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Unknown Image Series no.8 #1 山元彩香「organ」 Ayaka Yamamoto "organ" 2019. 11. 1 (fri) - 11.30 (sat)

void+ではUnknown Image Series no.8 #1 山元彩香「organ」を11月1日より開催いたします。Unknown は、インディペンデント・キュレーターのカトウチカが企画するシリーズの展覧会で、2011年より開催。シリーズ8回目となる本展は、Unknown Imageというタイトルで、5名の作家による連続個展形式のグループ展としてHIGURE 17-15 casとvoid+にて開催する予定です。

初回の山元彩香は、京都精華大学芸術学部で絵画を専攻しましたが、米国への交換留学を機に写真の制作を始めました。近年は、自身の持つ知識、経験、言葉の通じない外国へ赴き、現地で知り合った少女たちのポートレート写真を撮り続けています。訪問先は、エストニア、ラトビア、ロシア、ウクライナ、ブルガリア、ルーマニア、ベラルーシなど東欧各国、今年は初のアフリカ大陸、マラウイを訪問し、精力的に制作活動をしています。

本展では新作となる映像作品と、その他旧作と新作で構成した写真作品を展示いたします。会期中にはDIC川村記念美術館学芸員の光田由里、愛知県美術館学芸員の中村史子をゲストに迎え、トークイベントを開催いたします。

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＜展覧会概要＞

■タイトル：Unknown Image Series no.8 #1 山元彩香「organ」 ■会期：2019 年11月1日（金）— 11月30（土）14:00-19:00 ・レセプション：11月1日（金）19:00-21:00 ・トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員） ■会場：void+ 東京都港区南青山3-16-14, 1F ■定休日：日、月、祝日 ■入場無料 ■お問合せ：Tel: 03-5411-0080／メール: [email protected]

［主催］void＋委員会／Unknown実行委員会［企画］カトウチカ［助成］令和元年度港区文化芸術活動サポート事業助成［協力］Taka Ishii Gallery Photography / Film、YN Associates ［機材協力］ソニーマーケティング株式会社

・未就学児の入場可能／車椅子ご利用の方は事前にお申し出ください。

Starting on November 1, void+ will present Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ.”

The Unknown series of exhibitions, launched in 2011, are planned and coordinated by independent curator Kato Chika. This eighth exhibition takes the title “Unknown Image,” and will be staged as a group show by five artists in the format of consecutive solo exhibitions at HIGURE 17-15 cas and void+.

Featured in the first show is Yamamoto Ayaka, who majored in painting at Kyoto Seika University’s Faculty of Arts, but began producing photographs during a student exchange in the United States. Recent years have seen Yamamoto traveling to parts of the world where her own knowledge, experience and language do not apply, and shooting portraits of girls she meets there. She has thrown herself enthusiastically into the project, visiting Eastern European nations including Estonia, Latvia, Russia, Ukraine, Bulgaria, Romania, and Belarus, and this year traveling to Africa for the first time, to take photos in Malawi.

Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ” will present a new work on video by Yamamoto, along with a selection of photographic works. In conjunction with the exhibition, a talk event will also be held, featuring, in addition to the artist, guests Mitsuda Yuri, curator at Kawamura Memorial DIC Museum of Art, and Nakamura Fumiko, curator at Aichi Prefectural Museum of Art.

■Title: Unknown Image Series no. 8 #1 YAMAMOTO Ayaka ”organ” ■Dates/Hours: Friday, November 1 – Saturday, November 30, 2019 14:00–19:00 • Opening reception: Friday, November 1 19:00–21:00 •Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Ayaka + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art) ■Venue: void+ 3-16-14, 1F Minami Aoyama, Minato-ku, Tokyo ■Closed: Sundays, Mondays, holidays ■Admission: free ■Inquires: Tel: 03-5411-0080 Email: [email protected]

Organized by: Unknown executive committee / void+ committee Conceived and planned by: KATO Chika Supported by: Minato City Cultural Arts Support Project With cooperation from: Taka Ishii Gallery Photography/Film, YN Associates Equipment provided by: Sony Marketing Inc.

*Preschoolers welcome. Wheelchair users please let us know in advance.

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「organ」について

2011年に初めてラトビアを訪れたとき、毎朝友人の鼻歌で目覚めた。

それは、言葉になる前の声の連続で、彼女の内部に無意識的に蓄積されている記憶が音のイメージとなって発せられているようにも思えた。

会話とはまた別のレベルで、彼女が辿ってきた時間そのものに触れているような感覚があった。

放たれた声は私の身体の一部となり、自らの声で再び発することで他者へと循環、連鎖してゆく。

organとは、容れ物としての器という意味を持ちながら、臓器や楽器の意味を成す。

遥か昔、儀式に使われていた鈴や鐸はその空洞に響く音によって、それを身につけた人間に見えざるものを憑依/循環させていたそうだ。

空の器としての身体に宿る音により、その奥底にかすかに在る未だ見ぬものに触れたいと願う。

（2019年10月　山元彩香）

About “organ”

When I first visited Latvia in 2011, I was woken every morning by my friend, humming. To me this felt like the continuation of a pre-verbal voice, the emission of memories unconsciously accumulating within her, in the form of sound images. The sensation was one of experiencing the very time she had traveled, at a different level from conversation. Her voice, released, become part of my body, and emitting it again in my own voice causes it to circulate and connect to others. An organ may be a body organ or a musical instrument; in Japanese the character (器) read as ki or utsuwa has these meanings, while also referring to a vessel. Back in the mists of time, the sound of a bell used in rituals, reverberating in the cavity of that bell, would apparently cause the wearer to be possessed by some invisible presence, or have such a presence circulating within them. Hopefully the sounds harbored by the body as empty vessel will put us in touch with glimmers of yet unseen things found in its depths.

(YAMAMOTO Ayaka, October 2019)

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organ

一見、古典的な絵画のように見えるその写真には、非現実なまでに美しい「いきもの」が写っている。彼女たちの表情は虚ろでどこか遠くを見つめているか、死者のごとく目を閉ざしている。あるいは仮面やベールをつけて、その表情すら見えないのだが、仮面をつけた身体やベールの奥にかすかに残っているものがある。果たしてそれはなんなのだろうか？

山元は、あえて言葉が通じない国に出かけ撮影する。言葉に頼らないコミュニケーションによって被写体と共同作業でイメージをつくり上げる。個人を形成している様々なレイヤーを剥ぎ取って新たな衣を纏わせていく過程において、最後には被写体の自意識が消えてしまう瞬間が生まれるのだという。今まで纏っていた衣服、名前、記憶、自意識、文字通りすべてを剥ぎ取り新たな姿を与える撮影は、写真が持つ本質的な暴力性を孕んでいる。しかし、作家が被写体の属性をいくら奪おうとしても奥底に残るものがあるのだという。彼女はそこに何を見出したのだろうか。異国の他者を撮影することで何を問い続けているのだろうか。その静謐なポートレートは、作家の問いであると同時に、イメージの謎そのものなのである。

今回の個展で、山元は映像作品（撮影地ラトビア、2019年制作）を展示する。organ＝空の器としての身体は、言葉ではない歌を歌う。映像＝時間の中に置かれた空の器は、いかなる音を宿すのか、さらなる問いを生じさせる。

カトウチカ（Unknown Series キュレーター）

organ

Yamamoto’s photographs, at first glance reminiscent of classical paintings, show “creatures” of almost unreal beauty. The girls appear either to be vacantly staring at some point in the distance, or have their eyes closed as if dead. Or they wear a mask or veil, making it impossible to even see their expression, although something remains in the body wearing the mask, or visible faintly behind the veil. What is it? Yamamoto deliberately sets out to take photographs in countries where she does not speak the language, constructing images in collaboration with her subjects via non-verbal communication. The process of peeling away the layers that go to make up an individual and clothing them in new garb apparently, in the end, creates a moment in which the subject sheds her self-consciousness. Photo shoots that strip away literally everything previous—the clothes the person was wearing, their name, memories, self-consciousness—to give them a totally new appearance, are filled with the intrinsic violence of photography. Yet the artist says that no matter how much she endeavors to denude her subjects of their attributes, deep down, something remains. What has Yamamoto identified there? By photographing strangers from other countries, what question does she continually ask? These tranquil portraits serve at once as inquiries on the part of the artist, and the very riddle of images. In this solo outing, Yamamoto will present a video work, shot in Latvia in 2019. The organ/body as empty vessel, sings a song without words. This generates further questions about what kind of sounds are harbored by the empty vessel placed in a video/time.

KATO Chika (Unknown Series curator)

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＜作家プロフィール＞　　

山元彩香| YAMAMOTO Ayaka

1983年兵庫県生まれ。2006年京都精華大学芸術学部造形学科洋画コース卒業。言語による意思疎通が難しい状況下での撮影は、写真というメディアが本質的に抱える性質以上に他者との様々な接点を作家にもたらし、以降、暴力的でありながらも魅力的なイメージ生成の場とも言えるポートレートの撮影を続ける。主な個展に「We are Made of Grass, Soil, and Trees」（タカ・イシイギャラリーフォトグラフィー/フィルム、2018）、「Nous n'irons plus au bois」（同、2014）など。主に東欧各地で撮影を行い、国内外で写真展やレジデンスに参加。2019年に写真集『We are Made of Grass, Soil, and Trees』（T&M Projects、2018）が「さがみはら写真新人奨励賞」を受賞。

YAMAMOTO Ayaka Born 1983 in Hyogo, Japan. BFA in painting, Kyoto Seika University, Faculty of Fine Art. In a situation in which communication through words was difficult, photography took on a value beyond its intrinsic nature, serving as a point of contact with others. Since then, Yamamoto has continued to take in a certain sense violent, yet alluring portraits. Solo exhibitions include ”We are Made of Grass, Soil, and Trees” (Taka Ishii Gallery Photography/Film, 2018) and “Nous n’irons plus au bois” (Taka Ishii Gallery Photography/Film, 2014). She photographs mainly in Eastern Europe, and has participated in photo exhibitions and residencies in Japan and overseas. She won the 19th Sagamihara Prize for Newcomer Professionals in 2019 for her photobook We are Made of Grass, Soil, and Trees(T&M Projects, 2018).

