ROJŌ [shared ground] ― am i in your way?｜21st Century Museum of Contemporary Art, Kanazawa.

Information

Period:

2026.4.25 (Sat.) - 2026.9.6 (Sun.)
10:00-18:00（until 20:00 on Fridays and Saturdays）

Venue:

21st Century Museum of Contemporary Art, Kanazawa
Gallery 7 to 12, 14, Design Gallery, and Lecture Hall

Admission:

Adults: ¥1,200 (¥1,000)
University Students: ¥800 (¥600)
Students: ¥400 (¥300)
65 and over: ¥1,000
*Fees in parentheses are for groups of 20 or more and web tickets.
*Tickets also include admission (same day only) to the ongoing Collection Exhibition.
*Ticket sales end 30 minutes before closing.

Book tickets here

Closed:

Mondays (except May 4, July 20), May 7, July 21

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Freedom and obstruction coexist on the street.

There was once, in Japan, a type of autonomous space known as kugai: realms exempt from the dictates of fixed systems and state authority. Situated at temple and shrine gates and within post towns, these zones were open to travelers and performers alike, serving as hubs that fostered culture and exchange.
While the modern rojō (shared ground) does not align perfectly with these historical precedents, it remains a site where frameworks of ownership and governance are fluid. Consequently, individuals have long sought autonomy within this space, at times through acts of resistance against institutional control. Simultaneously, rojō is more than a symbol of freedom and liberation; it also harbors discomfort and precarity born from the logic of exclusion.
Taking rojō as its conceptual core, this exhibition assembles artworks, historical milestones, and critical discourses to interrogate the increasingly complex challenges of publicness in the contemporary world.
This exhibition also marks the 40th anniversary of the ROJO Society (Street Observation Society), founded in 1986. Established by Genpei Akasegawa, Terunobu Fujimori, and other members, the Society cultivated—through media—a shared “eye” attuned to the unintentional humor arising from the interplay of the urban and the natural, rather than deliberately creating works of art. Their practice communicated the inherent richness of rojō while embedding a critique of cities homogenized by development.
“She was in the way.” These were the words spoken by the perpetrator in the murder of an unhoused woman on the streets of Shibuya in 2020. Precisely because ownership of rojō is ambiguous, public order comes to the fore—and with it, a space emerges where the subjective rules of individuals collide, creating a suffocating tension. The 2020 incident confronted us with the irreversible violence that can ensue when the meaning of publicness is misconstrued.
And yet, it is precisely on rojō—where “freedom” and “obstruction” coexist—that numerous critical cultural practices have emerged. Encompassing contemporary art, historical materials, video games, public bathhouses, and street performance, this exhibition aims to pose the question of “Whose rojō is it?” Tracing a path from past practices to critical approaches concerning the contemporary city, it explores the publicness of rojō. We invite you to come and encounter the art of rojō, alive with the clamor of critique and humor.

Exhibiting artists
(listed in exhibition order, except for ROJO Society)

ROJO Society (Genpei Akasegawa, Terunobu Fujimori, Joji Hayashi, Shinbo Minami, Tetsuo Matsuda, Hinako Sugiura, Hiroshi Aramata), Yasuhiro Suzuki, Gilyak Amagasaki, panpanya, Asako Tokitsu, Yuta Nakamura, Osamu Kokufu, Chim↑Pom from Smappa!Group, Shuji Yamada, Naoko Sakokawa, Fusako Kodama, Daniel Everett, Krzysztof Wodiczko, SENTO-DASHI committee, Ayako Murata

Promotional Print Design

Promotional Print Design: Tsutomu Nishioka
Venue Graphic Design (Entire Exhibition Venues): Yuichi Nishimura (Rimishuna)
Venue Graphic Design (Design Gallery): Kazuki Kitahara (UMMM)
Venue Graphic Design (Work by Yuta Nakamura): Yosuke Jikuhara
Venue Graphic Design (Lecture Hall): Tomomi Mikozawa
Exhibition Design (Gallery 11): Shu Yamamoto, Bruno Reichi Yoriyasu
Exhibition Design (Design Gallery): Tomoki Katada (micelle ltd.)

