Interview with Watanabe Shinya

Jean Downey's reportage on "Atomic Sunshine", at Japan Focus (17.03.2008) :

JD: You did more than curate an exhibition around the concept of Article Nine. There were a series of events organized around the exhibition as well. Why did you choose these events?

SW: Before curating an exhibition, I always organize a discussion event, which I call a “platform.” I got this idea from Documenta 11, the large art exhibition in Kassel, Germany. Its Nigerian curator, Okwui Enwezor, holds “platforms” to create common ground to discuss issues he addresses, such as colonialism.

Before curating this exhibition, I wanted to discuss Article 9 and its meaning.  The discussion helped me to find ways to curate the exhibition from multiple perspectives, both inside and outside of Japan’s borders.

The film screening of Steven Okazaki’s White Light, Black Rain was significant. This was the first documentary of the atomic bombings of Hiroshima and Nagasaki broadcast on American television. It broadly familiarized Americans with the reality of the atomic bombings.

After the film screening, the Vangeline Theater performed Butoh, a contemporary dance form recognized worldwide as an important artistic expression that emerged from Japanese postwar culture. To see the Butoh performance by an American troupe right after the documentary of the atomic bombings was very powerful.

The live music event featured Miho Hatori, a member of the musical groups, Gorillaz and Cibo Matto. I asked Miho-san to sing songs from Okinawa, since Okinawa’s current situation as an island of American bases now administered by Japan interconnects with Article 9. She sang “Chinsaguno Hana”, a beautiful Okinawan folk song. Music is an easy tool to access younger audiences. I am happy if any audience member became interested in the culture or history of Okinawa through this event.

JD: How did you choose the artists for the exhibition? Were all the artists supporters of Article Nine?

SW: Not necessarily. I included some artists and artworks directly focusing on that issue, including Yukinori Yanagi, Eric van Hove, and Allora & Calzadilla. But other works demonstrated the historical context of Article 9 and the circumstances of Article 9’s creation, or reflected the philosophy of Article 9.