Backstage Japan -
studies in hardly discovered zone of transition
Apology for a residence program off the main track
Rural Japan is a place where two worlds overlap. The energy
field of a specific national civilization fades out and the
one of uninhabited ‘transnational’ nature becomes
stronger and stronger. It is a membrane, frontier and sphere
of
weightlessness where neither word’s gravity dominates,
and culturally conditioned patterns of communication begin to
dissolve. Unconsciously, space opens up to a different kind
of cooperation based on non verbal common denominators shared
by people of various origins and professions.
 a glass and neon light free zone |
 the view from the house |
 in winter everything is different |
 papermaster at work in our studio |
In urban areas, Japan keeps up its
facade of order, conscious of what foreigners expect to find
and ready to confirm those old clichés. However particularly
there, where Japan does not feel observed, in the
countryside, back stage so to speak,
it allows itself to leave the vestiges of its disorder,
uncertainty, strive to gain balance in the schizophrenic
desire to be innocently one with Nature, source of life, but
also maintain control and recognition for being a thinking,
creating and
decision making human, (leave all these traces) open and
unedited.
The community of Mino is typical for similar
urban-rural-nature constellations in Japan; On one hand the
people try to appease in elaborate processions and rituals
their protective Shinto gods, on the other hand effort not to
lag behind
what they consider advanced, live up to date and cool like
city folks. This state of a double bind, identification
blues, uncertainty and insecurity, seems only to be a
weakness- yet on the contrary the porous, not lacquered
social texture allows
individuals of rural communities to be much more open minded,
curious and perceptive for others who tumble around in search
for points of orientation, like foreign visitors, than the
self consciousness and conceit of most metropolitan
citizens.
And particularly for this reason I chose to have my base of
activities in Japan on this membrane, this kind of skin with
sensory organs directed to both worlds, nature and
civilization at the same time. I use an old country house
with a functioning paper making workshop, situated in the
last village at the end of a valley, at the edge of the
infinite green cloth of
mountain chains, home to monkey families and gangs of boars,
who once in a while venture out into mankind’s vegetable
fields to find vegetarian prey. Everyone has their own way to
explore a realm and assess new impressions,
still, to those who choose to visit, we offer careful
guidance to catalyze encounters, without trying to dominate
with a preset perspective.
As mentioned, the residence is located
at the end of a pristine valley-15 minutes from a small, laid
back town called Mino, and about one hour from Nagoya- and
Gifucity in central eastern Japan. The district offers an
arena of cultural and natural resources: Mino is one of the
most famous areas for the manufacturing of handmade paper
from mulberry bark, related cottage industries such as
umbrella and lantern making. Several collections of
Enku’s work, a 17th century sculptor who stood out
through his expressionistic, non decorative style, are open
to the public close by. The Unesco world heritage site, a
hamlet with
about 160 giant thatched roofed houses can be reached within
an hour. Pristine nature invites for hikes right behind the
house, and hot-springs are available.
All recent attempts of mediocre modernization were removed to
return the house to its authentic state, a frame of 250 year
old timber with paper-sliding doors and wooden rain shutters,
a classic example of Japanese architecture’s essential
elements. The terrace in front offers an undisturbed view of
mountain ranges. As in all houses of the area, the brightest
room is dedicated to paper-making. A complete collection of
authentic tools allows visitors to make their own paper after
attending one of the introductory seminars. (see www.importantpapers.org for scheduled workshops) But also for
individuals not interested in crafts, the house offers an
excellent base to discover the treasures of rural Japan and
the opportunity to withdraw to work in silence
on personal projects. For visitors with an international
driver’s license, a car is available, and fast speed
telephone circuits allow you to stay on line.
Our friendship with several museums of contemporary art,
especially the nearby Toyota Municipal Museum of Art,
constitutes the link between traditions and the contemporary.
Detailed information on the parameters of staying in this
facility will be given on request.