Zenigata Sunae
A sand drawing in the shape of a Kanei-tsuho coin. Seeing it is said to keep you from want of money.
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A sand drawing in the shape of a Kanei-tsuho coin. Seeing it is said to keep you from want of money.
Twelve islands and two ports are the stage. Held once every three years.
Empty houses and a shrine in a working village turned into artworks, with residents themselves acting as guides.
A polka-dotted pumpkin at the end of a pier became the island's emblem; washed away by a typhoon, it was repaired and returned.
A working public bath plastered with the artist's collected signage and tile - an artwork the islanders wash in.
Tide pools left on the flats mirror the sky; a beach that photography discovered and turned into a destination.
Eight hundred paddies stacked up a slope, with a kabuki stage among them - farming and theatre in one view.
Two festival islands where the works scatter through hillside hamlets and the lanes become the route.
Where olives first took root in Japan; terraces cut into the slopes give the island a Mediterranean look.
A viewpoint built on the hill so the sand coin below can be read - the vantage point completing the work.
An island known for illegal industrial dumping became a festival site - and how openly that history is handled remains at issue.
Fourteen thousand reservoirs were dug across this dry plain; the cones of its hills and those artificial ponds compose it.
Abandoned terraces were brought back into cultivation alongside the museum's construction, so field and artwork share one view.
Volcanic rock eroded into towers and cliffs, each formation named along the route.