tomioka Town to consider mental health from multiple perspectives, and the “Urban Investigation Project” was conducted by youth investigators from Kadokawa Dwango Gakuen N High School and S High School to investigate mental health in urban areas together with artists. “MINDSCAPES TOKYO WEEK”, held at YAU STUDIO in Yurakucho from February 20th to 28th, was a community gathering as well as an event to report on efforts made in these projects.

Kikuchi: The purpose of this project is not to provide definitive answers, but to explore how we can talk about mental health and find clues to fundamental solutions. Some assume that there are limits to the scientific exploration of mental health. Many arguments can be made, of course, but in this day and age, there’s a need to think about it from the perspective of art and culture. I found this to be a very important message.

In the past few years, some countries have conducted projects online because of COVID, but Japanese people still have difficulty when talking about matters of the heart online. We successfully negotiated with the Wellcome Trust to hold the project in a space where we could have a realistic and palpable heart-to-heart exchange. In fact, when I engage with the youth and students involved in this project, I saw how much they longed for authentic connections. After all, online and virtual connections have their limits, right?

This project is not COVID-specific, but I think we’ve all had our emotional upheavals, at least over the past few years. I hoped to explore what mental health means in this climate while valuing what can be seen from the perspective of art and culture.

Hayhashi: During “MINDSCAPES TOKYO WEEK”, we held talk events and conducted social gatherings in the form of snack bars at the venue every day. I think it’s important that people who see and experience what we’ve done and thought about in this project think about what mental health means to them. In an age where 25% of the world’s population has some kind of mental health problem, it’s crucial for the other 75% of people to imagine the pain of others and understand that those people can exist around them, instead of believing “it has nothing to do with themselves”.

We posed the question, “Can art projects or museums become mental health clinics?” at the Convening. Rather than trying to answer the question, it led into a series of discussions with professionals from various fields. Although the project has come to an end, some very important thoughts came out of the discussions, and we would like to continue to consider how to put those ideas and concepts into practice in the future. How to make art function in society is one of our responsibilities and challenges.

Activities that will create “social sculptors”

–– Why did you initially decide to start this sort of work?

Hayashi: I didn’t graduate from an art college, and my involvement in art came about by chance. I was always thinking more about community development and improving local communities. I came up with an idea of how I could make a difference in society by acting as an intermediary. For example, I would think about how if we opened a temporary café in front of a hot spring inn that was on the verge of shutting down, we could create buzz and help the inn and the community. But then, I learned about art and figured I could do what I wanted to from a different standpoint.

I have a lot of respect for art and artists. I don’t want to use the word “artist” lightly, but I think it would be great if art were more accessible and if everyone could be creative.

For example, say most people who play sandlot baseball admire professional baseball players. If people like the youths who participated in MINDSCAPES become involved in art and start to think that artists are great not only for their artwork but also for the way they think, then perhaps one of them will become an artist who will leave their mark on future generations. They may not necessarily become an artist, maybe they become a mechanic or a housewife. I think that may be what Joseph Beuys meant by “social sculpture”.

Kikuchi: I have been immersed in the world of art for most of my life, but I’ve always struggled with communication. In fact, Hayashi is the complete opposite. In the midst of living such a life, I found solace when I was told that it is okay to pursue the unanswerable. I can’t live without art. Art is necessary for society, but I alone cannot accomplish much, which is why I want to nurture as many people as possible who have high expectations and believe in the power of community and creativity. Otherwise, art will become nothing more than an authoritative and uninteresting endeavor. I always hope that art becomes a more accessible presence for a wide range of people.

–– After “MINDSCAPES TOKYO”, what do you want the future of “inVisible” to be like?

Hayhashi: If we get into specifics, we have been asking artists through “PinS” to leave behind one artwork. Which means that if we continue for ten years, we can have ten works, right? I’d like to make the entire Hamadori area of Fukushima like one museum where we can have exhibition revolving around it. By designing a route where people can encounter artworks and spaces, I envision creating an experience that can be considered as a metaphor.

What I personally thought after working on this project is that I’d like to think of art in a way that distances itself from “contemporary art”, including the way it’s presented. At the Convening, artist Yuki Iiyama suggested that we redefine the word “art” to mean not only art or fine art, but also “expression”.

I hope that our presence can be like a catalyst, sprinkling water in various places. Ideally, the artists involved in the projects would consider their projects not only as one of their artworks, but as a representative work, including the community. That would mean that I’ve made some contribution to the idea of what an artist, as I envision it, should be.

Photography Hiroto Nagasawa
Translation Mimiko Goldstein

The post Art Series “The Shape of Borders” Vol. 13: The Challenges of Using “Invisible” Art as a Catalyst for Shaping Society appeared first on TOKION - Cutting edge culture and fashion information.

