Aichi Triennale
The Aichi Triennale, which has been held every three years since 2010, is one of the largest international contemporary art festivals in Japan. In 2019, the festival’s fourth iteration will feature an international contemporary art exhibition alongside film, performing arts and music programs, bringing together over 80 individual artists and artist groups across a range of expressive domains to showcase their cutting-edge works.
  • Contributing to the global development of culture and art by creating and disseminating cutting-edge art.
  • Bringing culture and art into people's daily lives by promoting and providing education on contemporary art.
  • Enhancing the attractiveness of the region by vitalizing culture and art activities.

情の時代 Taming Y/Our Passion

Artistic Director

TSUDA Daisuke
(Journalist / Media Activist)


August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days]

Main Venues
Aichi Arts Center
Nagoya City Art Museum
Nagoya City (Shikemichi and Endoji)
Toyota City (Toyota Municipal Museum of Art and off-site venues)
Aichi Triennale Organizing Committee
Contemporary Art

International Contemporary Art Exhibition

  • Exhibition showcasing cutting-edge contemporary art by some 60 individual artists and artist groups from Japan and overseas.
  • Artworks on exhibit at the Aichi Prefectural Museum of Art inside the Aichi Arts Center, the Nagoya City Art Museum and other locations across Aichi Prefecture, including off-site venues in Nagoya City (Shikemichi and Endoji) and Toyota City (Toyota Municipal Museum of Art and off-site venues).

Film Program

  • Screening of film works by around ten artists/artist groups from Japan and overseas at the Aichi Arts Center and other venues.
Stage Performances

Performing Arts

  • Presentation of cutting-edge theater and other works by around ten companies from Japan and overseas at the Aichi Arts Center and other venues.

Music Program

  • Featuring a music program with a festive atmosphere that crosses the boundaries between visual arts and music. As well as the Aichi Triennale 2019 Music & Arts Festival, in which audience members can freely roam an integrated venue including the Aichi Arts Center and Oasis21 complex, there will also be events in Shikemichi and Endoji.
  • At the Aichi Triennale 2019, with the keywords “receive, deepen, and shape,” we will be creating spaces where visitors can explore their own responses to the artworks, engaging in creative expression or discussion of their impressions. Specifically, there will be “art playground” environments at multiple venues, where visitors of all ages can learn from each other and enjoy creativity.
  • We are preparing a new training program so everyone, from visitors to volunteers, can get the most out of the Aichi Triennale.
  • As part of this new initiative, in 2018 we will be hosting “Triennale School,” a program where participants can learn from each other through a combination of lectures and discussions.
  • Collaborative projects with schools offer an opportunity for local children and students to enjoy contemporary art.

* Aichi Triennale has renamed its “Education” program to “Learning” program with the aim to encourage all visitors, regardless of their knowledge level, experience or age, to proactively learn from one another.

Collaborative Programs

Mobile Triennale

  • Short-term group exhibitions showcasing works by artists featured in the main programs tour several cultural facilities and other venues in Aichi Prefecture.

Open Competition for Stage Performance

  • 15stage performances selected by open competition held in partnership with Aichi-based culture and arts organizations.

Art University Project

  • Exhibitions and other events held in partnership with Aichi-based art universities.

情の時代 Taming Y/Our Passion

“Politics is the art of the possible”——these are the words of the famous German statesman, Otto von Bismarck. Many politicians and political scientists, including Mikhail Gorbachev and Masao Maruyama who referred to it affirmatively, have quoted these words as a statement that neatly captures the essence of politics. Bismarck made similar statements throughout his lifetime, and once was recorded in parliament as declaring that “politics is not a science, but an art.”

The political commentator Minoru Morita describes these statements as arguing that “politics cannot be understood through scientific reason alone; it is important to be equipped with an intuition that we might say is closer to the domain of art,” and that “politics isn’t simply about rhetoric; it shares its roots with the arts.”

They say that the etymology of the word art can be traced to the Latin word ars. Ars corresponds to the Greek word techne, and so “art” referred generally to the “skill (ars) of commanding knowledge and methods informed by classical knowledge” until the first stages of the modern era.

