Global Journal of Researches in Engineering, J: General Engineering, Volume 1 9 Issue 2

Yuri Tanaka Abstract - Space and art may seem separate – in the same ways that humans seem to be. Furthermore, both space and art are usually not easily accessed by the public. This paper proposes that through the practices of creating public installations, space and art can be much better integrated. Aiming to create this in an accessible form for anyone, ‘local co-operation’ between experts and the public – making an installation together – becomes a fundamental methodology. In this paper, the author will discuss two cases: Moons of Naoshima (2013-2014) in Naoshima, and Uy-uni- verse ≒ Multiverse (2014) in Tanegashima Space Center. In summary, these cases show how this methodology works for the public collaborators to deepen their mental connections with space and art. Keywords: collaboration, space, art, public installation, art and science. I. I ntroduction ince the 1960 were when humans started to go into outer space, the relationship between outer space and humans has been getting closer. From ancient times, people have been intuitively utilizing the laws of the universe by capturing the rhythms and patterns of nature, for instance in agriculture and navigation. In the current era, is the relationship between our culture and the universe getting closer? Or – is the universe somehow conceived of as being separate to humans? Such a question also applies to think about our relation to art, especially as a way of life which takes the universe as its concept. Along with the aim of the author’s project which is to mediate the dimly perceived nexus connecting the universe, humans, and art, the author would like to use the term ‘the universe’ that denotes all life forms and environments, and that also includes ‘space’ that refers to outer space. The truth of this universe remains a mystery, though the scientific research of astronomy, particle physics, astrophysics, and space science has been trying to erode a mountain of an enigma over the centuries. This enigma can be one of the reasons why our curiosity persists. Either consciously or unconsciously, some of us intuitively recognize that science and art have sprung from the same origin. Then, In this paper, the author will discuss a way of collaboration through two of her projects: Moons of Naoshima (2013-2014) in Naoshima, and Uy-uni- verse ≒ Multiverse (2014) in Tanegashima Space Center. II. L ocal C o-operation ‘Local co-operation’ as a methodology, a unique way of making an art festival, has developed in Japan. In this, artists/designers/architects are invited to propose a plan that is to create an artwork with residents and volunteers. Using Echigo-Tsumari Art Triennale and Setouchi Triennale as case studies, the author explores this methodology. a) Collaboration model I: Echigo-Tsumari Since 2000 when Echigo-Tsumari Art Triennale was inaugurated in Niigata, Japan (in an abandoned local town with a predominantly aged population, heavy snow in winter, and frequent earthquakes), art as a means to reconstruct community has become well- recognized throughout the world. Following the success of this project, hundreds of art projects have launched throughout the land of Japan. For the first launch of this art festival in 2000, approximately 162,800 visitors and 10,440 supporters have committed to participating through the period of 53 days [1]. With the constant concept, ever since the inauguration of the festival, of “humans are part of nature” [2], the professional artists/designers/architects create a site-specific project inevitably on someone’s land, and this leads them to work with residents and also to build a new community. Using what is called ‘local co-operation,’ residents and volunteers engage in making artworks together with professionals as well (Fig. 1), and this process evokes a feeling of appreciation, co-operation, and empathy among them. This unique method of collaboration has initially led by Fram Kitagawa (1946-) – an art director of the festival. With his profound skills and wholehearted enthusiasm, the festival has dramatically succeeded in provoking Japanese society to reconsider how to join our lives with nature and art in this era of disaster – both natural and human-induced. Furthermore, this methodology which is called the Tsumari-method, and named after Echigo- Tsumari Art Triennale , has become a prototype of city S Author: Tokyo University of the Arts, Japan. e-mail: yuri_tanaka@10.alumni.u-tokyo.ac.jp universe’ as a mutually acceptable idea that everyone can share? we are led to ask: why not make art through ‘the © 2019 Global Journals Global Journal of Researches in Engineering ersion I 47 Year 2019 ( ) Volume XIxX Issue II V J Space and Art: In Collaboration with the Public in Public Spaces