Cutting out images and collecting

At this exhibition, besides an array of her photographic works comprised of photos taken in the city of her production base, Tokyo, and her hometown, Uwajima-city in Ehime, she is also releasing her painting series, SPELLBOUND-MASK, which document her paintings of women’s faces. In addition, she is publishing her 14^th zine, UWAJIMA⇄TOKYO, which is comprised of the photos from the exhibition.

What’s interesting about her artwork is that she combines two photos to make one artwork. The respective photos were shot in two different cities—Tokyo and Uwajima—though, hardtell in which city they were taken At first, these pictures seem irrelevant to one another, yet once they are conflated, the various colors, shapes, and chain of images together form a whole new image.

Otake has been putting out photo albums as zines, with all having a single theme: A place where she had visited. The idea of publishing a zine originated from when she made a photo book for her graduation project at Central Saint Martins, University of the Arts London, where she attended. For her, the process of making a zine is not a matter of shooting photos as artworks and collecting them into a photo book. Ultimately, she takes photos as a simple means of assembling materials for her works. “It’s like relentlessly gathering evocative images. When I take photos, I cut the unnecessary stuff out of the frame and only include what I want in the picture. Later, I line up these photos and assess the combinations—and that’s the fun part of the entire process. It feels as if the places, times and everything in the photos melt and fuse into one. This is how I make an art piece.”

No words or blank margin required. She wants to create a book of images only. And her will is morphed into the solid series of zines that go on to this day. She, presumably, acquired her sense of layout—in which her works are made with facing pages—from studying graphic design at Saint Martines University. It is quite astonishing that, in the beginning, she did not rely on Photoshop but used a free software instead to edit images. She allegedly took as many photos as possible of the things that came to her attention, and the zine was spawned from outputting the copious materials she had garnered and organically became an emanation of her multifaceted view of the world. It also shows how uniquely she captures the world.

She currently uses a compact digital camera in order to take many pictures and for precision. Where she differs as an artist is that she uses the camera as a tool to collect images that she likes rather than to make photographs into artwork.

“It can be any camera, even an iPhone, but mine is a bit old. Wherever I go just walk around and take lots of pictures. I think a compact digital camera is best for that.”

Uwajima and Tokyo—Two important cities

Uwajima and Tokyo are the cities incorporated in the exhibition title, as well as the motifs of the artworks. The artist told us that she has been going back and forth between the cities and they are both important places for her.

“I was born in Uwajima and grew up until high school. My father is from Tokyo, and I visited there often when I was little to see my grandparents and had fun in the city. Tokyo is an exciting city where time flies fast. I wanted to juxtapose the two cities—Uwajima and Tokyo—and that curiosity led to this exhibition. Before, I didn’t have a strong feeling for Uwajima, but now I’ve become more aware that the place is my home and where my family lives.”

Since Otake came back from London, she has been based out of Uwajima traveling back and forth to Tokyo, but now because of Covid, she has not been able to go back to Uwajima. It is a detrimental situation for the artist as her travels have been a direct inspiration on her creativity.

“I want to make sure that I always have fresh eyes, so I’m most dreaded of ‘getting used to things.’ Every time I left Uwajima, I was motivated to take more pictures when I was back, and even though Tokyo is an exciting city, I get less inspired if I’m trapped in the same area. I’ve been blessed to have been able to visit different places to produce and do exhibitions, and that’s been the source of my creative drive.”

Yet, on the flip side of being stuck in Tokyo, she has been able to solely focus on production. For canvas paintings of course, but the process of drawing in general is done in one place, and for the past one or two years, Tokyo has become an essential production base for her. This time, she released a collection of acrylic paintings, SPELLBOUND-MASK, and each piece emanates a strong presence, which is further enhanced as we now live in a world where people’s faces are veiled in face masks. Her photographs are remarkable often espousing vivid colors, yet the paintings are rendered in even more vibrant colors. The paintings and the photographs are quite distinct from each other as they use different motifs, however, they appear to be somewhat related.   

“I think the images that are in the photobook have become sources of inspiration for my paintings. Acrylic paints are bright colored and I use them to achieve my ideal colors—they are perfect for me.”     

She says, she also wants to try oil painting in the future.

“Now, I draw pictures with striking color contrasts, but I like the distinctive soft touch of oil paintings as well, so I want to experiment mixing colors and draw leisurely with oil paints. I self-taught myself how to paint pictures, and I do some research on different art mediums and drawing techniques; recently, I’m getting keener on studying various means of expression in art.”

Under any circumstance, I want to keep creating

It goes without saying, Otake’s father is a renowned painter, Shinro Ohtake. Since little, Otake drew pictures together with her father, and interacting with her father through creating things was her childhood life, and that experience has unequivocally led to what she does today, but she tells us that, in retrospective, she was a mundane, countryside middle school and high school girl. Even when she was studying in London, surprisingly, she wasn’t intending on living the rest of her life as an artist.

