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All are stitched together with nine other islands and two port cities every three years in the Setouchi Triennale, whose fourth incarnation will stretch across the calm blue waters in the spring, summer and fall of 2019. Yet far fewer museum-lovers are aware that the Benesse Art Site Naoshima, as it’s now called, has also spread to two other nearby islands, including Inujima. Then artists from across the planet were commissioned to make site-specific pieces around the island, to go with a Yayoi Kusama pumpkin on the beach and a framed Hiroshi Sugimoto photograph hanging outdoors. First Ando built the Benesse House Museum and set up 10 guest rooms on its upper floors so visitors could look in on a Giacometti or Twombly until late at night, treating them as neighbors. In either case, it transports.īy now, much of the world knows about Naoshima, the forgotten island in the Inland Sea whose southern half was bought by the Fukutake publishing company in 1987 and transformed into a dazzling, world-class center of art designed by the self-taught architect Tadao Ando. It hardly matters whether the art is a futuristic way of reviving the old or an ancient way of dreaming up tomorrows.
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Now, as I wander around the five other “Art House Project” sites set amid persimmon trees and wooden houses with onions hanging against their walls, a short walk from the museum, I feel I’m tasting a slow, traditional Japan I seldom see, quickened by some radical, up-to-the-second visions. He felt he’d arrived at “the end of a dream.” But within two years of the museum’s 2008 opening, over six times more visitors were making the long pilgrimage there. When Yanagi toured the area in 1992, he has said, more graves were in evidence than living beings. But ever since the museum was built, Inujima-or Dog Island, so named because a huge boulder is said to resemble a crouching canine-has seen its fortunes transformed. Sobering words to encounter in a forgotten village of shuttered shrines and overgrown patches of eggplant. In the last of the museum’s six uncluttered chambers, all the creation of Japanese artist Yukinori Yanagi, gold-plated Japanese characters suspended in midair quote from maverick novelist Yukio Mishima’s manifesto explaining his dissatisfaction with the modern land, the manifesto he delivered minutes before he ritually disemboweled himself outside the Tokyo headquarters of Japan’s Ground Self-Defense Forces in 1970: “We will return Japan to its true form, and then we will die there.” Two rooms beyond, a smiling young guard slides open a door in front of me a moment later, she opens another door revealing a seemingly endless corridor of mirrors, and blood-red holographic characters keep scrolling down on both sides of what now seem to be more infinite lines of reflections.
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