＜ゲストプロフィール＞

光田由里｜MITSUDA Yuri

DIC川村記念美術館学芸員。専門は近現代美術史と写真史。近年の主な企画に、「描く、そして現れる―画家が彫刻を作るとき」（DIC川村記念美術館、2019）、「美術は語られる―評論家・中原佑介の眼―」（同、2016）、「鏡と穴－彫刻と写真の界面」（ギャラリーαM、2017）、「ハイレッド・センター直接行動の軌跡」（松濤美術館、2008）など。主な著書に、『高松次郎言葉ともの』（水声社、2011）、『写真、「芸術」との界面に』（青弓社、2006、日本写真協会学芸賞）、『安井仲治写真集』（共同通信社、2004、倫雅賞）など。

MITSUDA Yuri Curator, Kawamura Memorial DIC Museum of Art, specializing in modern/contemporary art history and history of photography. Recent exhibitions include ”Painting into Sculpture – Embodiment in Form” (Kawamura Memorial DIC Museum of Art, 2019), “Talking about Art – The Viewpoint of Yusuke Nakahara” (also at KMDMA, 2016), “Mirror Behind Hole: Photography into Sculpture“ (gallery αM, 2017), and “Hi-Red Center: "The Documents of ‘Direct Action’” (Shoto Museum of Art, 2008). Among her published writings are Words and Things: Jiro Takamatsu’s issue(Suiseisha, 2011),Shashin, “geijutsu” to no kaimen ni[Photography, in its interface with “art”] (Seikyusha, 2006; winner of the Photographic Society of Japan AwardsScholastic Achievement Award), and Nakaji Yasui photographer 1903–1942(Kyodo News, 2014, Ringa Prize).

中村史子｜NAKAMURA Fumiko

愛知県美術館学芸員。専門は視覚文化、写真、コンテンポラリーアート。担当した主な展覧会に「これからの写真」（2014）、「魔術/美術」（2012）、「放課後のはらっぱ」（2009）など。また、若手作家を個展形式で紹介する「APMoA Project, ARCH」を企画し、伊東宣明（2015）、飯山由貴（2015）、梅津庸一（2017）、万代洋輔（2017）を紹介。2017年にはタイでグループ展「Play in the Flow」を企画、実施。

NAKAMURA Fumiko Curator, Aichi Prefectural Museum of Art, specializing in visual culture, photography and contemporary art. Responsible for exhibitions including “Photography Will Be” (2014), “Art as Magic” (2012) and “In the Little Playground” (2009), as well as for planning “APMoA Project, ARCH” presenting young artists in a solo show format, which to date has featuredItohNobuaki (2015), Iiyama Yuki (2015), Umetsu Yoichi (2017) and Bandai Yosuke (2017). In 2017, she planned and implemented the group show “Play in the Flow” in Thailand.

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＜Unknown Image Series no.8 展覧会＞

未知のイメージを創出する

イメージが持つ力と本質を探り、未知のイメージを創出する。

この世界においては、日々膨大なイメージが生まれては消えていくが、ときに稀有なイメージが出現する。今回の参加アーティストは、三田村光土里、横山奈美、鈴木のぞみ、山元彩香、庄司朝美の５名。連続する個展の形式をとる。各回のトークイベントとテキストのゲストには、光田由里、梅津元、飯田志保子、中村史子、中尾拓哉らを招く。シリーズの終了後にはバイリンガルの記録集を制作し、本というメディアにおいても新たな表現の展開をはかっていく。

女性たちがつくるイメージ

Unknown Imageのシリーズは、イメージをテーマに、今、注目すべきアーティスト一人一人の作品とその世界を深く掘り下げ、その可能性をさらに見出していく場でもある。今回は、はからずも全員が女性アーティストとなった。

初回の山元彩香は、言葉の通じない国で神秘的なまでの美しさと暴力性をもつポートレートを撮影する。被写体の名前や意識すら剥ぎ取り、空の器にしようとしても残るものとはなんなのか。鈴木のぞみは、写真や時間の原理の静かな探求者である。生命なき事物に「視線」と「記憶」を出現させ、写真に身体のようなものを与える。横山奈美は、絵画の大きな歴史と私的な小さな歴史を交錯させ、日常の取るに足らないものたちの美しさや、明るく輝くものの背後にある存在を描き出す。庄司朝美の描線は、舞台のように見る人を引き込む物語性と、生命と死のエネルギーに満ちた身体的絵画空間をつくり出す。三田村光土里は、このシリーズではもっともキャリアの長いアーティストである。ごく私的なイメージや言葉の数々は、写真、映像、オブジェ、ドローイング、インスタレーションとなるが、それらは個人の物語やアートの枠組みを越えて普遍性を帯び、見る人の心を捉えて離さない。そして、ゲストは性別や年代は幅広いが、いずれも芸術の発生の現場において、極めて優れた批評の言葉を紡いできた方々である。

美術史において、かつて周縁の存在であった女性アーティストたちは、今、最先端にいる。彼女たちがつくるイメージはどのようなものなのか。なぜそれを生み出さねばならなかったのか。参加者の出自やキャリア、テーマ、歴史や現在の状況との向き合い方、その目指すところも様々である。だが、彼女たちの存在と彼女たちがつくるイメージは、それぞれに強く鮮やかだ。その未知のイメージは見る人を深く静かに揺るがし、世界に多様な変化を生み出す力ともなっていくだろう。

＜Unknown Image Series no.8 exhibitions＞

Creating unknown images

Exploring the power and essence possessed by images, to create unknown images.

A vast number of images are generated every day in this world, only to vanish, but just occasionally, some extraordinary images do emerge. The artists in this eighth Unknown exhibition are Mitamura Midori, Yokoyama Nami, Suzuki Nozomi, Yamamoto Ayaka, and Shoji Asami, who will stage consecutive solo shows. Those serving as guests for the talk events for each of these shows, and providing the texts, will include Mitsuda Yuri, Umezu Gen, Iida Shihoko, Nakamura Fumiko, and Nakao Takuya. After the series is finished a bilingual document will be produced, thus extending the exhibition into another form of expression, that of the book.

Images made by women

The Unknown Image series is also an opportunity to delve deeply into the individual work of some of today’s most noteworthy artists and their worlds, identifying further possibilities for each. This time, albeit not by design, all the artists are female.

Yamamoto Ayaka, featured in the first of the exhibitions, travels to countries where she does not speak the language, and takes portrait photographs suffused with a beauty and violence verging on the mystical. What is it that remains even when everything is stripped from her subjects, down to their names and consciousness, in an attempt to turn them into empty vessels? Suzuki Nozomi is a quiet explorer of the principles of photography and time. Endowing non-living things with a “gaze” and “memory” she gives her photos something like a physical body. Yokoyama Nami blends the vast history of painting and small personal histories to depict the beauty of everyday, insignificant things and what lies behind the bright and shiny. Shoji Asami’s lines create a narrative quality that draws the viewer in like a stage, and a corporeal painterly space suffused with the energy of life and death. Mitamura Midori is the artist in this series with the longest career. Her many very personal images and words are presented in photographs, videos, objects, drawings and installations, that go beyond individual stories or the confines of art, taking on a universal quality that irrevocably captures the heart of the viewer. The guests, meanwhile, are a varied lineup in terms of age and gender, but all individuals on the frontlines of art creation, of superb critical talent.

Once a marginal presence in art history, female artists are now at its cutting edge. What kind of images do these artists make? Why have they felt the need to produce them? The artists participating in these exhibitions have different origins and career trajectories, different ways of engaging with their themes, with history and current circumstances, and different aims. Yet their presence, and the images they create, are without exception strong and vibrant. Their unknown images will quietly shake the viewer to the core, and likely serve as a force for many types of change in the world.

