Hiroshi Sugimoto

Hiroshi Sugimoto
1
Hiroshi Sugimoto
Hiroshi Sugimoto (杉 本 博 司, Sugimoto Hiroshi), born on
February 23, 1948, is a Japanese photographer currently dividing his
time between Tokyo, Japan and New York City, United States. His
catalogue is made up of a number of series, each having a distinct
theme and similar attributes.
Early life and education
Hiroshi Sugimoto was born and raised in Tokyo, Japan. He reportedly
took his earliest photographs in high school, photographing film
footage of Audrey Hepburn as it played in a movie theater.[1] In 1970,
Sugimoto studied politics and sociology at Rikkyō University in
Tokyo. In 1974, he retrained as an artist and received his BFA in Fine
Arts at the Art Center College of Design, Los Angeles, California.
Afterwards, Sugimoto settled in New York City. He soon started
working as a dealer of Japanese antiquities in Soho.[2]
Hiroshi Sugimoto, Neue Nationalgalerie, Berlin
Work
Sugimoto has spoken of his work as an expression of ‘time exposed’, or
photographs serving as a time capsule for a series of events in time.
His work also focuses on transience of life, and the conflict between
life and death.
"Appropriate Proportion", one of his architectural
projects. Renovation of Gooh shrine, Naoshima,
Kagawa prefecture, Japan
Sugimoto is also deeply influenced by the writings and works of Marcel Duchamp, as well as the Dadaist and
Surrealist movements as a whole. He has also expressed a great deal of interest in late 20th century modern
architecture.
His use of an 8×10 large-format camera and extremely long exposures has garnered Sugimoto a reputation as a
photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of
his work.[citation needed]
Dioramas, In Praise of Shadows and Portraits
Sugimoto began his work with Dioramas in 1976, a series in which he photographed displays in natural history
museums. (A polar bear on a fake ice floe contemplates his fresh-killed seal; vultures fight over carrion in front of
painted skies; exotic monkeys hoot in a plastic jungle.)[3] Initially the pictures were shot at the American Museum of
Natural History, a place he returned for later dioramas in 1982, 1994, and 2012.[4] The cultural assumption that
cameras always show us reality tricks many viewers into assuming the animals in the photos are real until they
examine the pictures carefully. His series Portraits, begun as a commission by the Deutsche Guggenheim in 1999,[5]
is based on a similar idea. In that series, Sugimoto photographs wax figures of Henry VIII and his wives. These wax
figures are based on portraits from the 16th century and when taking the picture Sugimoto attempts to recreate the
lighting that would have been used by the painter. Focusing on Madame Tussaud's in London, its branch in
Amsterdam and a wax museum in Ito, Japan, Sugimoto took three-quarter view photos, using 8-by-10-inch
negatives, of the most realistic wax figures. They are typically taken against a black background.[6] In Praise of
Shadows (1998) is a series of photographs based on Gerhard Richter’s paintings of burning candles.[7]
Hiroshi Sugimoto
Theatres
In 1978, Sugimoto's Theatres series involved photographing old American movie palaces and drive-ins with a
folding 4x5 camera and tripod, opening his camera shutter and exposing the film for the duration of the entire
feature-length movie, the film projector providing the sole lighting. The luminescent screen in the centre of the
composition, the architectural details and the seats of the theatre are the only subjects that register owing to the long
exposure of each photograph, while the unique lighting gives the works a surreal look, as a part of Sugimoto's
attempt to reveal time in photography.
Seascapes
In 1980 he began working on an ongoing series of photographs of the sea and its horizon, Seascapes, in locations all
over the world, using an old-fashioned large-format camera to make exposures of varying duration (up to three
hours).[8][9] The locations range from the English Channel and the Cliffs of Moher [10] to the Arctic Ocean, from
Positano, Italy, to the Tasman Sea and from the Norwegian Sea at Vesterålen to the Black Sea at Ozuluce in Turkey.