Bismarck’s “art” is probably closer to that definition. It was not until the 19th century that the word “art” came to refer to “works of art” or “the fine arts.” Our definition of politics today, “the skill of obtaining the consent and agreement of the people,” resembles Bismarck’s words, and this is closely related to the fact that, etymologically speaking, “art” used to refer to “general scholarship and skills that include politics as their object.”

Words change over time.

Many concerns are shared around the world today, including anxieties related to the increase in terrorism, cutbacks in hiring domestic workers, crime, and making ends meet. Feelings of aversion towards refugees and immigrants have risen to unprecedented heights in the United States and Europe. The United Kingdom voted to leave the EU in 2016. Donald Trump was voted president in the United States under the platform of “America First.” Xenophobic voices have become emboldened here in Japan as well. At the source is anxiety——the anxiety of an uncertain future, and the anxiety of feeling unsafe and vulnerable to danger.

The thirst for openness and connectivity has propelled the development of globalism since the dawn of modernity. At the same time, underlying the rise of contemporary nationalism is the reactive desire for relief gained by closing oneself off from such elements. The clash between these two forces has widened the gulf between the two sides, and polarization has continued to grow more extreme.

The over-proliferation of information has exacerbated matters. Our “emotions” are affected by information we encounter through various channels. Mass media foments anxiety and amplifies calls for justice for the sake of ratings and sales, while social media platforms encourage the spread of false information to those who want to attack their opponents. A breathtaking amount of information is transmitted for the purpose of agitating its users.

This is identical to the circumstances in which politicians who promote simple answers to complex social issues are more popular than those who pursue an agreement through deliberation and negotiation. With the rise of data-centric politics aimed only at winning elections, the old art (ars) of governance informed by the knowledge and skills of the humanities has grown obsolete.

To make matters worse, once emotions are “validated” by “information,” it is difficult to alter them. According to research conducted by computational sociologist Walter Quattrociocchi at the IMT School for Advanced Studies in Lucca, Italy, when readers of a website based upon false information are confronted with information uncovering the falsehoods of that website——in other words, the “truth”——the likelihood of their continued readership of that website increases by a startling 30%. Researchers like David Rand at Yale University have reported similar findings.

People privilege the desire to believe in others over “facts” because “truth” doesn’t simply arise from an accumulation of facts. They need to be considered separately. It is also misleading to understand all problems in oppositional terms. Very few matters in this world can be understood in black and white——most take on a shade of gray.

According to the Fifth Revised Edition of the Kanji dictionary Kanjigen, the character (情) possesses three different meanings: “movements in the heart that arise from sensation or emotion (kanjō, jōdō),” “true things and true appearances, information (jitsujō, jōhō),” and “empathy and compassion (ninjō, nasake).”

It was a single photograph that captured the figure of a three-year-old Syrian refugee who had drowned and washed ashore that turned the tide of public opinion that staunchly, and with “emotion (kanjō),” rejected the thousands of people seeking refuge from war-torn Syria. The photograph spurred Germany and France to jointly propose to the EU a new system of accepting refugees, and England followed suit, shifting its former policies and announcing its own acceptance of refugees. Could we not say that it was “solidarity” and the “power to imagine other people,” the most primitive and quickly expressed forms of that humans possess, that washed away the information (jōhō)-generated anxiety that had overtaken Europe?

It is easier to understand the world in terms of oppositions. Uncertainty makes people anxious. They cannot bear being in the dark. Though they acknowledge that hardship brings perseverance, perseverance brings experience, and experience brings hope, more people today have given up on that process from the start, figuring that it is more reasonable to treat gray matters as black and white.

In his book The Taming of Chance, Ian Hacking invoked Foucault’s concept of “biopower” in expertly explaining how, beginning in the 19th century, modern society developed in tandem with the birth of statistics and methods of efficiently managing people as groups as if they were herds of animals. Society in the 21st century is an extension of this. We are managed as though we were animals by power and media.

But humans are not animals. Humans are capable of lending a hand and offering solidarity to others in need in the spur of the moment, even if their traditions and ideals are different or it is against their rationally conceived interests. Though the problems facing humanity today have their causes in (emotion and information), it is this very same (compassion) that can break through these problems.