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＜Unknown Image Seriesno.8個展スケジュール＞

#1｜山元彩香［会場］void+ 2019年11月1日（金）―30日（土）トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員）

YAMAMOTO Ayaka @void+ Friday, November 1 – Saturday, November 30, 2019 Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Aya + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art)

#2｜鈴木のぞみ　［会場］void+ 2020年夏（予定）トークイベント：鈴木のぞみ＋梅津元（埼玉県立近代美術館学芸主幹／芸術学）参加予定テキスト執筆：梅津元

SUZUKI Nozomi @ void+ Summer 2020 (TBD) Talk event:SUZUKI Nozomi + UMEZU Gen (Curator, The Museum of Modern Art, Saitama / Art Studies) TBC Text: UMEZU Gen

鈴木のぞみ《光の独白》2015ミクストメディア　©️SUZUKI Nozomi

#3｜庄司朝美［会場］HIGURE 17-15 cas 2020年9月（予定）トークイベント：庄司朝美＋光田由里（DIC川村記念美術館学芸員）

SHOJI Asami @ HIGURE 17-15 cas September 2020 (TBD) Talk event:SHOJI Asami + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)

庄司朝美《18.10.23》2018 アクリル板に油彩　画像提供：損保ジャパン日本興亜美術館

#4｜横山奈美　［会場］void+ 2021年5月（予定）トークイベント：横山奈美＋飯田志保子（キュレーター）

YOKOYAMA Nami　@ void+ May 2021 (TBD) Talk event:YOKOYAMA Nami + IIDA Shihoko (Curator)

横山奈美《Cross》2019 麻布に油彩　Photo by WAKABAYASHI Hayato

#5｜三田村光土里［会場］HIGURE 17-15 cas 2021年（予定）トークイベント：三田村光土里＋中尾拓哉（美術評論家）

MITAMURA Midori @ HIGURE 17-15 cas 2021 (TBD) Talk event:MITAMURA Midori + NAKAO Takuya (Art critic)

三田村光土里《ここにいなけ��ばどこかにいる》2018 ピグメントプリント ©︎ MITAMURA Midor

＜その他参加作家プロフィール＞

鈴木のぞみ| SUZUKI Nozomi

1983年埼玉県生まれ。東京藝術大学大学院美術研究科博士後期課程在学中。何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みている。現前しているが不在であるという性質を持つ写真を事物に直接定着することで、写真に触覚的な身体のようなものが付与され、過ぎ去りゆく時をいまここに宙づりにする。近年の主な展示に「あしたときのうのまんなかで」（はじまりの美術館、2019）、「MOTサテライト2018 秋うごきだす物語」（清澄白河、2018）、「無垢と経験の写真日本の新進作家vol.14」（東京都写真美術館、2017）、「NEW VISION SAITAMA 5 迫り出す身体」（埼玉県立近代美術館、2016）など。受賞歴多数。現在、ポーラ美術振興財団在外研修員としてイギリスにて研修中。

SUZUKI Nozomi Born 1983 in Saitama, Japan.Currently in the doctorate course of Intermedia Art at Tokyo University of the Arts.Attempts to visualize, through the principles of photography, the memories resembling latent images submerged in innocuous everyday objects. Fixing photographs, which have the characteristic of being present yet absent, directly to objects, assigns photographs something like a tactile body, suspending passing time in the now. Recent group exhibitions include “In the middle of tomorrow and yesterday” (Hajimari Art Center, 2019), “MOT Satellite 2018 Fall: To Become a Narrative” (Kiyosumi-Shirakawa, 2018), “Photographs of Innocence and of Experience: Contemporary Japanese Photography vol.14” (Tokyo Photographic Art Museum, 2017), and “New Vision Saitama 5: The Emerging Body” (The Museum of Modern Art, Saitama, 2016). Among her many awards, she was recipient of the POLA Art Foundation Grant for Overseas Research in 2018, under which she is currently studying in the UK.

庄司朝美| SHOJI Asami

1988年福島県生まれ。2012年多摩美術大学大学院美術研究科絵画専攻版画領域修了。「線が引かれる。それは必ずしも天と地を分割するような境界線ではなくて、地を這う生き物が砂／泥へ残した痕跡のような、動くことで開かれていく空間がある。私たちは誰かの想像した世界を連綿と引き継いで生きている。」庄司の絵画には特定の物語がないにも関わらず、見る人はそこに様々な物語を見出す。また、絵画の空間的体験によって、自由な身体感覚が循環する生きた絵画空間が誕生する。主な個展に「明日のまみえない神話」（gallery21yo-j、2019）、「泥のダイアグラム」（Cale、2018）、「劇場の画家」（gallery21yo-j、2017）、「夜のうちに」（トーキョーワンダーサイト渋谷、2017）などがある。「FACE2019」損保ジャパン日本興亜美術賞で大賞受賞。

SHOJI Asami Born 1988 in Fukushima, Japan. Earned her MFA in printmaking in 2012 from Tama Art University (Tokyo). ”A line is drawn. It is not necessarily a borderline of the kind dividing heaven and earth, but perhaps a space that opens up through movement, like that of a creature that crawls along the ground, leaving a track in sand or mud. In our lives we are continuously inheriting a world imagined by someone.” Despite not having a specific narrative, Shoji’s paintings reveal various stories to the viewer. They also spawn a living painterly space of circulating free physical sensation, through the spatial experience of painting. Solo shows include”Tomorrow’s Unseen Mythologies” (gallery21yo-j, 2019), “Diagram of the Mud”(Cale, 2018), “A Painter in the Theater” (gallery21yo-j, 2017), and “During the Night” (Tokyo Wonder Site, Shibuya,2017). Grand Prix winner at the “FACE 2019” Sompo Japan Nipponkoa Art Awards.

横山奈美 | YOKOYAMA Nami

1986年岐阜県生まれ。2012年愛知県立芸術大学大学院美術研究科油画版画領域修了。捨てられる寸前の身の回りの物や、ネオン管の裏側に隠された器具や配線といった主役にはならないものに光を当てることで、そのものが持つ役割の枠を取り払い、すべてのものに備わる根源的な美しさと存在意義を表現する。近年は、「LOVE」の意味を問いかける油画とドローイングを続けて発表している。主な展示に、アペルト10「LOVEと私のメモリーズ」（金沢21世紀美術館、2019）、「日産アートアワード2017」（BankART Studio NYK）、「手探りのリアリズム」（豊田市美術館、2014）、「Draw the World-世界を描く」（アートラボあいち、2013）など。主な受賞に「日産アートアワード2017オーディエンス賞」などがある。

YOKOYAMA Nami Born 1986 in Gifu, Japan. Earned her MFA in painting in 2012 from Aichi Prefectural University of Fine Arts and Music. By shining a light on things that never take center stage, such as familiar objects in the moment before their discarding, and the fittings and wiring hidden behind neon signs, Yokoyama does away with the parameters of the roles played by these things to express the fundamental beauty and raison d’etre possessed by all things. Her recent drawings and paintings continue to question the meaning of love. Solo and group exhibitions include “Aperto 10: Memories of Love and Me” (21st Century Museum of Contemporary Art, Kanazawa, 2019), “Nissan Art Award 2017” (BankART Studio NYK), “Reaching for the Real” (Toyota Municipal Museum of Art, 2014),and “Draw the World” (Art Lab Aichi, 2013). Recipient of the Nissan Art Award 2017 Audience Award.

三田村光土里| MITAMURA Midori

1964年愛知県生まれ。1994年現代写真研究所基礎科修了。「人が足を踏み入れられるドラマ」をテーマに、日常の記憶や追憶のモチーフを、写真や映像、日用品、言語など様々なメディアと組み合わせ、私小説の挿話のような空間作品を国内外で発表。近年の主な個展に、グラン・カナリア（スペイン）での「If not here, then I'm somewhere else」（Galeria Manuel Ojeda、2018）、「Art & Breakfast」（CAAM – Atlantic Center of Modern Art、2017）がある。展覧会ではイギリスの「フォークストン・トリエンナーレ2017」関連企画「Leaving Language」、国内では、「あいちトリエンナーレ 2016」（愛知芸術文化センター）など。2019年にはウィーンで、日本−オーストリア国交150周年記念展「Japan Unlimited」に参加。

MITAMURA Midori Born 1964 in Aichi, Japan. Completed the fundamentals course at The Institute of Contemporary Photographyin 1994. Taking as her theme “dramas that people can step into,” Mitamura combines motifs of everyday memories and reminiscences with various media such as photography and video, household goods and language, presenting in Japan and further afield spatial works that resemble an episode of an autobiographical novel. Recent solo exhibitions include ”If not here, then I'm somewhere else.” (Galeria Manuel Ojeda, 2018) and “Art & Breakfast” (CAAM – Atlantic Center of Modern Art, 2017）both in Gran Canaria, Spain. Among her group show participations are “Leaving Language,” a collateral program of the Folkestone Triennial 2017in the UK, and Aichi Triennale 2016 (Aichi Arts Center) in Japan. In 2019, she will participate in “Japan Unlimited,” an exhibition staged in Vienna commemorating 150 years of friendship between Austria and Japan.

＜その他ゲストプロフィール＞

梅津元｜UMEZU Gen

埼玉県立近代美術館学芸主幹。専門は芸術学。同館での主な企画（共同企画を含む）に「DECODE/出来事と記録ーポスト工業化社会の美術」（2019）、「版画の景色　現代版画センターの軌跡」（2018）、「生誕100年記念　瑛九展」（2011）、「アーティスト・プロジェクト：関根伸夫《位相ー大地》が生まれるまで」（2005）、「ドナルド・ジャッド1960-1991」（1999）、「＜うつすこと＞と＜見ること＞ー意識拡大装置」（1994）など。ギャラリーαMでの企画に「トランス／リアルー非実体的美術の可能性」（2016-17）がある。美術手帖や展覧会カタログなどに寄稿多数。

UMEZU Gen Curator, The Museum of Modern Art, Saitama, specializing in art studies. Exhibitions he has organized/co-organized at MOMAS include ”DECODE / Events & Materials: The Work of Art in the Age of Post-Industrial Society” (2019), “A View of Prints: Trajectory of the Gendai Hanga Center” (2018), “100th Birth Anniversary, Q Ei” (2011), “Artist Project: Toward the Emergence of Sekine Nobuo’s Phase – Mother Earth” (2005), “Donald Judd 1960–1991” (1999), and “Visualization in the End of the 20th Century” (1994), as well as “Trans / Real: The Potential of Intangible Art” (2016-17,Gallery αM). He has contributed a great number of essays to the art magazine Bijutsu Techo, as well as to art catalogues and books.