Seven Sections on Rojō

This exhibition uses the term rojō to encompass not only roadways and sidewalks, but also alleys, parks, and even linguistic spaces where ideas cross paths. What all of these share is that they are forms of shared ground. While they may appear free and open, they are also spaces in which one’s behavior is constantly adjusted through rules, customs, and the gaze of others. At the same time, people have continually reshaped what rojō can be through play, expression, and occasional acts of deviation. This exhibition is presented across the following seven sections—tracing both the past and future of such practices surrounding rojō, including mechanisms that continue to change throughout the exhibition period. Through this exhibition—and through rojō as its central lens—we hope to offer a platform for thinking about how we live.
Gilyak Amagasaki, Sapporo Performance, August, 2018
photo: Yoshihiro Uemura

Play, Hacks, and Improvisation
Gallery 14, Courtyard

Exhibiting Artists / Organizations:
Yasuhiro Suzuki / SEGA Corporation / Gilyak Amagasaki

A certain degree of order is required for us to live together in the city. Yet such an order is often imperfect, lacking objectivity, and never governed by flawless rules. Perspective of Playground Equipment (2001) by Yasuhiro Suzuki uses a spherical rotating playground structure, commonly known as a “globe jungle,” which was once a familiar presence in many public parks. During the day, children play on the structure; at night, their movements appear as afterimages lingering on its surface. Here, the rotating equipment itself functions as a screen, but the image only emerges through the presence of other viewers who set it in motion. The globe jungle, too, is a piece of equipment sustained by a relationship between those who climb and those who rotate it from below. By entrusting one’s body to others, play comes into being, revealing a small but meaningful form of order embedded within the park. Such ways of creating order can also be found in the adult world. For example, Gilyak Amagasaki, a 95-year-old street performer, has danced for decades under the watchful presence of the “circle” formed by people in the midst of urban crowds. For over half a century, he has continued to perform on the streets of Shibuya, Shinjuku, Kyoto, and Sapporo. The circle that he first draws on the pavement with chalk serves both as a stage for his dance and as a signal to establish a safe space. On the other hand, order can sometimes be accompanied by violence. This aspect is conveyed through a humorous yet incisive lens in Jet Set Radio, a video game released by SEGA Corporation in 2000. In this game, players race through the city, leaving graffiti behind, while being pursued by an entity known as “Kēsatsu (the police).” In the name of maintaining order and cracking down on nuisance behavior, they even justify gun violence. The game portrays a reversal in which actions meant to preserve order plunge the city into greater chaos. In this section, we examine small deviations and the structures that give rise to them by focusing on acts such as spinning playground equipment, dancing, and playing video games. Play and hacks are practices that bring forth another form of order—one that differs from simply following established rules.
Yuta Nakamura, Japan Rhine Stone, Luehdorfia japonica Line, 2018

After the Street
Gallery 12, Courtyard 2

Exhibiting Artists / Organizations: Takamatsu City / Yuta Nakamura / panpanya

The street, or the road in general, is no longer a space made solely for humans. What moves through it today are not only people and vehicles, but also electricity, information, and a wide range of living organisms. In Japan, the contemporary form of the street was rapidly developed alongside the widespread adoption of automobiles during the postwar period of high economic growth. At the same time, cars pushed pedestrians aside, creating conditions in which even walking became dangerous; by the 1970s, minors accounted for roughly 20 percent of traffic fatalities. Tracing the origins of roads takes us back nearly two thousand years, to China and Italy. In Chang’an during the Qin dynasty, and in ancient Rome under Appius Claudius Caecus, roads were constructed as infrastructure to enable the rapid movement of military forces. In Japan as well, under the ancient ritsuryō system, Shichidō Ekiro (the Seven Circuits and Stations) were established to deliver regional information to the central government. In the modern era, however, the Meiji government prioritized the construction of railways, and road development lagged. Japan’s Road Act was not enacted until 1919, during the Taishō period. Three years later, the ordinance on road warning signs and direction signs was issued, standardizing road signage nationwide. A surviving example of a sign based on this ordinance was discovered in the town of Shionoe, located in Takamatsu City, Kagawa Prefecture. Quietly remaining on what was once a national highway, the sign reads: “Many Curves.” Although roads have been systematically developed in this way, their users are not limited to people and cars. Electricity and information travel through utility poles and cables; dogs urinate, cats climb fences, and birds perch on power lines. Through a new work, Yuta Nakamura makes such non-human presences on the street visible. His newly produced piece, created using utility pole advertisements in Kanazawa City, invites viewers to shift their gaze toward these other occupants of the street. Meanwhile, manga artist panpanya presents a paradoxical situation in a six-panel manga, focusing on the idea that the seemingly ordinary transformation of the city is, in fact, deeply strange. Even when buildings are demolished, we often find ourselves unable to recall the past scenery of places we once walked through daily. The landscape of the street is never the same from one day to the next. In this section, by layering the seemingly unsentimental entity of the road with relationships not only to humans and automobiles but also to other living beings, we consider how we might engage with the street.
ROJO Society Inaugural Ceremony, June 10, 1986 © Iimura Akihiko