“In London, first, there was the Foundation course, then it went up to BA and there were couple further courses; and every time I was done with one, I thought about flying back home…. Especially since I knew deeply that it takes a lot to be like my father. But, at the same time, I knew, deep down, that I was always eager to create something. I never had the urge to live life as an artist, but I merely loved creating things, and broadly, I wanted to have a job that involves producing artworks, and that feeling has always stayed the same.”

After she graduated university, she rented an exhibiting space in a hair salon in London and opened her first solo exhibition, and when her artwork was sold on site, she finally swore to herself that she will pursue her career as an artist. Ever since, and to this day, she affirms that she wants to continue making artworks, whether the works sell or not.  

The pandemic gave me time to confront myself. Luckily, the exhibition was carried out without getting canceled, and I still get to work on my artworks every day.

“It’s a big deal for me that I haven’t been able to see my family for this long. Since I had to do everything on my own, it re-fueled me to get myself through this situation. Before, every exhibiting work was a challenge to me. In some parts, I deliberately keep a consistent style, but I feel like I should start altering and evolving my works little by little. Especially with my drawings, I feel like my emotions are explicitly revealed, and at the exhibition in Osaka (GALAGALAGALA that took place in Shinsaibashi PARCO from February 11^th to March 8^th, 2020) I wanted to pep up both myself and the viewers with colors. This exhibition is in its extent, but probably, with a slightly mellower vibe. I think it has toned down a bit from the dazzling state. In the future, I want to keep my artworks impactful but make them in softer tones.”

Currently, Otake’s co-exhibition with her younger sister, titled BS Channel ~ Black by Sister channel ~, is taking place at Pearl Book Shop & Gallery in Hatagaya, where her small monochrome collage artworks are displayed. The artist, who has an ambition of drawing a massive artwork, utters, “there are many more things I want to accomplish,” with a spark in her eyes. We can’t take our eyes off this burgeoning artist aspired to take diverse challenges.

Saiko Otake
Born in 1988. She graduated University of Arts London in 2016. With her multifaceted perspectives, she renders her unique worldview through drawings, paintings, photography, collages, and various other mediums. Her successful exhibitions include, solo exhibition EXUVIA (2016/London and Singapore), VISUAL SAMPLING (2018/Taichung),COSMOS DISCO(2019/Tokyo),GALAGALA(2020/Tokyo) and GALAGALAGALA (2021/Osaka)
Website：saikootake.com


■UWAJIMA⇄TOKYO
Dates: Currently open until July 31st
Location: Gallery Unlimited
Address: Roppongi Diamond bldg. 3F 1-26-4 Minamiaoyama, Minato-ward, Tokyo
Open hours: 1PM – 6:30PM (Last entry)
Closed: Sundays, Tuesdays, Holidays
Admission Fee: Free
Website: www.artunlimited.co.jp

■Saiko and Shoko Otake Duo Exhibition: BS Channel~Black by Sister Channel~
Dates: Currently open until August 1st
Location: Pearl Book Shop & Gallery
Address: 2-26-5 Nishihara, Shibuya-ward, Tokyo
Open hours: 1PM – 7PM
Closed: Mondays and Tuesdays
Admission Fee: Free
Website: 888books.jp

Edit Jun Ashizawa(TOKION)
Translation Ai Kaneda

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To Exist in a Natural State

Tam Ochiai uses different forms for his work, including painting, sculpture, and photography. The exhibition consists of a series from the past quarter-century including “M.O.;” “everyone has two places;” “Ashtray Sculptures;” “Itinerary, non?;” “Chopin, Op. 97,” and his latest work, “Othello.” It can almost stand as a retrospective on Ochiai’s work, yet it also feels like a grand installation that combines all of his past work. The viewers can wander around in Ochiai’s diverse forms of expression.

The “cat sculpture” is a counterpart to Ochiai’s previous work with the same title. A sculpture of a cat is placed on top of a keyboard, and a cord that extends from the keyboard looks as if it is drawing an organic line in the exhibition space. Ochiai said that the entire exhibition was put into place as if he was making a move on the shogi (Japanese chess) board.

Ochiai said, “I wanted to place everything as if they were in a natural state; for example, the names of places, although the process of doing so was artificial. The cord that looks like a drawing, also functions to play music. But it is ultimately in a natural state.”

In the beginning, there is the natural state. His photos look as if they captured a casual moment, and his paintings look as if they were drawn with careful calculation. There is no way around to explain it, but all of them are in their natural state. Ochiai says, “When you paint, you stop at one point and complete the painting. I think the artist makes that decision because it was a ‘natural’ thing to do for them.”