飯田志保子｜IIDA Shihoko

キュレーター。1998年の開館準備期から2009年まで東京オペラシティアートギャラリーに務める。主な企画に「ヴォルフガング・ティルマンス―Freischwimmer」（2004）、「トレース・エレメンツ―日豪の写真メディアにおける精神と記憶」（東京オペラシティアートギャラリー、2008／パフォーマンス・スペース、シドニー、2009）など。2009-2011年クイーンズランド州立美術館／現代美術館で客員キュレーター。その後、国際展のキュレーターを歴任。2014年度から17年度まで、東京藝術大学美術学部准教授。「あいちトリエンナーレ2019」ではチーフ・キュレーターを務める。

IIDA Shihoko Curator. Worked at Tokyo Opera City Art Gallery from 1998, when it was preparing for inauguration, until 2009, where her major exhibitions included “Wolfgang Tillmans: Freischwimmer” (2004) and “Trace Elements: Spirit and Memory in Japanese and Australian Photomedia” (2008/Performance Space, Sydney, 2009). She was a visiting curator at Queensland Art Gallery/Gallery of Modern Art in Brisbane from 2009 through 2011, and has since co-curated successive international art exhibitions. Associate professor at Tokyo University of the Arts for the academic years 2014–2017. She was Chief Curator (Head of Curatorial Team) of Aichi Triennale 2019.

中尾拓哉｜NAKAO Takuya

美術評論家。博士（芸術）。近現代芸術に関する評論を執筆。特に、マルセル・デュシャンが没頭したチェスをテーマに、生活（あるいは非芸術）と制作の結びつきについて探求している。2014年に論考「造形、その消失においてーマルセル・デュシャンのチェスをたよりに」で『美術手帖』通巻1000号記念第15回芸術評論募集佳作入選。2017年に単著『マルセル・デュシャンとチェス』を平凡社より出版。主な論考に「50年あるいは100年後の鑑賞者ー日本・マルセル・デュシャン論再考」（『美術手帖』2019年2月号）など。

NAKAO Takuya Art critic. PhD in art. Writes criticism on modern and contemporary art. In particular, has been exploring the connections between living (or non-art) and creative practice from the perspective of chess, in which Marcel Duchamp was also engrossed. His 2014 essay, “The Plastic, in Disappearance: From Marcel Duchamp’s Chess” received honorable mention in the 15th (1000th Issue Commermorative) Bijutsu TechoArt Writing Competition. His book Marcel Duchamp and Chesswas published by Heibonsha in 2017. Recent published writings include “One’s Public, Fifty or One Hundred Years Later: Reconsidering Marcel Duchamp Studies in Japan”(Bijutsu Techo, February 2019).

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photo: Ayaka Yamamoto, “organ”, 2019

#Unknown #Unknown Image #Unknown Series no.8 #Ayaka Yamamoto #void+#exhibition #山元彩香 #展覧会

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projectsideaz · 4 years

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Lean about the secret Naoshima Island Museum!

Naoshima Island, archipelago of contemporary art is an exceptional place located on a small island in an inland sea. This one is taken between three of the four big islands of Japan: Honshu, Shikoku and Kyushu.

Naoshima, so named by Emperor Sutokujoko, struck by its rustic simplicity and its "pleasant nature", ("nao" in Japanese), is less than 8 km2; its population barely reaches 3,400 people. It is here that the architect Tadao Ando built a hotel-museum, called Benesse House, bringing together the works of some of the world's greatest contemporary artists, the Jasper Johns, Richard Long, Andy Warhol, Iannis Kounellis, César, Richard Prince, Yoshihiro Suda, Frank Stella, David Hockney, Jackson Pollock...

The principle is simple: during the day, the hotel is open to the public for 1,000 yen (9 euros); in the evening, only its guests can contemplate as much as they like of the works scattered inside the buildings, or even outside, such as the fourteen black and white images by Hiroshi Sugimoto representing a strike seized at dusk, entitled "Time exposed".

These are soberly hung on two of the concrete walls (see below), a material that Ando handles perfectly and which has become the emblem of all his work. Or, near the beach, these menhirs erected by the Chinese Cai Guo-jiang around a jacuzzi. Or, further on, on a pier, one of the famous giant pumpkins, speckled in black (see below), by Yayoi Kusama, certainly the most successful piece in Naoshima.

The initial project, wanted by Soichiro Fukutake, boss of the Benesse publishing house, whose head office is located in the region, was already very ambitious, with not only this museum, but also the hotel part, called "Oval", built on top of a hill.

Guests have access to it thanks to a very functional mini-funicular with rack and pinion and a retro touch, a la Tati. There are only sixteen rooms, all with a view of the inland sea, around an oval pool open to the sky, with works of art by different artists in each one. Sobriety of materials, as always at Ando.

In the evening, the privileged guests still present will discover the sophisticated lighting in the museum and the restaurant where the menu is Zen, as it should be.

The works, for example Bruce Neuman's giant installation entitled "100 Live and Die", consisting of multicoloured neon lights associating a hundred words such as "eat", "love" or "old" flashing in combination with "live" and "die" in pairs, become more and more prominent as the hours of the night pass. Lovers of art and peace

Little by little, the tiny island, with its hotel-museum and its two fishing ports with traditional houses, Miyaura and Honmura, has become a favourite place for many art and peace lovers, despite its dissuasive prices, to say the least. To meet the demand, a second waterfront hotel and a spa have opened. Then Mr. Fukutake and his companion, Tadao Ando, launched three other projects.

Despite all its charm, Naoshima, like the neighbouring islands, is no longer able to keep the new generations in place. Fishing is in decline. Young people are heading for the big cities of Honshu, Osaka, Kobe, Kyoto or the equally dynamic cities of Shikoku, such as Takamatsu, a city of astonishing modernity, or Kyushu. Old family homes are inevitably closing down.

This is how the "Art House Project" was born. Each of these abandoned houses has been invested by artists in the last ten years or so in the form of permanent installations.

The specifications are clear: they must not only work according to the space, but also to its history and the genius of the place. Among the contributors are some of the artists best able to play the game, whether they are foreigners, such as James Turrell, associated with Tadao Ando, or Japanese. Gokaisho, the spring tree

Like Hiroshi Sugimoto, who took over the Go'o Shinto shrine: a very bare altar stands at the top of a glass staircase emerging from a stone crypt, which encourages the greatest meditation.

Yoshihiro Suda chose a small house where go players used to meet. As often in Japan, the space, divided into two rooms, has only a few tatamis. One is almost empty, except for a branch blocking the entrance. On the other side are delicately placed on the tatami of the camellias carved in wood, which echo the flowers of the tree planted in the garden, which in spring take on five slightly different shades. The name of this site? Gokaisho/Tree of Spring.

The third major project, still led by Soichiro Fukutake and Tadao Ando, is the Chichu Art Museum, with Claude Monet as guest star. As for the fourth one, just as pharaonique... it is dedicated to Lee Ufan, a Japanese artist of Korean origin... Exceptional places that we will tell you about soon!

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ericfruits · 5 years

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Modern sculpture helps revive a dying corner of Japan

ON A WINDSWEPT beach on Honjima, a small island in the Seto Inland Sea in southern Japan, three stylised ships’ hulls sway in the breeze. They are suspended on poles and fixed to the sand with four rusty anchors each. Oval mirrors underneath reflect the tangled red netting from which the hulls are made and the lead-coloured sky above the deserted beach. The ships are the work of the Russian artist Alexander Ponomarev. They form one of many sea-themed artworks displayed on Honjima during the Setouchi Triennale, an art festival spanning 14 locations around the Inland Sea (which is known as Setouchi).

The triennale and more permanent museums and installations on some of the bigger islands have turned Setouchi into a tourist destination. Honjima has become a hipster hot spot. Stylishly dressed visitors traverse the island on rented bicycles looking for scattered artworks before cycling back to the harbour to relax over a cappuccino in a café that also peddles designer furniture. That is a big change: before the artists and their fans arrived, Honjima was in apparently terminal decline. Fishing, the main local industry, was dying. Locals had been leaving in droves to seek opportunities elsewhere. The remaining islanders, most of them old, were left with crumbling houses and the environmental fallout from defunct industries.

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Now hundred of thousands of visitors travel to the islands every year (and more than 1m in the year of the triennale), up from 100,000 15 years ago. This has had pleasant consequences for everyone from hoteliers and restaurateurs to a local railway, which reports solid revenue growth. It has also slightly dampened the speed at which the islands lose inhabitants. A handful of new arrivals from elsewhere in Japan, some of them young families, are settling permanently every year. Takamatsu, the bustling port city from which ferries serve many of the islands, is awash with trendy bars and arty brunch joints. Two schools recently reopened on one island.

Encouraging such trends was precisely the point of the triennale, says Shinobu Tsunekane from the organising committee in Takamatsu. Organisers wanted to slow the decline but also to instil pride in local customs: “People have been leaving because life on the islands is inconvenient—we want to make them happier and more comfortable with it again.”

Outsiders are convinced enough by the idea to copy it. Remote rural areas all over Japan have started their own art festivals in the hope of attracting more visitors and, potentially, new residents. In Shandong province in China, the authorities are in the process of turning an island into an art site, citing the Setouchi region as a model.

Locals are more equivocal. Islanders were initially wary, says Kenjiro Kaneshiro of the Fukutake Foundation. It runs the permanent museums and installations using funding from Benesse, an education conglomerate, and started to install art on the island of Naoshima in the 1990s. Research by Meng Qu of Hiroshima University suggests that some residents worried that their home would become a theme park. Such worries may not be entirely unfounded: a leaflet from Benesse outlining the company’s “vision” bangs on about the beauty of nature, the purity of village life and its superiority to sin-filled cities. There is not much discussion of the drawbacks of island life.

Still, Mr Ponomarev’s ships on Honjima were constructed with the help of local craftsmen. The hulls mirror the shape of vessels used by the sailors on whom passing cargo ships used to depend to navigate treacherous currents to reach the ports of Kobe and Osaka. Wooden fishermen’s houses built by the island’s carpenters shelter exhibits exploring the dangers of the sea. On Naoshima and Teshima, the main islands colonised by Benesse, sculptures and museums are designed to fit into and reflect their surroundings. Islanders are consulted about new projects during occasional meetings.