We must develop the skills (ars) for taming with . This is precisely the original definition of “art.” Art can take up anything that exists in this world. It liberates us from the world of rational choice where big numbers always win, and eschews the simplification of a gray, mosaic world into black and white.

Aichi, a leading region in the manufacturing industry (ars) since the modern era, is a unique society that is at once a metropole and on the periphery, populated by people who consider themselves to be “ordinary Japanese.” With nationalism and globalism, elitism and anti-intellectualism, universalism and relativism, idealism and realism, metropole and periphery, young and old, the stage is set for recapturing the lost original domain of art.

Aichi Triennale 2019 Artistic Director
TSUDA Daisuke

(English translation by John PERSON)

Artistic Director
TSUDA Daisuke

Tsuda Daisuke, born in 1973, was raised in Tokyo, Japan. Tsuda Daisuke is a professor at Waseda University, Faculty of Letters, Arts and Sciences. His writings cover the areas of media, journalism, copyright, content businesses, and freedom of expression. In recent years he has been reporting around the themes of solving regional problems, social entrepreneurship, and how technology changes society.
His published works include Webu de Seiji wo Ugokasu (Moving politics through the web!, Asahi Shinsho), Twitter Shakairon (Social theory and Twitter, Yosensha Shinsho yY), Dōin no Kakumei (Mobilization revolution, Chuko Shinsho La Clef), Jōhō no Kokyūhō (Breathing information, Asahi Press), “Posuto Shinjitsu” no Jidai (The post-truth era, written with Yoshitaka Hibi, Shodensha). Tsuda was selected by the World Economic Forum (Davos) for their Young Global Leaders Class of 2013, and received the 17th Japan Media Arts Festival Entertainment Division New Face Award.

Planning Adviser
AZUMA Hiroki

Azuma Hiroki was born in Tokyo in 1971. He is a writer and critic, and is the representative of Genron Company Limited. He received his Ph.D. from the University of Tokyo’s Graduate School of Arts and Sciences.
Azuma debuted as a critic in 1993. His areas of specialty include contemporary thought, representational culture, and information society. He is the author of many published works including Ontological, Postal (Shinchosha, winner of the Suntory Prize for Social Sciences and Humanities); Otaku: Japan’s Database Animals (Kodansha), Quantum Families (Shinchosha, winner of the Mishima Yukio Prize), General Will 2.0 (Kodansha), and Genron 0: A Philosophy of the Tourist (Genron, winner of the 71st Mainichi Publication Culture Award).

Chief Curator
(Head of Curatorial Team)
IIDA Shihoko

Iida Shihoko was born in 1975 in Tokyo. She is a curator based in Nagoya. She worked at the Tokyo Opera City Art Gallery for eleven years since 1998 when it was preparing for inauguration. Major curated exhibitions to date include Wolfgang Tillmans: Freischwimmer (2004) and Trace Elements: Spirit and Memory in Japanese and Australian Photomedia (TOCAG, 2008 / Performance Space, Sydney, 2009). From 2009 to 2011 Iida was a visiting curator at the Australian Centre of Asia Pacific Art (ACAPA), the research arm of the Queensland Art Gallery and the Gallery of Modern Art in Brisbane. In 2011 she stayed four months in Seoul as a 2011 International Fellowship Researcher at the National Museum of Modern and Contemporary Art, Korea. After returning to Japan she has curated a string of international exhibitions, including the 15th Asian Art Biennale Bangladesh 2012 (official curator of Japan participation); Aichi Triennale 2013; and Sapporo International Art Festival 2014. From October 2014 to March 2018 she was an Associate Professor at the Tokyo University of the Arts. Her areas of interest include contemporary art in Asia region, co-curation, and the relationships between society and art institutions such as art museums and biennials. She has worked on co-curated exhibitions in Seoul, multiple cities in Australia, New Deli, and Jakarta, among other places.