Discovering on the Street
Gallery 11

Exhibiting Organization: ROJO Society (Street Observation Society)

“For the eye, it was the discovery of a new continent.” With these words, a new continent called rojō was discovered within the city by the members of the ROJO Society (Street Observation Society). On June 10, 1986, a group of artists, writers, and architects, including Genpei Akasegawa and Terunobu Fujimori—people whose eyes had been irresistibly drawn to curious sights encountered on the street—gathered at the Tokyo Gakushi Kaikan in Kanda. It was on this day that the ROJO Society was founded. Their activities centered around odd, slightly puzzling things encountered in the city. Labeling them as bukken (objects), they took pictures of them and shared them with each other. Borrowing Akasegawa’s term, these were understood as “Hyperart”—works that emerge as art beyond art: created by no identifiable author, serving no practical function, and yet appearing with undeniable presence. Street observation was the practice of photographing such Hyperart and sharing it through critique sessions. During such sessions, a person adds words to a photograph taken by someone else. Through this exchange, meanings and values that had not been previously noticed begin to surface. The accumulation of such acts of “re-framing” gradually reconfigured, at the level of perception itself, the seemingly cold and impersonal image conveyed by the word “road.” The year 2026 marks the 40th anniversary of the ROJO Society. Today, the term “street observation” is used almost as a common noun, and younger generations, too, turn their gaze toward nostalgic buildings, a glove left on the pavement, or an improvised street gardening beneath the eaves. This section looks back on four decades of the Society’s activities—such as Hyperart Thomasson and the Architectural Detective Agency—to trace its history. What emerges is not a story of changing the street itself, but a process of discovering a new continent through the revolution of the eye.
Asako Tokitsu
ZAK Center for Contemporary Art, Spandau Citadel, Berlin, Germany
2023
photo:Dmitry Kireev

Resisting Passage
Courtyard 2, Gallery 8

Exhibiting Artists: Asako Tokitsu / Osamu Kokufu

In Japanese, the word dōro (road) is composed of two characters, michi （道） and michi （路）, both read the same way yet carrying different meanings. Michi （道） refers to a path developed for the transport of soldiers—a space where stopping was not permitted. Michi （路）, by contrast, denotes a place of exchange, where commerce and performing arts took place. Though pronounced identically, these two “roads” embody different temporalities. In the postwar period, as nationwide development plans led by the Ministry of Construction extended roads and Shinkansen lines across Japan, the shortening of travel time came to be regarded as a virtue. Space was recalibrated according to time. This sensibility persists today, reflected in route-search applications that prioritize travel duration above all else. Against this backdrop, designer Kohei Sugiura proposed the idea of the Inu Chizu (lit. Dog Map), illustrating how perceptions of space and time vary depending on the perceiver. Sugiura mapped the world as experienced through a dog’s highly developed sense of smell, which is radically different from that of humans. In his essay The Subject of the Perceptual System, he writes: “If there are n kinds of perceptual elements, then the perceptual system may be described by n subjects. The right to be a subject exists equally for all n.” The works of Asako Tokitsu and Osamu Kokufu draw our attention to such alternative spatiotemporal experiences of the street. Tokitsu’s works draw lines into space. Using the technique of anamorphosis, she makes a two-dimensional line appear to traverse a three-dimensional environment. Yet the next moment one moves, the line disperses. These sculptural works encapsulate a temporality that oscillates between movement and plane. The freely moving lines that connect the Public Zone and the Exhibition Zone recall the original homogeneous spatial quality of the museum building, designed by SANAA over 20 years ago as a park. Kokufu’s Car Freezer is equally suggestive. Freezing—the technology of cooling—is itself an act of slowing down the flow of time. Therefore, by combining a freezer, which extends time for the sake of preservation, with an automobile, which shortens travel time by moving through the street, this work integrates two devices with opposing temporalities. It renders visible the notion that time does not flow in only one direction. Together, these practices invite us to reconsider space not through a single measure, but through multiple subjects and temporalities.
Naoko Sakokawa
Shinjō wearing a mask and clowning around. Originally from Okinawa. Perhaps a right-wing propaganda vehicle. When “Kimigayo,” the Japanese national anthem, began to play, he clutched his head and crouched down.
August, 1996
© Naoko Sakokawa

