People’s sympathy can turn “ETAT” from a proper noun to a common noun

I am pleased to say that ETAT reminds many people of Echigo-Tsumari as a result of the activities of the past 20 years. However, the word ETAT has potential to expand. Let me tell you what I mean.

The first time when the name “ETAT” was used outside of the Echigo-Tsumari region was at Kamikoani-village in Akita Prefecture. The ETAT2012 was remotely organised in the village. (1)

While Kamikoani village is known as a home of Matagi (traditional hunter community in Tohoku region), it is a depopulating and ageing region located in the midst of mountains. Although running the ETAT remotely in the village was not part of the original plan, it resulted in exchange of the two regions which face the same challenges. I have come to feel pleased about it now.

I believe that such incident implies that ETAT (“daichi no geijutsusai”) doesn’t just remain as a proper noun such as “Venice Biennale” or “Yokohama Triennale” and rather becomes a common noun that is based upon a certain idea. I have been saying it is good throughout and I do feel that such transformation has been actually happening.

As we wouldn’t want to see the name being used in an inappropriate way, we have registered it as a trademark just in case. However, I personally think that we should be willing to consider the potential of “ETAT” being used more widely as long as the idea behind the word is properly appreciated and shared.

In addition, we do see more and more initiatives that are allied with the agenda that ETAT has pursued. For example, there have been art festivals that present contemporary art while including art in life such as ikebana and ceramics as well as food culture. I can feel that we have been gradually making influence on various fields.

ETAT poses a question on the set of values from a different perspective from uniform art education or operations which simply follow the art movements in the western art world. Not only does it attract artists from all around the globe, it also facilitates unique expressions that relate to the history and potentials of a place. And the fact that such an initiative has been practiced in this small regional city with the population of 50,000 people is what it makes so unique.

As a result it poses the question that “it should be possible to run it in a different place in the way that works for that place.” Other projects I have been involved with such as “Setouchi Triennale”, “Oku-Noto Triennale”, “Northern Alps Art Festival” and “Ichihara Art Mix” are not irrelevant to this Moreover, I do believe the degree of the influence we have made upon Japan as well as countries in Asia is not small. In recent years, Takafumi Fukasawa, the artist who has been engaging with ETAT, participated in “Thailand Biennale Krabi 2018” which took place in the southern part of Thailand. It is indeed possible to do something unique and interesting in each different place.

Taking these into consideration, I think it is important how an alternative movement can emerge from that which accords with a pre-determined acceptable format. I also believe that it should be developed in a different direction from that of simplification. For instance, we have gained the convenience of conveying “like” or “feeling happy” by using a heart-shaped icon in the internet community. However, this is like making a piece of music from a single note when we could use different notes over ten octaves to express ourselves. I hope that ETAT will be able to expand its role to play in these initiatives.