(International Contemporary Art Exhibition)

Nose Yoko was born in Okayama Prefecture and currently works primarily in Aichi Prefecture. She is a curator at Toyota Municipal Museum of Art since 1997. Exhibitions she has curated to date include Feature Exhibition: Kodai Nakahara (Toyota Municipal Museum of Art, 2001); Gardens (Toyota Municipal Museum of Art, 2006); Florescendo: Brasil-Japão O seu lugar (Toyota Municipal Museum of Art, 2008); Twist and Shout: Contemporary Art from Japan (Bangkok Art and Culture Center, 2009. Organized by the Japan Foundation), Junya Ishigami: Another Scale of Architecture (Toyota Municipal Museum of Art, 2010); Antigravity (Toyota Municipal Museum of Art, 2013); Hiroshi Sugito: Particles and Release (Toyota Municipal Museum of Art, 2016); and Building Romance (Toyota Municipal Museum of Art, 2018). She is a frequent contributor to the art monthly Bijutsu Techo and webzine Artscape.


Pedro REYES was born in 1972 in Mexico City, where he currently lives. He studied architecture and has published many forms of sculptures, structures, and projects incorporating aspects of theater, psychology and activism. Major works to date include Palas por Pistolas (Vancouver Art Gallery, 2008), which involved tree-planting employing shovels made from recovered firearms; Disarm (Lisson Gallery, 2013), which turned firearms into musical instruments; Sanatorium (Guggenheim Museum, 2011); and pUN (The People's United Nations) (Queens Museum, 2013 / the 21st Century Museum of Contemporary Art, Kanazawa, 2015). Reyes is the recipient of a 2015 U.S. Department of State Medal of Arts, and a Ford Foundation Art of Change Fellowship. In 2016 he was appointed as a visiting scholar at the Massachusetts Institute of Technology, where he is Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology. He has also worked on numerous exhibitions as a curator.


Washida Meruro was born in Kyoto Prefecture in 1973 and currently lives in Kanazawa. He was a curator at the 21st Century Museum of Contemporary Art, Kanazawa until March 2018. He received his master's degree from the University of Tokyo, where he studied art history.
Washida specializes in contemporary art history and museum studies, and curates contemporary art and architecture exhibitions and projects with a focus on the community and community participation. His major curatorial exhibitions for the 21st Century Museum of Contemporary Art, Kanazawa include Kanazawa Art Platform 2008; Kazuyo Sejima + Ryue Nishizawa / SANAA (2005); Atelier Bow-Wow, Iki-Iki Project in Kanazawa (2007); Jeppe Hein 360° (2011); Shimabuku: Noto (2013 - 2014); and Sakano Mitsunori: Visible Breath (2016). He has also curated solo exhibitions such as Masashi Echigo's show at Gallery Muryow (2017). He co-founded the NPO Center for Art and Architecture, Kanazawa (CAAK) in 2007, where he was a board member until CAAK was dissolved in 2017. He was the curator of the Japan Pavilion at the 57th Venice Biennale, held in 2017.

(Film Program)

Sugihara Eijun was born in Fukui Prefecture in 1982. He is a film and moving image curator at the Yamaguchi Center for Arts and Media [YCAM]. He completed his undergraduate studies at the Department of Aesthetics and Art History, Faculty of Fine Arts, Tokyo University of the Arts in 2005, and postgraduate studies at the Department of Film Production, Graduate School of Film and New Media of the same university in 2007.
In 2011 Sugihara became the program director of Auditorium Shibuya, a small independent movie theater that opened in Tokyo the same year (closed in 2014), actively showcasing independent film trends, while organizing thematic screenings from films all over the world, ranging from classics to contemporary. He joined YCAM in 2014 as a cinema curator, where he is responsible for organizing the YCAM Cinema film screening program, and selecting the contents for screening events such as YCAM Bakuon Film Festival, which screens films with subtle and high volume using professional high specification sound equipments. In 2015 he launched YCAM Film Factory series, a film-producing project where he produced and curated both films and art installations in YCAM.