The black-and-white pictures are all exactly the same size, bifurcated exactly in half by the horizon line.[11] The
systematic nature of Sugimoto's project recalls the work Sunrise and Sunset at Praiano by Sol LeWitt, in which he
photographed sunrises and sunsets over the Tyrrhenian Sea off Praiano, Italy, on the Amalfi Coast.[12]
Architecture works
In 1995, Sugimoto photographed the Sanjūsangen-dō ("Hall of Thirty-Three Bays") in Kyoto. In special preparation
for the shoot, he had all late-medieval and early-modern embellishments removed, as well as having the
contemporary fluorescent lighting turned off.[13] Shot from a high vantage point and editing out all architectural
features, the resulting 48 photographs concentrate on the bodhisattvas, 1,000 life-size and almost identical gilded
figures carved from wood in the 12th and 13th centuries, that are banked up inside the building.[14]
In 1997, on a commission from the Museum of Contemporary Art in Chicago, Sugimoto began producing series of
large-format photographs of notable buildings around the world. In 2003, the museum showed the series in a
sepulchral installation, with the pictures installed on layered rows of dark-painted partitions.[15] Sugimoto's later
Architecture series (2000–03) consists of blurred images of well-known examples of Modernist architecture.[16]
In 2001, Sugimoto traveled the length of Japan, visiting the so-called meisho "famous sites" for pines: Miho no
Matsubara, Matsushima, Amanohashidate.[17] On the royal palace grounds in Tokyo, Sugimoto photographed a pine
landscape, copying a traditional 16th-century Japanese ink-painting style.[18] Listed as Japanese national treasures,
the Shorinzu-byobu (Pine Forest Screens) (ca. 1590) by Momoyama period (1568 1600) painter Hasegawa Tōhaku
(1539–1610) represent a coming of age in Japanese imaging.
Joe
In July 2003 Sugimoto travelled to St. Louis to photograph the Pulitzer Foundation for the Arts, designed by Tadao
Ando whose work he had portrayed various times before. However, his ended up photographing Richard Serra’s
sculpture Joe (the first in his “Torqued Spiral” series), which rests in an outdoor courtyard, at dawn and at dusk for
five days.[19] The resulting Joe series was made with short exposure. The blurring effect results from Sugimoto's
unconventional use of the flexibility of the large format camera, whereby he sets the distance between the lens and
the film to half the focal length, in his words "twice-infinity".[20] Sugimoto gave the photographs serial numbers
from his Architecture series. Significantly, the hand-developed gelatin-silver photographs are mounted on aluminum
panels but are otherwise unframed, unglazed and unlaminated to draw attention to what Sugimoto describes as the
"transformation from the three-dimensional steel source sculpture to the thin layers of what I would call my 'silver
sculpture'."[21] When the Pulitzer Foundation decided to publish a book about the series, Sugimoto asked Jonathan
Safran Foer, whom he had met years earlier, to write a text to accompany the nineteen selected photographs.
2
Hiroshi Sugimoto
A 2004 series comprises large photographs of antique mathematical and mechanical models, which Sugimoto came
across in Tokyo and shot from slightly below.[22] The Mathematical forms - stereometric models in plaster – were
created in the 19th century to provide students with a visual understanding of complex trigonometric functions. The
Mechanical forms – machine models including gears, pumps and regulators - are industrial tools used to demonstrate
basic movements of modern machinery. Sugimoto began working on this series as a response to The Bride Stripped
Bare by Her Bachelors, Even (The Large Glass) by Marcel Duchamp.[23]
For the series Stylized Sculpture (2007), Sugimoto selected distinctive garments by celebrated couturiers from the
collection of the Kyoto Costume Institute, shot in chiaroscuro on headless mannequins—from Madeleine Vionnet’s
precociously modern T-dress and Balenciaga’s wasp-waisted billowing ensemble to Yves St Laurent’s strict
geometric Mondrian shift and Issey Miyake’s sail-like slip.[24]
For his 2009 series Lightning Fields Sugimoto abandoned the use of the camera, producing photographs using a
400,000 volt Van de Graaff generator to apply an electrical charge directly onto the film. Instead of placing an object
on photo-sensitive paper, then exposing it to light, he produced the image by causing electrical sparks to erupt over
the on surface of a 7-by-2.5-foot sheet of film laid on a large metal tabletop.[25] The highly detailed results combine
bristling textures and branching sparks into highly evocative images.
