Enriching the city through art. What I saw from the first art festival in the Rinkai Fukutoshin

"ARTBAY TOKYO Art Festival 2022 ~NEW SCALE~" was held for the first time in September 2022. This is a program of ARTBAY TOKYO, a long-term art project as part of urban development in the Rinkai Fukutoshin area. As people who work in this area, we co-sponsored the venue provision and content in addition to planning and operation.

While our company often designs and constructs spaces as hardware, this project to connect the city and people with art was a new attempt. In this article, through an interview with Yokota, who was in charge of PR for the art festival, and the person in charge of planning, we will explore the uniqueness and charm of the Rinkai Fukutoshin area, as well as hints for urban development through art and the future beyond.

Art festival venue "Stone and Light Square" (front left) and "Flower Square" (front right)

Yokota
Please tell us about the content you were in charge of at this art festival, and your impressions and episodes related to that.

Matsumoto
I was in charge of planning and managing the participatory programs and appreciation tours that provide visitors with "experiences" and creative workshops.

I have experienced many workshops and participatory programs in the past, but this time I will be confronting art works, so rather than focusing on increasing the number of participants, the appreciation tour will focus on small groups. I put a lot of emphasis on treating people with respect and courtesy. It may not have been useful in terms of "attracting customers" for the art festival as a whole, but I feel that we were able to provide good hospitality to the participants. In fact, the results of the participant survey showed a high degree of satisfaction with the program, which was reassuring.

Participatory workshop held at Yume no Hiroba and NOMURA Co., Ltd. headquarters ©︎2022 ARTBAY TOKYO

Matsuura
I was in charge of selecting artists and planning works by Mr. Leandro.

Left: Matsuura / Right: Matsumoto

I thought that Mr. Leandro's work would be perfect for the scaled-out townscape of the waterfront subcenter area! Generally speaking, at an art festival of this scale, we go through the process of inspecting the site in advance and then coming up with a plan. Mr. Leandro happened to have visited this area in the past, so I think it was possible thanks to the memories of that time and the tenacious persuasion of the Japanese agent.

Flower Plaza “THE PRINT – Traces” ©︎2022 ARTBAY TOKYO

Sugimoto
I was in charge of the concept making, artist selection, and art work planning for the entire art festival.

One of NOMURA Co., Ltd. 's strengths is its ability to complete a project from planning and design to construction. It was a new challenge for us to take on the role of general producer of the art festival, including the selection of artists.

Square of Stone and Light “Heading” ©︎2022 ARTBAY TOKYO

Yume no Hiroba “Territory Gone Wild” ©︎2022 ARTBAY TOKYO

Artwork is made with tenacious teamwork

Yokota
What kind of results did you get from this new challenge?

Sugimoto
This time, everyone was asked to create a new work, and I was able to witness the moment when the artists came up with their breathtaking and vivid ideas based on the overall concept and the locality of Odaiba. And the process of creating it together as a team was very stimulating, and we learned a lot.

On the other hand, in the process of creation, the work expresses the artist's personal part, so understanding that part and realizing it within a limited budget and schedule is a particular challenge. I felt that it was a different difficulty than creating a space that functions as a vessel, but at the same time, it is precisely because of this commitment that a work with the strength to impress those who see it can be realized. I felt it when I saw each piece.

Matsuura
For example, at first I was considering using different materials for this work, but the landscape company suggested that I try to make it out of plants. In addition, there was the exquisite adjustment of the height of the gabions to put the plants in, and repeated discussions on whether the whole thing could be established as a fingerprint. I felt the power of art in the process of seriously thinking about "how can I make it happen?" while understanding the artist's intentions.

Children were seen running around in the finished work. Mr. Leandro's desire to "have many people participate in this work" was firmly realized, and I was impressed.

Flower Plaza “THE PRINT – Traces” ©︎2022 ARTBAY TOKYO

Flower Square “THE PRINT – Traces” Children running around on a baby tour ©︎2022 ARTBAY TOKYO

Change the landscape with art, change the image of the city

Yokota
Were there any difficulties in exhibiting art works outdoors this time?