Street or Square?
Galleries 9 & 10

Exhibiting Artists / Organizations: Chim↑Pom from Smappa!Group / Shuji Yamada / Naoko Sakokawa / Fusako Kodama

Today, the former “square” at the west exit of Shinjuku Station is gradually disappearing. In 1966, architect Junzo Sakakura designed the Shinjuku West Exit Plaza. Its spiraling ramp descending into a vast underground parking structure visually connected the ground and subterranean levels, generating a three-dimensional public space. As a junction where cars, pedestrians, and trains intersected, it was a space of rare complexity, even by global standards. Yet soon after its completion, the plaza was stripped of its status as a “square.” In 1969, it became a gathering place for young people protesting the Vietnam War, where debates unfolded, and clashes with police erupted. The authorities redefined the site as a “public road” and moved to expel those assembled there. Signage was replaced—“Plaza” became “Passage”—and the space was transformed into one where even standing still was subject to regulation. This is an example of how public spaces can be taken away with startling ease. During the economic downturn of the 1990s, unemployed people began gathering there, and a village of cardboard shelters emerged underground. In 1995, artists, with the residents’ consent, began painting on these cardboard houses. At the same time, protruding elements—later referred to as “hostile architecture”—were installed to prevent people from staying in those spaces. This situation continued for several years, until a suspicious fire in 1998 destroyed the cardboard village. Today, ongoing redevelopment threatens to erase even the memory of these events from the underground space at Shinjuku’s west exit. This section traces the history and practices surrounding the question “Street or Square?” through the records of artists and photographers. Chim↑Pom from Smappa!Group’s Street attempts to run a “road” through the interior of the museum itself. By bringing into the institution activities typically possible on the street, such as obtaining official permission to hold a demonstration, the Tokyo-based artist collective pushed beyond the museum’s limits of publicness and questioned the boundary between the street and the square. Photographer Shuji Yamada documented the Folk Guerrilla protests at Shinjuku’s west exit in 1969. His images of young people occupying the ramp capture a historical moment that continues to be revisited. From 1996 onward, Naoko Sakokawa consistently photographed the cardboard shelters and the people who lived in them. Fusako Kodama portrays the culture of younger generations gathering on the street—figures caught between shifting trends, seemingly still searching for a place of their own, radiating both fragility and restless energy. Such figures may appear languid, uncertain, or even precarious. Yet it also reveals the energy lingering within society, one that resurfaces in a different form.
Daniel Everett, Untitled (from Marker), 2024
© Daniel Everett

Rules and Their Frictions
Gallery 7

Exhibiting Artists: Daniel Everett / Krzysztof Wodiczko

We live surrounded by rules—traffic lights, road signs, painted lines, surveillance cameras. The street, which appears free, is at the same time a space woven together by intricate regulations. From its very origins, the road has embodied the logic of management. Roads were developed as infrastructure to facilitate state governance. Paradoxically, while they seem to serve people, they also function as devices that reproduce national order by regulating movement and economic activity. At the foundation of our cities lies this “hierarchy of roads,” in which the road takes precedence over human life itself without our even noticing, revealing how the logic of control has already been internalized. When mathematician Christopher Alexander criticized such fixed systems in his article “A City Is Not a Tree,” he challenged the rigidification of order. He proposed instead that cities be understood as layered, overlapping networks. The road—an essential component of the street—thus contains a fundamental duality between freedom and control: it appears open, yet is structurally enclosed. Any philosophy of rojō can emerge only from within this contradiction. Photographer Daniel Everett renders the rules of the street visible through his images. By documenting contemporary Japan—dense with surveillance cameras and road signage—he reveals the extent to which our lives unfold within institutional frameworks. Meanwhile, Krzysztof Wodiczko’s Poliscar offers a speculative reversal. By providing unhoused individuals with vehicle-like devices equipped with communication tools, the work enables connections among them and the formation of another polis within the virtual space. When a transmission antenna was mounted atop the Empire State Building in Manhattan, a symbol of power was inverted into infrastructure for those pushed to the margins. These works illuminate not rules themselves, but the frictions they produce. Rojō is a site where order and deviation, visibility and invisibility, management and occupation contend with one another. Its boundaries are not fixed.
Sento Dashi (Bathhouse Float) 2019
©Jun Tainaka