Some residents are thrilled. “I like all the art and the crowds that come to look at it,” says Naohisa Okuyama, who was born on Naoshima, left to work in the garment trade and returned to run a coffee shop. “I’m learning so much I didn’t know about before.” The owner of a joint selling coffee and rice balls on neighbouring Teshima is less effusive. On the one hand, the art scene has revived and changed her business. “I had to close my strawberry farm because there weren’t enough customers, but then the tourists came and I heard they liked coffee.” On the other hand, she says, the revival only goes so far. Professional jobs remain scarce. Her daughter left the island long ago to take a government job.

Takahiro Kubo, a construction worker on Naoshima, concurs: “It’s good business for those of us who work in tourism or construction, less so for the rest.” On balance, he welcomes the transformation. The only thing he really worries about is overcrowding. “Outsiders are buying up houses. And try getting a ferry during the festival.” ■

This article appeared in the Asia section of the print edition under the headline "Home is where the art is"

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cometokagawa · 5 years

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Coming to Japan, for a lot of people, is like a dream. The food is so different, the people are so different, the air and water and trees are different. Everything is different. And Japan is safe. It is one of the safest places in the world where you can travel, let your guard down a little, and just enjoy being someplace new and exciting.

That is one of the big reasons why Japan is so great to be.

So, once you have come to Japan and you have been to Tokyo to cruise through the concrete entrails of that city, and you’ve been to Kyoto to see the big sites, and also get jostled a little more than you would have liked by busloads of tourists, you figure you want to see the “DEEP JAPAN” part of the country, and have that experience.

But you don’t have a ton of time. You’ve spent two days in Tokyo, and then there wast he three days in Kyoto, and now you got a little space in your itinerary to get off the beaten tracks and see what SHIKOKU is all about.

You have chosen wisely.

Shikoku, has been referred to through past ages in Japan as “The Pure Land”. And this can not be much of an exaggeration. There are some awesome things to see, places to go, and experiences to discover. In this series of blogs I want to give you some 3-day trips that you can use as a start point to discover more of this pure land, this deep Japan, this place where you can have space for your journey and reflection.

First, let’s get you here.

From Tokyo I recommend the overnight train of the Seto Sunrise. I can’t recommend this enough. Riding the night train from Tokyo does two very important things. First, it removes the cost of one night in a hotel. You have to sleep, so you may as well sleep while in motion. There is no time-loss! Yay! The night train will leave Tokyo station between 9 and 10 pm. Check the schedule and book your berth. You’ve just spent a busy day in Tokyo, so now let’s get you on the rails.

There is a variety of different beds on the train, so check what is available and what makes sense to your budget and travel. This in itself is a GREAT Japan adventure. So, get some food from a convenience store, get some water, or grown-up beverages, and enjoy the swaying of the train as you ride your way to the pure land of Shikoku!

Arriving on DAY ONE: Ok, you made it. Whew. It is 7:00 in Takamatsu but the Starbucks in the station is not yet open. What? That is okay, head straight out the front doors and go to the coffee shop on the way called Pronto. They are open. Have a coffee or tea, put down your bags and let’s gather our wits about us for the first day.

After you are refreshed you can leave your bags at your hotel. You probably cannot check in just yet, but hotels allow you to leave your luggage. If you come through an agency, let them know about this so there is no trouble in the morning. Now it is about 8:00am and you are ready to get out there.

First stop is Ritsurin Garden. Just a quick taxi ride down the street you will be there in about 10 minutes. the garden is open from early morning so you will have some time to stroll around the mostly empty garden and take it all in at your leisure. This is the best time to come. People will start coming through around 10:00 so the first hours of the day can be sublime. Have tea in the teahouse, ride the short boat in the lake, take in the bonsai trees, the sakura if they are in season, and feed the carp.

Following your time in the garden I recommend heading back towards Takamatsu Station, or even towards your hotel to freshen up. There are a lot of great restaurants around the station area to explore and try. Many of them have English menus and there is great variety. A quick check on Trip Advisor or a chat with the front desk at your accommodations will yield good results. From this point we can consider a visit out to NAOSHIMA: Art Island of Japan

The ferry dock is very close to the station so that is tremendously convenient. Tickets are very inexpensive and a gentle ride on the ferry out to Naoshima will do your heart good. If you leave in the early afternoon you will have enough time to potter around the island and see a good number of works, and maybe get in a few of the houses in the Art House Experience. Rental bicycles are available to make getting around a breeze, and maps are available in English too.

After a remarkable day of gardens and art a relaxing evening in the Shotengai (shopping arcade) will find you walking among all sorts of different restaurants and pubs. It is great to take in some of the local color and food. Enjoy.

It’s been a long day of motion so far, so check in the hotel at a timely hour and get a good night’s rest.

DAY TWO: Konpira Shrine!

This is a great adventure in and of itself. The most relaxing, and very fun cultural experience to get to Konpira is to ride the local train, on the KOTODEN line. This local train is also near the port and Takamatsu Station and easy to find. Get on the yellow line and ride the train to the final station, called Kotohira. You will rumble through the city and the countryside, by hills and rice fields. It’s a very nice easy way to take in the country and enjoy the hues and shapes of rural Japan as you journey by.

Once at the station you will see where people are walking towards, some shopping area streets and a path that leads up to the staircase for the mountain. There are a good number of steps to climb, so take your time, stop on the way a couple times to rest or have tea or lunch, and make it to the summit. Konpira has great cultural and religious meaning for the Japanese, so climbing the mountain of the gods, and walking the path of the warrior-monks of old (yamabushi) will be a great experience. Say a prayer at the top, take in the incredible view, get a talisman for good luck, and come on back down.

If time permits there are places to either eat udon, or even make udon (and then eat it). The atmosphere of Kotohira is great, and you can get lost a little in the area enjoying the various shops and eateries that are there. The train ride home is a nice calm way to return to Takamatsu, and in the evening I might suggest either a place that sells “chicken on the bone” or a place where grilled eel can be had. Both are delicious.

DAY THREE: On this day, your final day in glorious Kagawa-ken, I recommend a number of possible activities. You could travel to the local art museums which are tremendously underrated, and interesting. You could go to Yashima, a famous location for an ancient samurai battle as found in the Heike Story. You could choose another ferry ride out to Shodoshima, the Island of Olives and Wagyu Steak. You could ferry out to Megijima and Ogijima, two smaller islands with art and unique inland sea culture. You could walk out to Takamatsu Castle which is small and easy to visit for about an hour. You could visit the Isamu Noguchi Garden Museum which is beautiful.

The third day of most trips, in my experience, is best with a lower pace. Enjoy the small venues, have a luxurious lunch and a relaxing coffee, find a good dessert you enjoy. Take a walk around by shops and homes and enjoy the atmosphere. On the third day I would probably stay closer to the “home base” of Takamatsu station, just so that I wouldn’t miss the overnight train back to Tokyo. The Seto Sunrise awaits, and after a final day of relaxing, eating, drinking, and taking in local sights and sounds, you’ll be ready to cruise off into the night on the overnight sleeper back to Tokyo.

A Three Day Trip to Shikoku: Course A Coming to Japan, for a lot of people, is like a dream. The food is so different, the people are so different, the air and water and trees are different.

#Kagawa #konpira #naoshima #ritsurin #shikoku

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recentanimenews · 6 years

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The Story Behind the Real Life Locations of Napping Princess

The monumental Great Seto Bridge towers over the modest fishing port in Kurashiki, painting a stark contrast between the rural Japan of old and the modern day – making it the perfect setting for internationally acclaimed director Kenji Kamiyama’s latest movie, Napping Princess, which is out now on VRV!

First written as a bedtime story for Kamiyama’s own daughter, Napping Princess soon evolved into something much grander and more complex, full of sci-fi elements reminiscent of the director’s other standout works like Ghost in the Shell: Stand Alone Complex. The story revolves around Kokone, a regular high school girl who finds herself stuck between reality and her dream world full of futuristic vehicles. After her father gets framed by a powerful automobile company for stealing technology, Kokone has to embark on a quest to save him, all while reality and her dreams intertwine more and more.

Rarely has the setting of an anime matched its plot and themes as fittingly as it does here, in a movie that’s all about the contrast between the real world and Kokone’s dream world, the differences between the younger and older generations, and the clash of established and future technologies. One might think the location was painstakingly chosen for the movie, but the story behind it is actually much simpler than that.

Kamiyama wanted a setting that has rarely been used in anime, and while on vacation in Okayama Prefecture, a friend told him about the scenic port area of Shimotsui in the south of Kurashiki, facing the Seto Inland Sea with spectacular views of the Great Seto Bride. One feature film later, it’s apparent that Kamiyama must have taken a liking to the charming area. And thanks to the Japan External Trade Organization (JETRO), a government-related organization that works to promote mutual trade and investment between Japan and the world, I had the chance to retrace Kamiyama’s steps and see the real-world locations shown in Napping Princess! How do the anime locations stack up the real deal?

The view from the small local shrine is not only a sight to behold in the anime, but also in real life. Napping Princess’ main setting is Kurashiki in Okayama, located roughly halfway between Osaka and Hiroshima. More specifically, the movie takes place in Kurashiki’s Kojima Area, in the rural port town of Shimotsui, right at the southern tip facing the Seto Inland Sea. The fishing port prospered during the Edo period as a relay trading port for raw cotton and herring, and many of the old storehouses still remain today, shaping the modest port town’s atmosphere and townscape.