Matsuura
The issues unique to outdoor exhibitions are that they are affected by the weather, and safety hurdles have been raised. I think it's a dot.

Square of Stone and Light “Heading” ©︎2022 ARTBAY TOKYO

Yokota
Since the work will be seen by an unspecified number of people outdoors, how can the charm of the work itself attract people? The point of view was also important.

Matsumoto
I agree. The appearance of art has changed the landscape greatly.
In particular, ULTRA STUDIO's work was very picturesque as a new landscape of the lawn square, and I could see the children in the nearby gymnastics class working together with the work.

Yume no Hiroba “Territory Gone Wild” ©︎2022 ARTBAY TOKYO

In Mr. Leandro's work, it was made with plants that reminded me of the original scenery of Japan, and it was a wonderful scenery to distribute the plants to many people in the neighborhood at the end. Mr. Goto's work also created experiences and scenery that symbolize the theme of this time, "NEW SCALE," such as "moving all day" and "looking into a small box and looking up at a large scale."

People who bring home plants on the final day of the flower plaza “THE PRINT – Traces” ©︎2022 ARTBAY TOKYO

Matsuura
The Rinkai Fukutoshin area had a rigid image of being an "artificial island," but with Leandro's plants, ULTRA STUDIO's softness, and Goto's moving works, we were able to create a new landscape for the area. I was able to see it and fell in love with it. This festival gave me an opportunity to get to know this city, and I feel like I've come to know the fun of this place and become closer to it than before.

In that sense, I realized that there is meaning in holding an art festival at this place. Artists are people who look into things that we usually overlook, and they read and express the history and climate of a place. There is something that the viewer feels, and when you leave, you will feel that something is different from when you came, and it will open up the feeling that is normally closed, so I would like more people to experience it. .

Enjoy the "blank space" unique to the Tokyo Waterfront City

Matsuura
As I felt, I thought it would be good to improve the ease of getting around a little more in the sense of "getting to know the city." There was quite a distance between the works, so I think it would have been nice to have rental bicycles.

Yokota
When an art festival like this is held in a city with a higher density, the distances between the artworks are so close that you often lose track of time while walking around the city. On the other hand, the Tokyo waterfront subcenter area has a large scale. What kind of experience do you think is good in the sense of "knowing the city while walking around"?

Matsuura
In an art event that uses the entire city, I think that there is a sense of accomplishment in reaching the work because there is time to travel. Odaiba is close to the sea and the wind feels good. Since the surface is also large, rather than placing many works of art close together, I think it would be better if there was a moderate amount of space between the works so that they could comfortably move between them.

Yume no Oohashi “Territory Gone Wild” ©︎2022 ARTBAY TOKYO

Yokota
There is a way to enjoy the margins that is typical of the waterfront subcenter, and that is an experience unique to this area.

By believing in the power of art, a new world opens up

Yokota
This art festival was held as a part of urban development. Please tell us what you think about the relationship between urban development and art.

Sugimoto
This time, we were able to make contact with many people through outdoor art. It wasn't public art that was meant to be viewed, it was art that everyone could enjoy and had a high degree of participation in. It was also a project based on urban development, so I reconsidered the meaning of art's existence in the city. From the fact that you can have a different experience in a city where you spend your time casually, and through that experience you can see the scenery of the city differently, I felt the possibility that "art can give us new awareness of the city."

I have been involved in the ARTBAY TOKYO project since its launch (see related article). I think it's a project. It was a project that allowed us to collaborate with other companies based in this area, so I think it's important to continue to be involved in some way.

Matsumoto
Currently, art initiatives are being carried out in various cities. For example, by holding an art event in conjunction with the use of vacant houses in a town that is likely to be depopulated, we will create an opportunity for people to come to the town, and the visitors will say, "I kind of like it" and "It's comfortable." By owning it, a cafe will eventually open, and then a share house and lodging facilities will open, and so on. I think that art has the potential to become a touch point that draws people to visit, while making the most of the existing resources of the city, even if it is small.

