STILL ALIVE
ollowing national controversy surrounding depictions of Korean comfort women in the 2019 edition, the Aichi Triennale 2022 was helmed (2016), which, following the growth rings, reflects the public’s changing understanding of collective history. Leaning toward personal history, Kenichi Obana’s mixed-media installation (2022) recounts the story of the “Fig Man,” the owner of a former teapot store, blending fiction and reality. Works like this reconfigured traditional spaces in Aichi and facilitated cultural exchange between local craftsman and international participants, a rare chance to connect people as we attempt to survive difficult times together.