This is all in addition to the Great Seto Bridge, which proudly towers over the village, creating a neat contrast between the port's time-honored fishing industry and the modern marvel of construction. The Great Seto Bridge is a 13.1 kilometer-long series of double-deck bridges connecting Okayama to Kagawa Prefecture and linking two of Japan’s main islands, Honshu and Shikoku. The bridge opened in 1988 with a two-tiered system – highway traffic on the upper deck and railway tracks on the lower one. The bridge actually is made up of various types of bridges, like suspension bridges, cable-stayed bridges, and a truss bridge, spanning a series of five small islands. It’s easy to see why the bridge captured the attention of Kamiyama and serves as an eye catch on nearly every promotional poster for the movie. In fact, that’s also how the city of Kurashiki found out about its upcoming appearance in Napping Princess.

Anime production studio Signal.MD did not contact the city of Kurashiki beforehand. Instead, the city and local government found out about the movie by seeing one of the promotional posters for the film out in the wild, immediately recognizing the location in the background. Kurashiki took action, organizing several cross-promotional events like stamp-rallies and decorated buses, generally being very open and happy about the movie using the town as its main setting – which is not always the case.

Several local companies also got involved with Napping Princess, most notably the Akashi School Uniform Company, located in Kurashiki’s Kojima District, which is generally known as the center of Japan’s textile industry. Akashi S.U.C. manufactures uniforms for schools across the whole country, and even created some for popular idol group AKB48. But not only that, together with Kamiyama himself, the company also created the school uniform seen in Napping Princess. The director even went as far as choosing the specific fabrics for Kokone’s uniform, as well as a color palette that was fitting the movie. On top of that, the Kurashiki University of Science and the Arts was involved in the production, just like a small local anime studio with no more than five members.

Heading down from the shrine, I passed through some of the narrow alleyways on my way to the port area, with old traditional houses left and right, which is probably the only place in the area where it’s not possible to see the Great Seto Bridge. One of the locals, who was euphoric about the movie and is working at the Shimotsui Shipping Agent Museum nearby, told me that Kamiyama must have had fun exploring the area, and that’s why he thinks that the narrow passages were so prominently featured at the start of the movie.

I too had quite some fun exploring the area, and while not everything always matched up perfectly, I still managed to find a few places that at least seemed to inspire some of the anime's backgrounds – like the roof and slanting pole in the picture above or the two cylinders in the one below.

Once I was finally out of the labyrinth of narrow alleys, I got to the ship dock where Morio’s father worked in the anime. There were several fishing boats coming in and going out, so there might still be a chance that the boats shown in the movie also exist in real life. The one in the picture below looked close enough.

On the other side of the street, Kokone is late for school and runs toward the nearby bus stop. The panning shot accurately depicts all of the real life locations, the old and new houses, and even the greenish trashcan in the bottom picture (imagine having your own trash can featured in an anime movie!), with one exception.

Once the camera fully pans to the right, the anime actually shows a location roughly 500 meters further up the street, which reveals the Great Seto Bridge. The anime studio did not have to get any permission for using the bridge or the area in their anime, except for the nearby Takamatsu Airport (which appeared later on in the film), as taking pictures inside of the airport posed security issues.

And finally: The Tanourako Mae bus stop where Kokone gets on every morning on her way to school. Kurashiki is accessible from other parts of the country by Shinkansen, either stopping in Okayama or Kurashiki itself, but to get to the port area and the foot of the Great Seto Bridge, taking the bus is the best option, not only because it stops at an anime location.

The area is known for its tasty octopi, and just like in the anime, you can see the dried Shimotsui octopi hanging around with their spread tentacles in the port area from late fall to early winter. Kokone even carries around an octopus key chain on her school bag.

While taking pictures from every angle of the normally unspectacular bus stop, a friendly elderly lady soon came up to me and asked me if I were here for Napping Princess. After telling her that I was and where I was from, she told me about some of the other locations from the movie, and asked me if I had already been to the shrine. As you can imagine, I was quite surprised by her friendliness and her knowledge about Napping Princess’ locations.

As I was there in early March, the time had already passed for the dried octopi hanging outside, so the clothesline ropes were used just for clothes.

We also get treated to another shot of the bridge from the other side. Continuing on the road here will bring you to the top of Washuzan Hill, where you’ll get the perhaps best view of the bridge, which I’ll show you just a little further down.

And lastly on the list, the police station in Kojima was also perfectly recreated in the anime. Just make sure not to do anything foolish, as you probably wouldn’t want to see the inside of the station like Kokone’s father had to.

Napping Princess actually had a noticeable positive effect for the tourism in the area, as bicycle rentals in the Shimotsui Area tripled shortly after the start of the movie in early 2017. The beautifully preserved historical canal area in Kurashiki, which is lined with traditional white-walled storehouses left and right, also surely saw a rise in visitors even though it didn’t appear in the anime.

And who’s this? It’s Kokone’s trusted companion, Joy, enjoying the magnificent view of Napping Princess’ most prominent location, the Great Seto Bridge, from atop Washuzan Hill. The hill was named after its shape – which resembles an eagle spreading its wings – which might or might not have been the inspiration for the slogan that repeatedly pops up throughout the movie, "with hearts united, we can fly."

If you haven’t watched Napping Princess yet, be sure to give this fantasy adventure film a try! And who knows, it might inspire you to take this anime pilgrimage off the beaten path to Kurashiki yourself!

Have you already seen Napping Princess? What do you think of the movie’s locations? Sound off in the comments below!

---

Wilhelm is an anime tourist, who loves to search for and uncover the real-world spots he sees in anime. You can talk with him on Twitter @Surwill.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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touristguidebuzz · 6 years

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Where to Find Japan’s Hidden Corners During Its Tourism Boom

The Nakahashi Bridge at dusk in Kurashiki. Given double-digit gains in tourism in major cities like Tokyo, savvy travelers are looking for Japans's less crowded but still desirable gems. Noriko Hayashi / Bloomberg

Skift Take: In 2017 Japan saw double-digit growth in tourist arrivals from the previous year. So savvy travelers may look to avoid some of the crowds by seeking out these four towns that are appealing alternatives to better-known cities.

— Sean O'Neill

Japan is in the middle of a travel boom. Political instability across much of the world has given it the appeal of a safe haven, and before the 2020 Olympics, the country has been rolling out the red carpet for visitors.

Among the new perks are two luxury sleeper trains: the Twilight Express Mizukaze, which offers a circular tour around the Sanyo and Sanin areas of western Japan, and the Train Suite Shiki-shima, connecting formerly extreme corners of the countryside. There’s also the just-formed Ryokan Collection, a consortium of high-end inns that aims to improve access for non-Japanese-speaking travelers outside of the major cities.

Travel to Japan showed double-digit growth in 2017 from the previous year, so you’ll want to take advantage of this development and escape the crowds by hitting the stunning countryside. Here, four towns to discover—before everyone else does.

For Sake and Shopping: Kurashiki

It’s only 45 minutes from Osaka on the bullet train, but Kurashiki feels worlds away. The historic city center of Bikan, a 10-minute walk from the station, is a time warp to the Edo era, when its namesake river formed an important cornerstone of Japanese mercantile trails; the area is still car-free.

Along the riverbanks, willow-flanked white-and-gray houses are just as they were in the 1600s—but instead of acting as rice stores and granaries, they’ve been reborn as cafes, pottery workshops, and Japanese denim boutiques. (Make a beeline to the Betty Smith Jeans Museum, where you can pick up $900, custom-made selvedge jeans.)

Kurashiki is also the town credited with birthing sake. Base yourself at the newly expanded Ryokan Kurashiki, with seven tatami-style rooms in a former sugar warehouse. Then explore sake shops for a day before a trip to the contemporary art paradise of Naoshima Island and the Isamu Noguchi Garden Museum in Takamatsu, where more than 150 of the famous sculptor’s stone works are still preserved. Both are roughly an hour’s drive away.

For a Culinary Pilgrimage: Ise Shima

If your favorite word at sushi restaurants is uni, try Ise Shima. It’s set at the tip of Mie prefecture—four hours southeast of Kyoto by shinkansen—and is known for its amas, or fisherwomen, who free-dive for sea urchin, abalone, and oysters. Sample their daily catch at any of the oyster stands along Ago Bay (it’s best to go with a guide, who will negotiate $25 all-you-can-eat deals) or at Kagetsu, a more formal spot that makes tasting meals out of lobster-infused miso soup and abalone sautéed in a foie gras-like abalone liver sauce.

An alternate plan is a noontime visit to go pearl shopping at Mikimoto, which maintains its headquarters and a small museum in Ise Shima. Stay at the waterfront Hiramatsu Hotel & Resorts Kashikojima, one of four new hotels run by Japanese star chef Hiroyuki Hiramatsu. And don’t miss a visit to the Ise Grand Shrine, one of the country’s biggest and most important monuments, which gets completely rebuilt every 20 years.

For Enchanted Landscapes: Yakushima

Cherry blossoms get all the attention, but Japan is full of natural wonder—much of it little known. Take Yakushima. This tiny island in Japan’s far south has UNESCO protection for its towering cedar forests, all draped in thick carpets of brilliant green moss.

Dreamlike hiking trails are dotted with suspension bridges, river views, and ancient trees—including one sacred cedar that’s considered to be 7,200 years old.

On the coast, you’ll find mangrove-dense beaches that are havens for loggerhead turtles; inland, you might spot unique local breeds of deer and monkeys. And in between are shops of woodworkers who give new life to fallen trees.

Stay at the sustainably minded Sankara Hotel and Spa, with 12 luxury cottages scattered throughout the forest; the innkeepers can point you toward rhododendron-heavy gardens, the island’s best natural hot springs, or firefly-filled clearings with views of the Milky Way.

