【最新】１時間で巡る秋の粟島アート巡り完全ガイド | 新エリア宇多津も巡ってきました | 瀬戸内国際芸術祭２０２５

【最新】１時間で巡る秋の粟島アート巡り完全ガイド | 新エリア宇多津も巡ってきました | 瀬戸内国際芸術祭２０２５

Touring contemporary art around the world. We’re traveling to see contemporary art from around the world. This time, we’re going to the Setouchi International Art Festival. After touring the art on Ibukijima Island, we’ve arrived at Sunada Port. From there, we’ll take the ferry to Awashima Island. The art tour will probably last about an hour. I hope we can see all the artworks, but the Aoshima art exhibition runs from 10:00 to 4:30. The Nishijima area usually closes at 4:30, so please be careful . The express train to Awashima Island arrived, so we boarded the boat. The boat departed at 3:10, so there were hardly any passengers. The Awashima Line, which we’ll be competing in this high-speed battle, has a capacity of 70 people. We departed Teikoku Street without incident. We received this guide map from the Seto Game Information Center at Sunada Port . The current temperature is 28°. It’s already past 3:00, but it’s still hot. We arrived at the island about 15 minutes from Sugata Port. As expected, since it was late, the boat was mostly filled with local residents. First, I head to Kawashima’s Setoge Information Center, which doubles as a restroom break. It’s located in the Awashima Development Center, right in front of the island school. Mr. Morizawa provides information about the island, but there aren’t many shops, so it’s a good idea to bring some drinks with you. The Kawashima Development Center also has a special tatami rest area, where local high school students and the local revitalization volunteers have created a guide to recommended spots in Iyoichi. After my restroom break, I head out to rent a bicycle. It seems to be about 100 meters from the Setoge Information Center . Most of the island’s art tours are flat, so if you have the time, you can easily walk around. I arrive at an unmanned bicycle rental shop. It costs 500 yen a day. I put my money where my mouth is. I hop on my bike and start my art tour. A local nearby suggested an easy route , so I’ll follow that. I’ll start with artwork number 16. Awashima Island features a souvenir shop that makes you feel like you’ve traveled back in time, and plenty of cute artwork decorating the sea floor. We arrive at the first artwork, the closest from the port . This piece is by Aono Fumiaki, titled “A House to Return to: Setouchi Island Old Ryuseki Noukai Zuzou 2025.” The artist has created many works based on the theme of repair. Particularly since the Great East Japan Earthquake , he has been attempting to restore collected fragments by digging into the context of the land and society. Kawashima’s work utilizes the remains of an autumn house on the island, disused furniture, and fragments of a boat that was essential to island life. By combining these elements , he is able to evoke memories of the time when people once lived there. The next artwork is located at the former Kawashima Junior High School. I got lost on the way, but a nearby grandmother helped me find the way . It’s about a three-minute bike ride to the former Kawashima Junior High School. Many artworks are gathered here. Let’s start with the first piece. This piece is by Hibi Katsuhiko, part of the Seto Inland Seabed Exploration Museum Project, Soko Sozozo. This art project focuses on the invisible world that lies beneath the ocean . Exhibiting fragments of eyes, stones, and vases recovered from the ocean floor , these artifacts allow us to imagine a world that truly exists, one we cannot normally see. This work slowly expands our imagination through the balance between land and the ocean floor. The next piece is also located within Awashima Junior High School. It’s in the building right next door, just outside. This wooden school building is very old, and I was surprised to learn that classes were still held here just a decade or so ago. The next piece is “Dyeing the Island’s Memories” by Kashiwa Shu. This piece is one of several works that express Kashiwagi’s impressions from his four-month stay on Awashima Island. This type of work is created by incorporating Japanese elements into wire. The lump of earth and plants under the large hand represent the island, expressing how the entire island grows through the warmth of people. The next piece is in the adjacent classroom. This is a work by Hibi Katsuhiko. It’s the “Asakawa Project for the Day After Tomorrow.” This project began in 2003 at the 10th Festival in Niigata Prefecture. Through the cultivation of Asakawa River , we encourage communication between people and between people and communities, and examine the relationship between people and communities in modern society . We regard the forms conceived through interpersonal relationships as the foundation of art, and explore the functional diversity of art within society. Moving on to the next piece, we have Aoki Hanana’s “Shima Yoki.” This large mask, characterized by its design, was created in collaboration with the island’s elderly people, stacking multiple layers of newspapermen and sashes . The resulting mask is known as the “Island God,” and is said to reside in ancient and cherished places on Aoshima, watching over the island and sharing memories with the islanders . The next classroom is the final piece in the school building. This piece is another work by Kashiwa Shu, mentioned earlier. Plants are blown from the sculpture, changing their contours. Focusing on the island’s remaining old buildings and the flow of time beneath them, the artist installed sculptures made of iron, wood, and earth. Plant seeds and seedlings are planted within and on the surface of the sculpture. Over time, the plants grow and eventually cover the sculpture’s shape, gradually changing its contours. This sculpture has no moment of completion; it continues to evolve with nature, making it a deeply profound piece. The next piece is located in the gymnasium at the back of the school. We pass through the back of the school, which evokes a sense of nostalgia . This work is Kaori’s “Ship of Regretful Memories” gallery in Shima. Born and raised in the Mongol region of China, the artist created this piece based on the yurt, a portable dwelling used by nomadic people . Inside, the echoing voices of sailors echo, and the light streaming in through the skylight and the floating sounds evoke memories of travel and the passage of time. The next piece is located inside the Kyushima Kindergarten. It’s about a five-minute bike ride from the junior high school to Kyushima Kindergarten. This work is the outline of Esther Stocker’s work, “Thoughts.” The entire space is painted pure white, with black lines painted in places, creating three-dimensional shapes. The lines, which appear different depending on the angle of view, create the mysterious feeling of entering a single thought. One classroom has a white wall with black lines scattered throughout, while the other has a black wall with white lines. The contrast between white and black represents the brightness of memory and the shadow of demolition, transforming the former island kindergarten playground into an imaginary playground for the future. There was also a black and white island cat outside the work. Next was the final piece. I returned to the harbor to see the westernmost piece. There was a blue flag. This piece, by Quentin T., is set in the former post office building. Inspired by the communication systems used by the people and ships of the past, it converts messages from visitors and residents into Morse code. Instruments installed inside play the code, resonating throughout the space as sound, allowing us, the visitors, to experience the island’s history and the voices of its people through our ears. Having enjoyed the work, I returned my bike and headed to Ferrino River. The cutely decorated V-signs scattered throughout the island were soothing, and I recommend exploring the area on foot. It’s time to say goodbye to the serene Setouchi town of Awashima. I arrived at the ferry terminal. It was windy and cold, so I waited there until my departure time. I headed back on the 5:15 PM ferry to Tsu Port. Apparently, there’s also a highway from Kawashima to Takashima. The ferry arrived, so I headed out. It was a short stay of about an hour and a half, but the island’s atmosphere made me want to take my time exploring. I arrived at Tsuda Port in Mizu City, 15 minutes from Aoshima. I headed back to the Seto Temporary Parking Lot near Minatomo . The Seto Ge staff at Suna gave me a grand send-off. Thank you, and thank you for your hard work. It was a 30-minute drive from the parking lot closest to Tsuda to City Hall. I was off to my third stop of the day to explore the art in the Utazu Area . The Utsu Area is a new area established in 2025. Amazingly, it’s open until 8 PM. With a guide map in hand, I set off on my art tour. I asked the staff at Itazuju City Hall for a recommended way to turn the pages , and first headed to the Gold Tower, which I was supposed to be at. It took about 10 minutes by car from City Hall to get there. The artwork here is best