Courtesy of the artist and Jim Thompson Foundation
Aichi Triennale has announced its full list of participating artists for this year’s edition. Titled Still Alive and directed by Kataoka Mami (director of Tokyo’s Mori Art Museum), the exhibition will be accompanied by a series of programmes for performing arts, learning, online initiatives, as well as a collaborative programme. The triennial’s theme is inspired by On Kawara’s series of telegrams, I Am Still Alive, sent to friends and acquaintances over a period of three decades beginning in 1969. Aichi Triennale will present ‘encounters with uncertainty, the unknown, a diversity of values, and overwhelming beauty, while also serving as an opportunity for thinking about how we can create an ideal, sustainable future together’. The participating artists now number 82, including five newly announced artists/groups: Laurie Anderson and Huang Hsin-Chien, Anne Imhof, Nawa, Shwe Wutt Hmon in collaboration with Kyi Kyi Thar, and Diemut Strebe. The full artist list can be found here.
Meanwhile, Helsinki Biennial, which will take place in 2023, has announced its appointment of UK-based Polish curator Joasia Kyrsa as the artistic director of its second edition. The free exhibition will focus on ‘the synthesis of art and the environment’ and take place on Vallisaari Island. Kyrsa, who is currently Professor of Exhibition Research and Head of Art and Design at Liverpool John Moores University, has previously worked as part of the curatorial team for Documenta 13, was cocurator of Liverpool Biennial in 2016 and was on the advisory committee for Helsinki Biennial in 2021. Part of Kyrsa’s plans for the second edition of the biennial involves inviting curatorial contributions from organisations from around the world ‘to create new alliances and exchanges’. In a statement, Kyrsa has said: ‘Collaborating with others – collectives, research organisations and other entities – I look forward to learning from shared experiences, contributing to developments in the city, and working towards qualitatively different futures.’