For Architectural Wonders: Shikoku

The smallest of Japan’s four major islands, Shikoku is best known for its 88-temple pilgrimage route. It’s a place to take in Japan’s remarkable architectural heritage, from the Iya-no-Kazurabashi Bridge, which was built entirely out of thick vines by samurai 800 years ago, to the remote village houses in Iya Valley, which are now being restored by Japanophile author Alex Kerr as part of the Chiiori Trust initiative. You can even rent them out as vacation homes.

Focus on the most beautiful sections of the temple trail—like the five-storied pagoda at temple 31—and save time to visit the country’s oldest Kabuki theater, Old Konpira. The Edo-era homes in the town of Mima are also worth a visit: Many are now shops, selling traditionally made kimonos and wooden sandals.

Then get the ultimate contrast by visiting one of the most modern monuments in the country: the minimalist Komyo-ji Buddhist temple, where the walls of latticed joinery are the work of Pritzker Prize winner Tadao Ando. The architect has also designed a seven-room hotel in the area called Setouchi Aonagi; its concrete-framed lap pool juts out over the countryside for dramatic sunset views.

Whom to Call

Booking an off-the-grid trip to Japan isn’t especially do-it-yourself-friendly—you’re better off working with local experts who can secure insider access at famously closed-off artisan studios or exploring temples with guides who can explain their full significance. If you’re looking for a deep dive on culture, turn to Catherine Heald of Remote Lands, who has an unrivaled proficiency in Japan’s most hidden corners. Each of her trips is bespoke, and all feature top-notch guides.

For more of an active vacation—whether you want a sense of adventure or more hands-on experiences—try Black Tomato, whose co-founder Tom Marchant has a personal passion for Japan. And for true insider access, Japan Curator has an impressive Rolodex with the country’s elite, facilitating everything from brown bear safaris in Hokkaido to private dinners with the cast of a live-action manga movie.

This article was written by Nikki Ekstein from Bloomberg and was legally licensed through the NewsCred publisher network. Please direct all licensing questions to [email protected].

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connorrenwick · 7 years

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Experience Modern Architecture in Japan with the Contemporary Art + Architecture Tour

Every year, CA+AT (Contemporary Art + Architecture Tour) brings a select group of creative people on a curated journey to discover the best contemporary art and architecture sites in the world. This sort of “retreat for creative minds” (as they like to call it) is not merely a vacation—it’s an inspiring learning experience through an on-site exploration of what open air museums: places where architecture, art, landscape blend together in a unified project linked to a specific site, stimulating an exchange among tour guests on creative processes, social change, and environmental regeneration.

With this idea in mind, for the past two years CA+AT has been exploring the experimental projects in the Seto Inland Sea in the Kagawa Japanese Prefecture south of Osaka (the next journey is scheduled May 8th-13th). The place is home to both a project called Benesse Art Site Naoshima and an international Art Triennial called Setouchi, with the aim of regenerating the entire archipelago, they commissioned some of the most modern and expressive examples of architecture and art. Open all year long, they are spread out on the islands, mixing with the local, more traditional architecture, and blending into the natural environment.

You’ll definitely need a few days to explore the structures, hopping from one island to another, which is why we recommend checking out this tour through CA+AT, who will not only help with logistics, but provide ample information and history behind each of the stops on the tour. If you can’t join, or you’re looking to whet your appetite for architecture, here’s a sampling of what you might experience if you join the CA+AT journey:

Maritime Station and surrounding installations \\\ Naoshima

After taking a ferry from Takamatsu, crossing the Seto Inland Sea and its beautiful marine landscape, you land at the Naoshima Miyanoura Port. The minimalist Marine Station Ferry Terminal was design by the SANAA duo Kazuyo Sejima/Ryue Nishizawa in 2006 and also houses the bus station, the tourist information and public facilities. The minimalist steel structure encloses glass spaces arranged as islands under one single roof.

“Benesse House” Museum and Hotel and surrounding art park \\\ Naoshima

The Benesse House Museum and hotels is a facility complex designed by Tadao Ando and built on a hilltop area of the Naoshima island, overlooking the Seto Inland Sea. It is comprised of several buildings, all carefully integrated with the rich natural surrounding.

The Benesse House is both a hotel and museum. Opened in 1992, located on a very high ground of the island, it embraces the most spectacular view of the Inland Sea. As with many other nearby buildings, Ando designed a concrete structure with half of the spaces underground. The hotel, museum, guests facilities are all interconnected through a systems of ramps, creating a dynamic continuous space that guests can enjoy during daytime and at night (the museum’s galleries are opened until midnight). Following the concept of “hotel-museum”, the art collection can be found not only in the galleries, but in all the building spaces, including the guests rooms.

The Oval is a special six-suite building located on the very top of the hill reachable only through a private cable car. It has a 360-degree view of the island and the Seto sea, a garden rooftop, partially hypogeal spaces, water pool and cascades.

Interior view of one guest room at Benesse House Hotel and underground exhibition space at the Benesse Park Hotel.

Additional facilities were later added, including the Park and Beach Hotels: both situated in the lower park, with closer access to the sea and the beach. With its sequence of interconnected spaces, it is fully integrated with the surrounding art park, which includes site-specific installations and large sculptures by Walter De Maria, Yayoi Kusama, Niki de Saint Phalle, Dan Graham, George Rickey, Hiroshi Sugimoto among others.

Guests enjoying an open-air gallery at the Benesse House Museum

One of the terraced field in the art park surrounding the Benesse House Hotel, overlooking the Seto Inland Sea; Benesse House Museum open air gallery by day. Architecture: Tadao Ando \\\ Artwork: Hiroshi Sugimoto Time Exposed, 1980-97; Benesse House Park \\\ Art installation: Teresita Fernández, Blind Blue Landscape, 2009

Chichu Art Museum \\\ Naoshima

In Japanese, chichu means ”underground.” The museum, designed by Ando in 2004, best represents the concept behind the entire Benesse Art Site Naoshima: the complete interconnection between art, architecture, and landscape. The Museum is built around a permanent collection consisting in only three artists each located in underground specific rooms: Claude Monet, with a dedicated central room displaying his famous Water Lilies, based on the architectural plan that the artist conceived exclusively for this series. James Turrell, with three artworks: Afrum, Pale Blue, Open Sky, and Open Field, meant to be seen in this specific chronological sequence in order to understand the progression in his research on light manipulation. James Turrell is also part of the House Projects Naoshima with another open field series artwork in Minamidera. The final artist is Walter De Maria. His single work, Space, unifies Ando’s architecture, light, sculptural elements, and sound.

Multiple passages connect the site-specific galleries, opening unexpectedly to sunken courtyards, gardens, corridors, and allowing a continuous dialogue between the natural elements, architecture, and art. As you descend underground, you are forced to move between the inside and the outside, light and darkness, built environment and landscape: the whole experience is conceived to be a purely spatial and sensorial journey.

The path connecting the ticket center to the Museum is another surprisingly sophisticated addition to the project. The Chichu Garden is a an exploration of seasonal flowers and plants that Monet used in his paintings, like water lilies, willow, iris, that you can still visit at Monet’s house and garden in Giverny.

The Chichu Garden, inspired by Monet’s House Garden in Giverny.

Lee Ufan Museum \\\ Naoshima

Dedicated to the Korean-Japanese artist Lee Ufan, the concrete semi-underground museum is classic Ando, with walls-planes creating a system of courtyards, closed and open spaces.

Entrance to the Lee Ufan Museum

A succession of walls guides the visitor to the hidden entrance, walking through a sloping intimate valley, a plaza, a triangular courtyard, with Ufan’s sculptural works installed in the built and surrounding landscape.

Teshima Art Museum \\\ Teshima

Probably the most surprising architecture hosting a single work of art, the Teshima Art Museum is conceived as one exhibition space under a water droplet-shaped concrete shell. Following the surrounding hilltop landscape, which is also part of a rice fields restoration program developed with the local community, it symbolizes the concept of the open air museum: the 40-by-60m continuous space communicates with the exterior through two oval openings that allow uninterrupted interaction with the natural elements—wind, light, rain, and trees.

The Museum was conceived by Ryue Nishizawa in collaboration with artist Rei Naito: a sophisticated installation allows water to continuously emerge from the ground and reunite with it in a perpetual movement that replicate the circle of nature through time and seasons.

You can watch the museum’s unique construction process here:

vimeo

Teshima Art Museum from JA+U on Vimeo.

Naoshima Hall \\\ Naoshima

The Naoshima Hall is the latest addition to the Benesse Art Site Naoshima and a multi-purpose facility including a community space, the town hall and a garden. Commissioned to the local architect Hiroshi Sambuichi and opened in 2016, it is a flexible structure of 1000 sqm intended for public events. The design refers to the traditional Japanese hip-and-gable roof (irimoya) in a sustainable version: the roof serves as a airflow controlling system, allowing natural ventilation, while the local well water is used to cool the interior spaces, circulating through the roof surface. The architecture is the result of a deep research of the island’s natural environment and the use of natural elements like air flow and water resources.

View of the Oval Suite Building at Benesse House with its central water pool

Sou Fujimoto, Naoshima Pavilion, 2016 with CA+AT guests 2016 at the opening of the Setouchi Triennale fall season

We hope you liked this taste of the Japanese islands! CA+AT // Contemporary Art + Architecture Tour was founded in 2016 by New York based curators Francesca Cigola & Kanae Maeda. Next CA+AT edition will focus on Mexico City and Italy. If you’re interested in the tour, you can find more information at artandarchitecturetour.com and you can also follow them on Instagram.

