202１/2022 Program Schedule
ACAC will celebrate its 20th anniversaty in December 2021!
■SIDE CORE～EVERYDAY HOLIDAY SQUAD Solo Exhibition
April 24（Sat）－June 27（Sun）
■NISHIKAWA©Tomomi Solo Exhibition
Late July―Middle of September
■SHIMAUCHI Mika Solo Exhibition
Late July―Middle of September
■Artist in Residence Full Support Program 2021 : Invisible Connections
September 2 (Thu）―December 8（Tue）
Application period：February 15―March 21, 2021 ＞＞http://www.acac-aomori.jp/public/?lang=en
■Vision of Aomori Special edition —OKAWA Ryo Collection Exhibition
Middle of December, 2021 – February 20 (Sun), 2022
■Artist in Residence Program by MATSUMOTO Mieko
Residence period : Approximate 3 month between April, 2021 to March 2022
2020 Program Schedule in ACAC
We might unwillingly change program schedule and contents.
Regarding the detail, please check each programs web pages.
Thank you for your understanding.
“The Beginning of Life/Art: Cloth Weaves Our Times, from Aomori”
April 11 (Sat) May 7 (Thu) – June 21 (Sun), 2020, 10:00-18:00, Admission free, Open all day during the exhibition
Artists: ENDO Kaori(Japan), USUI Yui(Japan), LIN Gieh-Wen (Labay Eyong)(Taiwan)
will invite three artists based in Asia, who have been doing contemporary art projects, using handcraft, craft, and techniques rooted in traditional cultures. They will exhibit new works inspired by culture or history involved in Cloths or Fabrics in Aomori.
“Artisrt in Residence 2020 Open Call:Call for Open”
June 17 (Wed) – September 22 (Tue), → Sep. 16 (Wed)―Dec. 22(Tue), 2020
Artists:Now on Screening
Artists from all over the world will be selected and stay in ACAC. They will research, produce works and hold workshop, performance event or exhibition. We will inform when the events will be decided.
“Aomori Triennale 2020″(Co-organize with Aomori City) * discontinuance
Exhibition Period: October 3 (Sat) – November 23 (Mon), 2020
As a part of “Aomori Triennale 2020” which will be held as whole year project by Aomori city, ACAC will co-organize a contemporary art exhibition. (Artistic Director: TSUBAKI Noboru)
The end of November, 2020 – March 2021
We will hold some events such as sound art performance, drama, print making workshop.
Dispatch Japanese artist to Atelie Fidalga
ACAC has dispatched Japanese artist to Atelie Fidalga which is art organization and runs artist in residence in Brazil once a year from 2017.
KAMATA Yusuke (2017/2018) and Funai Misa(2018/2019)was dispatched these 2 years.
You can see their reports from here>>http://www.acac-aomori.jp/category/acacblogen/overseas-dispatching/?lang=en
And for this year, SUZUKI Motomasa will be dispatched from next week and stay in Fidalga for 1 month.
He will research folk art and contemporary art in Brazil.
Overseas dispatching program
period：2020, February 25 – March 21
Venue：Atelie Fidalga (Sao Paulo, Brazil) http://ateliefidalga.com.br/
Artist : SUZUKI Motomasa http://tsca.jp/artist/motomasa-suzuki/#works
Suzuki’s works at ACAC>>https://www.acac-aomori.jp/wp/work/2018-2-4/?lang=en
Closed Days from December to February
We will be closed on the days below.
December 29 (Sun)－January 3 (Fri)－New Year Holiday
January 18 (Sat), 19 (Sun)－Regarding to the entrance exam at Aomori Public University
February 24 (Mon), 25 (Tue)－Regarding to the entrance exam at Aomori Public
September 4,5 Nishi junior high school and Aomori Chuo high school Vol.2
It was the Second day of work experience for the students of Aomori Nishi junior high shchool and Aomori Chuo high school. They prepared the materials for the elementary school program and modification of the leaflet. At last, they made a map which they show their recommendation place. You can see the map in the lounge. (But we are sorry it is only in Japanese)
NAKAJIMA Yuta Workshop “Go in ACAC! Two days of invisible journey”
On 9th and 10th March, we held a workshop “Go in ACAC! Two days of invisible journey” by NAKAJIMA Yuta.
“Invisible journey” starts with blinding with an eye mask and walking.
The participants who gathered in the lounge learned about the precautions for walking in blindfolds from Nakajima. we walked to the studio while blindfolded according to attendants.
When we can’t see things with an eye mask, put their hands in front of body to check if there is anything in the way ahead or try to listen to the voice of the person who guides them. They will sharpen their senses well.
Attendants tell what there are on the road and think what they should tell the blindfolded person to walk safely.
The weather was fine on that day, in the long corridor on the way to the studio, the glass was reflected and some small rainbow-like spectra appeared. They made a fuss because The blindfolded person couldn’t see.
Arriving at the creative building, we all thought about what would happen if we could not see .
There are opinions -various senses can be obtained by touching / smelling / feeling the temperature / steps, slopes, curves and other feeling by foot / vibration, wind, etc.
The studio has a long corridor. We divided the person who made the eye mask and the person who led and tried to walk around the room through the corridor.
The attendants looks at the surroundings and explains in words, such as how the road is, what kind of things are there, and how many steps there are after that.
People who walk with eye masks listened to the guidance and walked while feeling the change in sound conditions and temperature.
Outside we enjoyed the sound and foot feeling when we stepped on the snow. We could imagine that snow was a sandy beach or a desert.
The sound and voice we hear, the temperature feel with skin, the tactile sensation of things, the feeling of walking, etc, by blinding, we can greatly expand our imagination.
The trip is to go to see what you want to see, but we can not see here, we made a journey we wanted to see for ourselves.
We made trips using materials such as drawing paper, pen, slippers, and tape while remembering what we noticed by blindfolding.
There are many tools and materials in the studio. In addition to the prepared materials, we tried to combine them with the materials.
We considered where it is best to put the trips.
The weather was very good, so arranged them in a long corridor outside.
A hot spring where we can enjoy various tactile sensations, a country above the clouds with a rainbow, trains, and there was a floating yacht in the sea with a sound of wave.
We went around like a tour, participants guided the journey, one after the other.
On the 2nd day.
We tried blindly walking in the studio as in the first day.
The participants on the previous day and those on the first day of the day blindfold and went around the table and returned to their original seats. Walking while following the position of a table or chair is quite difficult.
We imagined a waterfall that thaws water flowing from the roof, or blindfolded and walked on the outside snow, we imagined a sandy beach from the crisp feeling we felt with feet.
By replacing something we usually see with another one, we may be able to create a different place. On the second day, we challenged to change things around us to something different.
It is important to observe the surroundings, find various materials and try them out on a invisible journey. With the staff and their parents, we tried out the materials and methods we usually do not use and enjoyed creation.
Trains and stations needed for the journey, a post where letters are delivered to cats, a shrine where you can make a fortune, and a banner for the festival was set up at the material store.
Because it was hard to walk when I blindfolded, a drawbridge was set to the step in the door.
The kaleidoscope painted in a beautiful color made it possible to change the surrounding landscape just by looking over it without moving it.
It seems that we were able to concentrate on production from free ideas to realization.
With imagining in mind, it was two days to create a different place, “journey”.