Recent work
In 2009 U2 selected Sugimoto's Boden Sea, Uttwil (1993) as the cover for their album No Line on the Horizon to be
released in March that year. This image had previously been used by sound artists Richard Chartier and Taylor
Deupree for their 2006 CD inspired by Sugimoto's "seascapes" series.[26] Sugimoto noted it was merely a
"coincidence" that the image appears on both album covers. In addition, he notes that the agreement with U2 was a
"stone age deal" or, artist-to-artist. No cash exchanged hands, rather a barter agreement which allows Sugimoto to
use the band's song "No Line on the Horizon" (partly inspired by the "Boden Sea" image) in any future project.[27]
In 2009, Sugimoto acquired some rare negatives made by Henry Fox Talbot in the 1840s and retrieved through an
intensely fragile process what "looks remarkably like Plato's shadows in the cave".[28] The works of Sugimoto's All
Five Elements series (2011) consist of optical quality glass with black and white film.[29] On the occasion of Art
Basel in 2012, Sugimoto presented Couleurs de l'Ombre, 20 different colorful scarf designs in editions of just seven,
all created - using a new inkjet printing method - for French fashion label Hermès.[30]
Architecture
Sugimoto is also an accomplished architect. He founded his architecture practice in Tokyo after receiving requests to
design structures from restaurants to art museums.[31] Because he does not have an architectural license himself—an
official permit would require years of training—he hired three young qualified architects to help him execute his
vision.[32] He approaches all of his work from many different perspectives, and architecture is one component that he
uses to design the settings for his exhibitions. His recent projects include an architectural commission at Naoshima
Contemporary Art Center in Japan, for which Sugimoto designed and built a Shinto shrine.[33] He also gets involved
with the performance art occurring beside them. This allows him to frame his works precisely the way he wants to.
In 2013, Sugimoto created a sculpture and rock garden for the Sasha Kanetanaka restaurant in Omotesandō, Tokyo.
He also designed Stove, a top-tier French restaurant housed in a refurbished wooden house in the Kiyoharu Art
Village, Yamanashi Prefecture.[34]
In 2011, Sugimoto published an architecture book about the many museums that have shown his work, from the
Hirshhorn Museum in Washington, D.C., to the Fondation Cartier in Paris.[35]
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Hiroshi Sugimoto
Exhibitions
Sugimoto has exhibited extensively in major museums and galleries throughout the world, including the Museum of
Contemporary Art in Los Angeles (1994), the Metropolitan Museum of Art, New York (1995); Deutsche
Guggenheim, Berlin (2000); the Kunsthaus Bregenz, Austria (2002); the Serpentine Gallery, London (2003) and the
Fondation Cartier pour l'Art Contemporain, Paris (2004). A major 30-year survey of his work opened at the Mori Art
Museum, Tokyo in 2005 and travelled to the Hirshhorn Museum and Sculpture Garden, Washington, D.C. and the
Modern Art Museum of Fort Worth, Texas (2006). In 2007, a European retrospective began at K20 Kunstsammlung
Nordrhein-Westfalen, Düsseldorf (2007) and traveled to the Museum der Moderne, Salzburg, Neue Nationalgalerie,
Berlin and Kunstmuseum Luzern, Switzerland. (2008). In 2011, Gagosian Gallery in Paris showed Sugimoto's series
Stylized Sculpture alongside Rodin's sculptures The Three Shades (c. 1880), Monument to Victor Hugo (1897), and
The Whistler Muse (1908).
In 2005, Japan Society, New York, and Arthur M. Sackler Gallery, Washington, organized a US and Canadian tour
of "Hiroshi Sugimoto: History of History", an exhibition of artifacts that Sugimoto has collected over the years,
particularly from East Asia and Japan, curated by the artist himself (travelled to the Kanazawa 21st Century Museum
of Contemporary Art and the National Museum of Art, Japan).[36] In 2013, Sugimoto exhibited his artwork alongside
pieces from his personal collection at the Fondation Pierre Bergé-Yves Saint Laurent in Paris.[37]
Collections
Sugimoto's work is held in numerous public collections including the Metropolitan Museum of Art, New York;
Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Tokyo; Museum of
Modern Art, New York; National Gallery, London; National Museum of Modern Art, Tokyo; Smithsonian
Institution, Washington, D.C.; MACBA, Barcelona; and Tate Gallery, London.[38]
Odawara Art Foundation
In 2009, Sugimoto established the Odawara Art Foundation to promote Japanese culture.[39] In 2014, the Japan
Society awarded a $6 million grant to the foundation.[40] The money will go to the construction of a
multidisciplinary arts complex in Odawara, about 60 miles west of Tokyo. The project is expected to be completed
in spring 2016. The project includes an original 15th-century entrance gate, a minimalist exhibition space, a modern
Japanese teahouse, and a contemporary Noh theater with a stage that appears to float above the sea.[41] The
foundation will produce joint productions with the Japan Society as well as artist-in-residency programs at the new
complex. The two institutions will also collaborate on exhibitions and performances.[42]
Awards
• 2001 – Hasselblad Foundation International Award (Hasselblad Honour).