Special thanks Francesca Cigola for helping author this article, Photos courtesy of Francesca Cigola \\\ CA+AT Contemporary Art + Architecture Tour

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2017/05/05/experience-modern-architecture-in-japan-with-the-contemporary-art-architecture-tour/

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arthisour-blog · 7 years

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The Seto Inland Sea has played an important role in cultural exchange and has been a main artery for marine transports since the old days. Blessed with a warm climate and a relatively small amount of precipitation, the inland sea has been a foundation for the livelihood of the regional people and has shaped a unique and wonderful way of life. Various cultural heritages from this region tell many things about the past. Seto Inland Sea Folk History Museum was built in 1973, in order to collect and maintain important materials, to carry out general research, and to make the results publicly accessible. Among the museum’s collection, 5,656 pieces of fishing tools and shipbuilding tools and 310 pieces of transportation tools are designated as national important tangible folk cultural properties．

The Seto Inland Sea Historical Folk Museum is a museum of humanities in the Gododenda Takamatsu City, Kagawa Prefecture.

It is a facility that presents about 130,000 pieces of information on the Seto Inland Sea including 2 important tangible folk cultural properties of the country · about 5700 points and exhibits the history and culture of the Seto Inland Sea area. The building was awarded the Japan Architectural Institute Award, etc. in 1974, one hundred public buildings, Selection of DOCOMOMO JAPAN Excellent work of contemporary architecture chosen also for the modern movement in Japan. On April 1, 2007, it is integrated with the Kagawa Prefectural Museum of History (present Kagawa Prefectural Museum), and it will be the location of the same building.

First exhibition room 1F – Exhibit materials such as real net ship used for sea bunko fishing, valet ship, wagon ship, wooden ship model such as Kaydenuma, fishing gear tools, ship figure, shipboard tool etc Medium 2F – Exhibit folk materials on the island of Seto Inland Sea and rain pools 2nd Exhibition Room – Exhibit with shipwrecked shipyards in dioramas Third exhibition room – Exhibit materials of early modern valet ship and ship Fourth Exhibition Room – Restoration of modern transport ship, document on cargo ship and deck of morning ship exhibited Fifth Exhibition Room – Exhibit data on oar, paddle and rudder of wooden ship and salt tool (beach tool) Sixth Exhibition Room – Exhibit ancient salt pottery in Setouchi district Seventh Exhibition Room – Exhibit ancient to medieval archaeological relics including Sueboshi’s Suebu and Bizengrass Eighth Exhibition Room – Exhibit the actual material by showing the history of fishing methods and tools from ancient times to the present

Opening hours – 9: 00 ~ 17: 00 (Admission is until 16:30) Closed Monday – Monday (in principle, if Monday is a holiday the next day), Year-end and New Year (December 29 – January 3) Admission fee – free. (General individuals were 220 yen, etc. but due to reorganization, revised from April 1, 2007)

Seto Inland Sea Folk History Museum Takamatsu-shi, Japan was originally published on HiSoUR Art Collection

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allcheatscodes · 7 years

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soul calibur dreamcast

http://allcheatscodes.com/soul-calibur-dreamcast/

soul calibur dreamcast

Soul Calibur cheats & more for Dreamcast (DC)

Cheats

Unlockables

Hints

Easter Eggs

Glitches

Guides

Get the updated and latest Soul Calibur cheats, unlockables, codes, hints, Easter eggs, glitches, tricks, tips, hacks, downloads, guides, hints, FAQs, walkthroughs, and more for Dreamcast (DC). AllCheatsCodes.com has all the codes you need to win every game you play!

Use the links above or scroll down to see all the Dreamcast cheats we have available for Soul Calibur.

Genre: Action, Adventure Developer: Namco Publisher: Namco ESRB Rating: Teen Release Date: September 7, 1999

Hints

Inferno

Beat the game 100 with Valdo.

Control The Replay Speed

Hold L to slow down replay. Hold R to speed up replay.

Art Card Secrets

The following art cards will unlock the corresponding secret:002: New art card gallery003: Silk road rains mission005: Harbour of souls mission006: New art card gallery010: Maze of the dead mission014: New art card gallery015: Character profiles open018: New art card gallery019: Colosseum mission021: Silk road ruins stage026: Shrine of eurydice mission027: Palaaea shrine mission031: Kunpaetku shrine mission032: Takamatsu castle stage036: The adrian & fortress mission037: Money pit mission039: Xiangua's SP costume 040: Takamatsu castle stage045: New art card stage054: Exibition theatre open055: New art card gallery056: Hoko temple mission058: Sophitia's 3P costume 060: The adrian & fortress #2 mission065: City of water mission068: Proving grounds (Twilight) stage070: Maxi's 3P costume079: Maze of the dead stage081: Ostrheinsburg castle stage082: Valentine mansion mission083: Takamastsu (Winter)stage084: Water labyrinth mission090: New art card gallery093: Harbor of souls #2 mission094: Voldo's 3P costume101: Silk road ruins #2 mission103: New art card gallery104: Kunpaetku shrine stage106: Maze of the dead #2 mission116: Shrine of eurydice #2 mission117: Palagaea shrine #2 mission122: Kunpaetku shrine #2 mission123: Silk road ruins (Night) stage126: New art card gallery130: Chaos stage132: Takamatsu castle #2 mission134: Money pit #2 mission137: Taki (exhibition theatre)143: Hoko temple #2 mission148: Colosseum #2 mission149: New art card gallery155: Voldo (exhibition theatre)159: New art card gallery167: Extra survival mode unlocked169: Hoko temple #2 mission177: Sophitia (exhibition theatre)178: Valentine mansion #2 mission179: Opening direction unlocked180: The adrian & fortress #2 mission182: City of water #2 mission183: Nightmare (exhibition theatre)188: Water vein #2 mission189: Astaroth (exhibition theatre)198: Hwang (exhibition theatre)199: Proving grounds #2 mission203: New art card gallery207: Yoshimitsu (exhibition theatre)215: Ostrheinsburg castle #2 mission217: New art card gallery224: Weapon select feature unlocked225: Lizard man (exhibition theatre)230: Siegfried (exhibition theatre)233: Rock (exhibition theatre)239: Seung mina (exhibition theatre)251: Cervantes (exhibition theatre)256: Edge master (exhibition theatre)265: Metal model mode unlocked

Full Pause Screen

Pause the game and press X + Y.

Select Victory Pose

Win a match, then press X, Y, or B during the replay to select one of the victory poses.

Change Replay Focus

Normally, the replay camera will focus on the winner of the match. Press B to change the focus to the losing character.

Full Character Profile Screen

At the character profiles screen, press L + R to remove the window on that screen.

Alternate Costumes

At the character selection screen, press Y to alternate all character costumes. Press Y again to change all character costumes back to their original.

Alternate Title Screen

Successfully complete all missions in mission battle mode for a golden title screen. Unlock Inferno and all 338 pictures in the Art Gallery for a monochrome title screen.

Play As Inferno

Unlock all the characters, stages, and extra bonuses that are awarded by playing the game in arcade mode and mission mode. Get every picture in the mission mode. When this is accomplished, return to the arcade mode, and select Xianghua and her third outfit by pressing Y + A. If desired, the game may be set to one round and the easy difficulty. Play through and complete the game with her. After the credits complete, a new soul (Inferno) will appear to the right of Edge Master. He randomly switches weapons like Edge Master, but has some moves of his own that can be done with any weapon.

Extra Weapons

Unlock Edge Master and successfully complete all mission battles. Then at the character selection screen, hold L while selecting a character for extra weapons.

Metallic Characters

Begin a game in mission battle mode and fight until the “Metal Mode” option is unlocked. Then, hold R while selecting a fighter.

Swamp Mission

Successfully complete all the missions and the extra missions that appear after the Chaos stages. Then at the mission selection screen, move to the western-most map and place the pointer between Germany and Russia. Move over this area until the mission confirmation sound is heard.

Dojo Mission

Successfully complete all the missions and the extra missions that appear after the Chaos stages. Then at the mission selection screen, move to the eastern-most map and place the pointer over Korea. Move over this area until the mission confirmation sound is heard.

Mission Battle Bonuses

Successfully complete all the missions to unlock the hidden art in the museum and a third costume for Sophitia, Voldo, Siegfried, Maxi, and Xianghua by pressing Y + A while selecting one of those characters. Completing all mission battles will unlock various museum options such as exhibition theater, opening direction (change the introduction), and character profiles. Additionally, an “Extra Survival” mode will also be unlocked at the main screen.

Arcade Mode (Japanese Version)

Successfully complete the game, including the bonus stages, with every character.

Play As Edge Master

Successfully complete the game with all standard and bonus characters.

Bonus Characters And Stages

Successfully complete the game with each of the standard characters to unlock a new character or stage.

Bonus Character Styles

Each bonus character has the same fighting style as an original character, except for Inferno and Edge Master:Bonus characterStyle ofHwangXianghuaYoshimistsuMisturugiLizard ManSophitiaSigfriedNightmareSeung MinaKilikCervatesTakiRockAstaroth

Cheats

English Character Profiles (Japanese Version)

Unlock the profiles for each character. Press L + R at the character profiles screen to remove the window, then hold A + B + X + Y to reset the game. Hold X and press Start when demo mode starts. Then, return to the character profiles screen.

Alternate Sophitia’s Underwear Color (Japanese Version)

At the character selection screen, highlight Sophitia and continuously press one of the following buttons or combinations until she performs her pre-battle pose: XYBX + BX + YY + BX + Y + B

Unlockables

Currently we have no unlockables for Soul Calibur yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Easter eggs

Currently we have no easter eggs for Soul Calibur yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Glitches

Currently we have no glitches for Soul Calibur yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Guides

Currently no guide available.

0 notes