Epilogue: Shared Ground
In front of Gallery 7, Courtyard 3

Exhibiting Artist / Organization: SENTO-DASHI committee / Ayako Murata

Time and space, politics and historical moments, the individual and the collective—rojō is a site where these layers overlap and are continually rewritten. Such changes may be described as renewal or received as nostalgia for what has been lost. What matters, however, is that by viewing the world through the lens of rojō, the subjectivities we have long taken for granted are softly disturbed.
The image of rojō has never possessed fixed contours. Its boundaries and thresholds have been redrawn again and again through diverse practices and experiments. Nor are these thresholds determined solely by laws and regulations. Rather, the boundaries of rojō are generated and updated in each situation through countless conditions: human behavior, environmental shifts, and occurrences by chance. To explore these “present boundaries of the street,” this section introduces two distinct practices. The first is Sento Dashi (Bathhouse Float). Across Tokyo and elsewhere, public bathhouses have been steadily demolished, even as preservation movements have sought to protect them. In reality, however, most have not survived as buildings. This work begins by reclaiming fragments from bathhouses that have already been dismantled: faucets, lockers, signboards, and central pillars—remnants barely rescued from disappearance. Though the bathhouse could not be preserved as real estate, it survives in another form as a movable structure. Reassembled into a float—a “mobile bathhouse”—it parades through the city. In doing so, the bathhouse’s former function as a place of gathering is once again brought out onto the street. The second is the first installation by street-gardening observer Ayako Murata. Street gardening refers to highly personal acts of cultivation carried out in planters and improvised containers placed along eaves and alleyways. Kanazawa, like many cities, is home to numerous residents who cherish plants and practice such forms of gardening. This work creates a program through which visitors to the museum form relationships with the city via plants. Tourists—ordinarily outsiders—are invited to explore ways of intervening in the urban fabric of Kanazawa. The appeal of street gardening lies not only in nurturing plants, but also in the circuits of relationships that emerge among residents. Here, a mechanism is introduced that allows visitors, too, to participate in those circuits. Neither of these practices proclaims dramatic transformation. Rather, they might be described as a slow yet certain revolution.
References
Alexander, Christopher. “A City Is Not a Tree.” Architectural Forum 122, no. 1 (1965): 58–62.
Sugiura, Kohei. “Chikaku-kei no Shugo [The Subject of the Perceptual System].” In Yū, no. 8, Ranshiteki Sekaizō no Naka de [Within the Astigmatic World-Image]. Tokyo: Kōsakusha, 1973.
Takebe, Kenichi. Dōro no Nihonshi: Kodai Ekirōdō kara Kōsoku Dōro e [History of Roads in Japan: From Ancient Station Roads to Highways]. Tokyo: Chūō Kōron Shinsha, 2015.
Toyonaga, Seiji. “Kokufu Osamu no ‘Sōtai Onshitsu’ [Osamu Kokufu’s ‘Relative Greenhouse’].” In Kokufu Osamu-ten: Omāju – Sōtai Onshitsu. Tokyo: Gallery A4, 2016.
Uzawa, Hirofumi. Jidōsha no Shakaiteki Hiyō [The Social Costs of Automobiles]. Tokyo: Iwanami Shoten, 1974.
Shinjuku: Danbōru Kaiga Kenkyū [Shinjuku: A Study of Cardboard Painting], 2005.

Off-Site Street Exhibition

Roads to Repair
Roads and Everyday Life Reweaved by the Noto Town Ukawa Niwaka Festival

Ukawa Research Group (Kentaro Okamura, Shin Aiba, Shuhei Kimura, Masakazu Ishigure, Junko Takamori, Ryohei Goto, Jin Motohashi)
Organizer: 21st Century Museum of Contemporary Art, Kanazawa
Supported by: Taiyo Tent Hokuriku Co., Ltd.
In cooperation with: Ukawa District Hometown Rediscovery Research Group
Venue: Design Gallery, 21st Century Museum of Contemporary Art, Kanazawa

Ukawa, a port town on the inner coast of the Noto Peninsula, has long been shaped by overlapping “roads”: narrow alleys and shopping streets threading between houses, sea routes that once connected port to port, and railways and highways linking the town to urban centers. Roads have functioned not only as infrastructure for movement, but also as stages for festivals and communal exchange. Yet population decline, industrial downturn, and most recently the 2024 Noto Peninsula Earthquake have profoundly altered homes, roads, and the very structure of daily life.
This exhibition is grounded in the ongoing, interdisciplinary research conducted by scholars and practitioners in urban planning, architecture, cultural anthropology, and social psychology, who began visiting Ukawa after the earthquake. Ukawa’s summer festival, the Niwaka Festival, features lantern floats painted with warrior motifs that are pulled along the streets and offered to the sea goddess. Through fieldwork, researchers have observed how the festival can serve as a catalyst—reconnecting people and reweaving the relationship between roads and everyday life.
In this exhibition, the production process of the Niwaka Festival is reconstructed within the museum and introduced through hands-on workshops held on site. By making visible the “road” as a process of reconnecting people, objects, and memories, the project also documents and examines how social ties within a community are reactivated and reassembled. Drawing on the anthropological concept of “meshwork,” a web of interwoven relationships, the exhibition explores the possibility that festivals and exhibitions themselves might function as part of a town’s living infrastructure.
Rojō of Ishikawa on Television
From the Archives of NHK Kanazawa