Photo by Gottingham Courtesy of Yamaguchi Center for Arts and Media [YCAM]

(Performing Arts)
SOMA Chiaki

Soma Chiaki was born in Iwate Prefecture in 1975. She lives and works in Tokyo as an art producer and the representative director of NPO Arts Commons Tokyo. She completed her undergraduate studies at Waseda University, and postgraduate studies at the Lumière University Lyon 2. In 2006 she became the inaugural director of the performing arts center Steep Slope Studio in Yokohama, a post she held until 2010. She was appointed as the inaugural program director of the international performing arts festival Festival/Tokyo, and held this post from the Festival/Tokyo Spring 2009 to Festival/Tokyo 2013. She served as a member of the Agency for Cultural Affairs Advisory Board for Cultural Policy from 2012 to 2015. She founded the NPO Arts Commons Tokyo in 2014, and currently serves as its representative director. She received the Chevalier des Arts et des Letters award from the French Ministry of Culture in 2015. Since 2016, Soma has been a Specially Appointed Associate Professor of Body Expression and Cinematic Arts, in the Collage of Contemporary Psychology, Rikkyo University. Since 2017 she has been the executive committee chairperson and director of Theater Commons. She produces and curates numerous projects that transcend the boundaries of theater, fine arts, and social art, both at home and abroad.

(Music Program)
OYAMA Takuya

Oyama Takuya was born in Hokkaido in 1971. He graduated from the Faculty of Letters, Hokkaido University. He is the founder and representative director of Natasha Incorporated. He edited magazine and web media at Mediaworks Incorporated (now Kadokawa) for seven years before establishing Natasha in 2006. Natasha has operated the music news site Natalie since February 2007.

AIDA Daiya

Aida Daiya was born in Tokyo in 1976. He completed his studies at the Institute of Advanced Media Arts and Sciences (IAMAS), and worked at the Yamaguchi Center for Arts and Media (YCAM), an art institution with a focus on media art, from 2003 to 2014, where he was responsible for education and outreach, namely the planning and operation of film screenings, community participation programs, media workshops, and outdoor installations. His work at the YCAM earned him the Kids Design Award Grand Prize, Good Design Award, and Jury Selections for the Media Arts Festival Award. In 2013 Aida joined the 13-member, seven-nation curatorial team for Media/Art Kitchen, a media art exhibition—organized by the Japan Foundation to mark the 40th anniversary of ASEAN—Japan friendship and cooperation—that toured Japan and Southeast Asia. Since 2014 he has taught workshop design at the University of Tokyo as a Project Assistant Professor, Interfaculty Initiative in Information Studies/GCL GDWS.

HOU Hanru

Hou Hanru was born in 1963 in Guangzhou, China. He has worked from Paris and San Francisco as an art critic and exhibition organizer, and in recent years makes Rome his home. Appointments include artistic director of MAXXI, the National Museum of the 21st Century Arts, Italy, and consulting curator of the Robert H. N. Ho Family Foundation Chinese Art Initiative at the Solomon R. Guggenheim Museum. He received his bachelor's degree in 1985 and master's degree in 1988 from the China Central Academy of Fine Arts in Beijing.
The numerous exhibitions he has curated to date include Cities on the Move (1997 - 2000); Shanghai Biennale (2000); Gwangju Biennale (2002), Venice Biennale (French Pavilion,1999; Z.O.U.—Zone Of Urgency, 2003; and Chinese Pavilion, 2007); Istanbul Biennial (2007); and Lyon Biennial (2009). Recently he has worked on the Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture (2017) and on Art and China after 1989, Theater of the World (2017). He also works extensively as lecturer, consultant and adviser for museums and educational institutes across the world.

Photo by Musacchio Ianniello Courtesy of Fondazione MAXXI

MAEDA Yutaka

Maeda Yutaka was born in Osaka Prefecture in 1972. He is the representative director of Uji Design. After graduating from Kyoto Institute of Technology he worked for the Hiromura Design Office and others before establishing his own design office. In addition to graphic design, he conducts projects in visual identity, editorial design, package design, and spatial design. Major projects to date include Koganecho Bazaar (2013 - 2017), The Universe and Art (Mori Art Museum, 2016 - 2017), and Toile de Jouy, Printed Textiles from France (Bunkamura, 2016). He is the recipient of the 2012 SDA Grand Prize Minister of Economy, Trade and Industry Award.