viewed when the sky glows orange just before the sun sets, so now might be the perfect time. The Gold Tower is also shining. This is Ishizawa Shunta’s work, “He Who Has No Colored Wings.” This work is a sculpture made from two transparent acrylic plates, each of which is hand-carved and polished. The acrylic surface has tiny scratches and fluctuations, and over time, it changes color to black due to sunlight, wind, and reflections from the sea surface. The theme is memory and distance to the horizon. Beings we think are far away may actually be right next to us. This feeling is expressed through the Wings of Inedibility. Having acquired the work at Uzu Seaside Park, I now return to Uzu City Hall. A free shuttle bus operates during the festival . I returned to the information desk. From here, I will tour the works on foot . It seems like you can make a complete circle. The first work is located across from the information desk. It is exhibited in a former agricultural cooperative warehouse, originally used to store rice . This work is the capacity of a work by Sigarit Landau. The artist submerges and crystallizes the material in a symbolic setting, resembling a lake with a medium-high salinity and almost no life . This delivery point originally supported local agriculture and logistics, and the textures of the abandoned building, including its old steel frames, wooden needles, and concrete floors, resonate with the artwork. There seems to be another Landau piece, so we were given the right to win. The next piece is by one of our favorite artists, who has appeared several times in the video. We arrived. Inside this house is a work. This piece, “Toki wo Tsugu” by Yamamoto Ii, is a piece by Yamamoto I saw at the Kita-Pusu International Art Festival in the background. This time, he has painted net-like patterns with salt inside historic buildings, including a Japanese-style room and teahouse. The shape, reminiscent of the Utatsu Sea and salt nets, once thriving for salt production and fishing, imbues the entire work with the memory of the region. This piece features a bridge running over it, and sitting on the tatami mat allowed us to get a closer look at the delicate work . Yamamoto eventually returns the salt to the sea, and even after completion, the work will not remain forever, symbolizing the cycle of time. And here, we even had the chance to paint using the same tools as Yamamoto. I tried to imitate Yamamoto, but it was incredibly difficult. I was so engrossed in Yamamoto’s work that before I knew it, it was pitch black outside . Since I was running out of time, I decided to take a quick look around. We arrived at Yajinja Shrine . It appears that a work is on display here. It’s Imperative Brand Escape, a piece by Singaporean artist Junsho . The setting is 80,000 Shrines. Based on the theme of purification, posa (sacred figurines) are placed in transparent cases, suspended in a floating position. A mechanism allows circulating water to flow from the ceiling. The venue is bathed in the pure air, punctuated by the flow of water from the Himachi festival, a festival held in the area. The next piece is the last in the Utazu area. I was running out of time, but I think I’ll be able to see everything. We’ve arrived at Bishoten, a former shoe store where works are on display. Here, you’ll find another work by Sigarit Landau. This former shoe store is now a house, and as befits a shoe store, all of the pieces are shoe-related, featuring boots, sneakers, sandals, and children’s items. The shoe pieces clearly show the original colors and shapes of the materials, and I’m impressed by how they truly crystallize the visual experience. Elia’s work, using salt, a commonplace material, spoke to time, history, and the connection between people and the land, creating a quiet and profound art experience that left a lasting impression. [Music] Thank you for watching. The next Setouchi Triennale will finally take us to Takashima, where you can enjoy heart-warming trekking. This channel provides information on contemporary art museums around the world. If you enjoyed this video, please subscribe and click the like button.

【瀬戸内国際芸術祭２０２５ 粟島編】

　瀬戸内国際芸術祭とは、日本の瀬戸内海に浮かぶ１２の島々と２つの港町を舞台に、３年に一度開催される世界有数のアートフェスティバル。２０２５年は春・夏・秋の３会期にわたって開催され、国外の数多の現代アーティストが自然・地域・歴史と調和した作品を展開しています。

公　式：https://setouchi-artfest.jp
期　間：秋会期　１０/３（金）- １１/９（日）
場　所：日本/香川県 本島
値　段：シーズンパスポート　　　４,５００円
撮影日：２０２５年１０月８日

　こちらは『アート巡り🇯🇵芸術祭編』の第１８弾です！シリーズを通して、日本で開催される芸術祭の美しいアートをお届けしています。まだ他のエピソードも見てみたい方は、再生リストからチェックしてね！

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