Organizers: NHK(Japan Broadcasting corporation) Kanazawa Station; 21st Century Museum of Contemporary Art, Kanazawa
Venue: Lecture Hall, 21st Century Museum of Contemporary Art, Kanazawa
Admission: Free

Local television stations have, through the daily accumulation of news footage, recorded the everyday life and events of their regions over long spans of time. These records naturally include the many histories that have unfolded on the streets. Such moving images constitute a rich reservoir of local memory.
This program is presented in collaboration with NHK (Japan Broadcasting Corporation) Kanazawa Station. From approximately 14,000 news tapes amassed over the past half century, a selection has been curated around the theme of rojō, or the “street.” By revisiting footage that was originally consumed as news through the new lens of rojō, the program reintroduces former cityscapes and the lives of the people who inhabited them.
NHK Kanazawa Station has been a national leader among regional broadcasters in preserving and activating its audiovisual archives. In particular, the segment “Nostalgic Footage” within the evening news program Kaga Noto has reedited archival materials around diverse themes to present the modern and contemporary history of Ishikawa Prefecture through moving images. This exhibition also offers a behind-the-scenes look at how film footage has been digitized, catalogued, and transformed into accessible archival resources.

Catalog Reservations & Sales

ROJŌ [shared ground] ― am i in your way?

Pages: 96
Editors-in-Chief: Jin Motohashi, Morihiro Satow
Planning: Jin Motohashi, Amahiko Kihara, Mayu Otake
Editor: Momoko Usuda
Design: Tsutomu Nishioka
Print Production: Kazuki Kitahara (UMMM)
Printing: Kyoto Shimbun Printing Co., Ltd.
Publisher: Film Art, Inc.

Images

Yasuhiro Suzuki,
Perspective of Playground Equipment, 2001
photo: Rinko Kawauchi

Osamu Kokufu, Car Freezer, 1998
photo: Seiji Toyonaga

ROJŌ ENGEI
photo: Ayako Murata

©SEGA

Credit

Organized by:

21st Century Museum of Contemporary Art, Kanazawa

In Academic Cooperation with :
ROJO Society (Street Observation Society)

Supported by:

TANEYA Co., Ltd., Kyoto Shimbun Printing Co. Ltd., SEGA CORPORATION, Taiyo Tent Hokuriku Co., Ltd., Nakagawa Chemical Inc., Hoshino Resorts Management Inc., LINNAS Design Inc. , West Japan Railway Company, Nippon Travel Agency Co.,Ltd., Naigai Yakuhin Co., Ltd.

In Cooperation with:

TAKENAKA CORPORATION, AIR［AZUSA INSTITUTE OF RESEARCH Co., Ltd.］, HOKUHAIDENGYO Co., Ltd., Hokuriku Electric Power Transmission & Distribution Company, Hokuriku Confectionery, Ltd., Nitto Sangyo Co. Ltd., Ukawa District Hometown Rediscovery Study Group

Grants from:

The Pola Art Foundation, Grants-in-Aid for Scientific Research (JSPS KAKENHI)

Patronized by:

Gendai Hūzoku Kenkyūkai, Japan Society of Lifology, Takamatsu City, Architectural Institute of Japan, THE HOKKOKU SHIMBUN

This exhibition is presented with the support of the following Grants-in-Aid for Scientific Research (JSPS KAKENHI) projects: “A comprehensive study of the dead stock / backroom collection of artworks in the museum : rethinking the scope of visible storage and restoration process in public” (Project/Area Number: 24K03506） “Reconstruction Territorio Study of the Noto Peninsula Earthquake: Action Research on Post-Modern Reconstruction Methods” (Project/Area Number: 25K01402) “A Practical Study on the 'Unrecognized Landscape': Methodological Analysis and Reenactment of the Rojo Society” (Project/Area Number: 25K23512)