Drawing as Structure and Idea

Chopin said in his will, that he would like to have his heart transported from Paris to Warsaw where he grew up, after his death. “Chopin, Op. 97”is a series of photos that Ochiai took as he travelled from Paris to Warsaw, imagining that journey of the heart. Ochiai said, “I decided the structure, which meant that I would travel from Paris to Warsaw. What I encountered on the course of the journey happened by chance, or was unexpected. In cinema, there is a category called ‘Structural Film.’ I believe this series was close to that idea.” 

In that sense, the idea that decides the structure of the work is what is unique in Ochiai’s work. For example, in “everyone has two places,”he says that everyone was born in one place and dies in another place, which amounts to two places, and he draws those two locations. In “Itinerary, non?”,he wrote down the holidays of different countries over the course of 12 months on his paintings, along with the names of the cities. It created an impossible travel itinerary to follow, if you were to travel to those cities during the holidays.

“In 2008, I wrote a book called note on drawing, and established a hypothesis that my drawings are ideas. I wanted to express time in different ways. For example, in ‘everyone has two places,’ It’s depicted life from beginning to end. I think I can say the same for ‘Chopin, Op. 97.’ As for the ‘cat sculpture’, the cord reflects my idea that it is considered a drawing.”  

Ochiai said that note on drawing was like a poem. In the exhibition, at one corner, the viewers can listen to the reading of the book in English, French, and Japanese. It feels as if the sound of the words is cascading down on you, and you become less focused on the meaning of the words.  

“This time, I am presenting something that is slightly different from poetry. In the past, when I wrote a poem, a poet asked me why an artist is writing a poem and I didn’t have an answer. However, there are many artists who write texts. As for me, I see my texts almost as part of my art work.”

No Matter Where I am, I am Influenced by the Location

Ochiai’s unique sensibility and creativity were nurtured largely by experiencing the art scene in New York, after moving there in 1990. In the early 90s, when Ochiai was a student at graduate school, Felix Gonzalez-Torres was one of the teachers. Ochiai did not enroll in his class, but says that “He was probably the best teacher.” Torres was not motivated and used to say that he was teaching for money. Ochiai said, “It was a strange place. And this is not about what is good or bad. No matter where I am, I am influenced by the place that I am staying.”

Movement was an element that was often incorporated in Ochiai’s work. His latest work “Othello,” was created in New Mexico last Summer, in the midst of the pandemic. He lived there for a month in isolation. Will the world change onwards? How will that influence Ochiai’s work?

“The world has been changing, but, in a big picture, it might not be changing so much. There are always wars. There were pandemics in the past and there are earthquakes. I don’t think my work will become easier to understand. I was in New York when 9/11 happened, and that did not make my work simple. But, I know that what I do is affected by what I have seen.”

We feel that words are never sufficient to describe Ochiai’s work. Ochiai replied to each of our question thoughtfully and crafted his answers carefully. He also taught us about the magic number. If you multiply 142,857 by 2, you get 285,714, and if you multiply it by 3, you get 428,571……, and the number sequence shifts a little bit. Then, when you multiply142,857 by 7, the number becomes 9,999,999. It’s a magic number. Nobody explain why this happens, but it just happens. Perhaps, Ochiai’s works – which are in “a natural state” – may be just like the magic number that surprises us in a different way.  

Tam Ochiai
Born in Kanagawa in 1967, and is currently based in New York. He moved to the United States in 1990 and completed his M.A. in New York University in 1993. His main theme is “drawing is a concept” and he works with a variety of media including drawing, sculpture, video, performance, and poetry. His major solo exhibitions include Itinerary, Non? (Tomio Koyama Gallery, Tokyo, 2019);Tarragon, Like a Cat’s Belly (Team Gallery, New York, 2017); Spies Are Only Revealed When They Get Caught (WATARIUM Museum, Tokyo, 2010). His major group exhibitions include Collection: The Aesthetics of Contemporary Japan (National Museum of Art, Osaka, 2020); Weavers of Worlds – A Century of Flux in Japanese Modern / Contemporary Art (Museum of Contemporary Art Tokyo, 2019); Winter Garden: The Exploration of The Micropop Imagination in Contemporary Japanese Art (Hara Museum of Contemporary Art, Tokyo, 2019, and touring numerous other venues including Japanisches Kulturinstitut, Cologne.)

■Tapetum Lucidum by Tam Ochiai
Dates: January 22-April 11, 2021
Time: 11:00-19:00 (Last entry at 18:30)
Venue: Ginza Maison Hermès Le Forum
Address: 5-4-18 Ginza, 8^th Floor, Chuo-ku, Tokyo
Holidays: Le Forum follows the operating hours of the Hermès store.
Admission: Free

Photography Kunihisa Kobanashi
Edit Jun Ashizawa(TOKION)
Translation Fumiko Miyamoto

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