I believe that art is something that appeals to the senses, that there is no right or wrong answer, and that you can say whatever you feel and have a lot of free time to talk about it with others. There is great potential hidden in its wide range of tolerance. I hope that the experience through art, which becomes a point of contact that connects local people and visitors, will be useful for communication that connects people. This is the power of art, and I want to believe in that possibility.

Yokota
While being a designer, Mr. Matsumoto is involved in the planning and operation of many participatory programs. What kind of things do you find rewarding and meaningful, including this art festival?

Matsumoto
I believe that communication through art will lead to space and regional revitalization as a mechanism to connect people. By implementing this kind of program, people will sympathize with us, and we will increase the number of points of contact with people, and we will be able to get them to join us in the local community. At first, it's just an opportunity to make contact, but I feel that by becoming friends with the place and local people, a relationship of trust will be created, and by working together to create the issues of the city.

Yokota
Lastly, please tell us what you would like to challenge in the future.

Matsuura
On the first floor of the head office of NOMURA Co., Ltd., there is a model of the stage dangaeshi* that was being worked on when the company was founded 130 years ago. He said. Since the company started from creating stage mechanisms, I would like to continue creating fields that connect artists and society, and projects that utilize idle buildings.

* Dangaeshi is:
Making full use of the seriage prepared under the stage (naraku), the suspension from the ceiling, and the writing of the stage sleeves, the stage props, the lighting technicians, the musicians, etc. work together in perfect order. Directing. The founder of our company, Taisuke Nomura, started out as a stage prop for a play, and he is said to have greatly delighted the audience with his dangaeshi performance at the Kokugikan. A model that reproduces the is displayed in the entrance hall of the head office.

Sugimoto
We are seeing an increase in the number of consultations regarding urban development efforts based on art. Not only in the form of a large-scale art festival like this one, but also interesting things in various areas of Japan, such as installations using vacant houses and conversion of bank branches that are no longer used due to relocation and downsizing, into art galleries. I think that the possibility of being able to do it is still sleeping. I would like to take on the challenge of creating a new place that has never existed before by making use of the experience and network I have gained through this project.

Matsumoto
I don't know how the space will be used after creating the space, and the users who will use it. I feel. In order to improve the accuracy of design that is more user-friendly, it would be nice to approach facilities that are closer to everyday life, such as public facilities, libraries, healthcare facilities, senior residences, and other facilities that enrich life. ,I think. In order to design such everyday facilities, I believe that an art program is indispensable as a means of communication that connects people.

Yokota
Through everyone's stories, I was able to experience the power of various arts, such as art that changes the landscape of the city, art that creates contact with people, and art that is created by teams. Let's continue to work together to make your thoughts a reality. Thank you for today.

[Interview partner]
Mari Matsumoto

After joining the company, he worked on exhibition design for art galleries and museums, etc. In 2015, based on the concept of "creating a place and system for the children of the future", he proposed planning and design that made use of his experience in creating spaces and raising children. , Launched TeamM, which conducts industry-university research and research, and promotes space design for children and adults and social good initiatives. As for outside activities, he plans and implements art appreciation facilitation, art events, and workshops based at museums.

Taku Sugimoto

After joining the company in 2018, he has been involved in the planning of local community facilities, urban development projects such as ARTBAY TOKYO, planning of lifestyle hotels, etc., and basic concept work for large-scale redevelopment. In the future, I am looking to get involved in regional development projects in Asian countries.

Maki Matsuura

In his previous job, he was involved in art coordination for spaces such as hotels and local art festivals, and joined NOMURA Co., Ltd. in 2019. After joining the company, he was in charge of specialty stores and leisure facilities. Currently belongs to the "Inclusive & Art" team for the development of social good projects, and is promoting R&D for creating communities through art.