Yokohama Triennale 2014

1 August - 3 November 2014, Yokohama, Japan. Theme: ART Fahrenheit 451 - Sailing into the sea of oblivion. Interview with Artistic Director: MORIMURA Yasumasa.
Aug 2014

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ART Fahrenheit 451: Sailing into the sea of oblivion

Yokohama Triennale 2014

1 August - 3 November 2014

Yokohama, Japan

Title:
ART Fahrenheit 451:
Sailing into the sea of oblivion


Artistic Director:
MORIMURA Yasumasa

Chairperson, Organizing Committee for Yokohama Triennale:
OSAKA Eriko
Director of the Yokohama Museum of Art

Main Venues:
Yokohama Museum of Art
Shinko Pier Exhibition Hall

Organizer:

Organizing Committee for Yokohama Triennale Office
c/o Yokohama Museum of Art
3-4-1, Minatomirai Nishi-Ku
Yokohama
220-0012
Japan
Website Email


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1 August - 3 November 2014, Yokohama, Japan. Theme: ART Fahrenheit 451 - Sailing into the sea of oblivion. Artistic Director: MORIMURA Yasumasa. 62 participants.
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<paragraph xmlns:tmp="http://ez.no/namespaces/ezpublish3/temporary/">NEW: Interview with Artistic Director
MORIMURA Yasumasa
The Yokohama Triennale 2014 aims to explore the sea of "oblivion" by means of a ship called "art," in a voyage along with all those who believe in the possibility of artistic adventure and those who seek out a bold view of the world. Under the Artistic Directorship of MORIMURA Yasumasa (see the biography), the 5th edition of the Yokohama Triennale takes place from 1 August to 3 November 2014. The title "ART Fahrenheit 451" is derived from Fahrenheit 451, a 1953 science-fiction novel by Ray Bradbury. Based on the theme of book-burning, the story is set in a society where books are banned and centers on a group of men who have gone underground in resistance. They claim themselves as "being books" and devote themselves to memorizing entire books. Yokohama Triennale 2014 will be a "voyage into the sea of oblivion." It will make us recall things that have been inadvertently lost from our lives, things that have been perpetually forgotten by human beings, and particular things that have been lost in the contemporary age. For the complete text and interview, please see:
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