But not all the locals are art lovers
beach on Honjima, a small island in the Seto Inland Sea in southern Japan, three stylised ships’ hulls sway in the breeze. They are suspended on poles and fixed to the sand with four rusty anchors each. Oval mirrors underneath reflect the tangled red netting from which the hulls are made and the lead-coloured sky above the deserted beach. The ships are the work of the Russian artist Alexander Ponomarev.
Encouraging such trends was precisely the point of the triennale, says Shinobu Tsunekane from the organising committee in Takamatsu. Organisers wanted to slow the decline but also to instil pride in local customs: “People have been leaving because life on the islands is inconvenient—we want to make them happier and more comfortable with it again.”
Locals are more equivocal. Islanders were initially wary, says Kenjiro Kaneshiro of the Fukutake Foundation. It runs the permanent museums and installations using funding from Benesse, an education conglomerate, and started to install art on the island of Naoshima in the 1990s. Research by Meng Qu of Hiroshima University suggests that some residents worried that their home would become a theme park.
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