• 2009 – Japanese Art Association: Praemium Imperiale prize for the ‘Painting’ category
• 2010 – Medal with Purple Ribbon
Books
•
•
•
•
Seascapes. Los Angeles: Museum of Contemporary Art, 1994. ISBN 0-914357-32-8.
Time Exposed. London: Thames & Hudson, 1995. ISBN 0-500-97427-6.
In Praise of Shadows. Germany: Steidl, 2000. ISBN 4-7713-3414-5.
Theatres. Koln: Walther Konig, 2006. ISBN 0-615-11596-9.
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Hiroshi Sugimoto
Art market
Sugimoto has been represented by Pace Gallery, New York, since 2010,[43] while also regularly showing with
Gagosian Gallery. Before, he showed with Sonnabend Gallery.
References
[1] Hiroshi Sugimoto (http:/ / www. guggenheim. org/ new-york/ collections/ collection-online/ artists/ bios/ 3540) Solomon R. Guggenheim
Museum, New York.
[2] Elisa Lipsky-Karasz (September 11, 2013), Hiroshi Sugimoto's Fossil Inspiration (http:/ / online. wsj. com/ news/ articles/
SB10001424127887324591204579037022687412290) Wall Street Journal
[3] Blake Gopnik (February 20, 2006), Hiroshi Sugimoto, Emphasizing the Play Of Shadow and Lie (http:/ / www. washingtonpost. com/
wp-dyn/ content/ article/ 2006/ 02/ 19/ AR2006021901343. html) Washington Post.
[4] Randy Kennedy (October 8, 2012), ‘Fossilizing’ With a Camera (http:/ / www. nytimes. com/ 2012/ 10/ 09/ arts/ design/
hiroshi-sugimoto-at-the-american-museum-of-natural-history. html) New York Times.
[5] Snapshot: ‘Catherine Parr’ (1999) by Hiroshi Sugimoto (http:/ / www. ft. com/ cms/ s/ 2/ b41905a4-e209-11e1-8e9d-00144feab49a. html)
Financial Times, August 10, 2012.
[6] Katherine Roth (September 10, 2001), Framing a Snapshot in Time (http:/ / articles. latimes. com/ 2001/ sep/ 10/ entertainment/ ca-44080)
Los Angeles Times.
[7] Hiroshi Sugimoto (http:/ / www. guggenheim. org/ new-york/ collections/ collection-online/ artists/ bios/ 3540) Solomon R. Guggenheim
Museum, New York.
[8] David Pagel (December 18, 1997), A Focus on Tranquillity (http:/ / articles. latimes. com/ 1997/ dec/ 18/ entertainment/ ca-65190) Los
Angeles Times.
[9] Hiroshi Sugimoto: 7 Days / 7 Nights, November 6, 2008 - February 14, 2009 (http:/ / www. gagosian. com/ exhibitions/
2008-11-06_hiroshi-sugimoto/ ) Gagosian Gallery, New York.
[10] "North Atlantic Ocean, Cliffs of Moher," Hiroshi Sugimoto 1989.Metropolitan Museum of Art http:/ / www. metmuseum. org/ collections/
search-the-collections/ 267005. html
[11] William Wilson (March 4, 1994), Sugimoto's Sea of Meditation at MOCA (http:/ / articles. latimes. com/ 1994-03-04/ entertainment/
ca-29752_1_hiroshi-sugimoto) Los Angeles Times.
[12] Charles Hagen (February 21, 1992), ART IN REVIEW; Hiroshi Sugimoto (http:/ / www. nytimes. com/ 1992/ 02/ 21/ arts/
art-in-review-927592. html) New York Times.
[13] Sea of Buddhas (1995) (http:/ / www. sugimotohiroshi. com/ pinetrees. html) Hiroshi Sugimoto.
[14] John Russell (December 7, 1995), PHOTOGRAPHY VIEW; Radiant Wonders of the Mid-Century World (http:/ / www. nytimes. com/
1995/ 12/ 07/ arts/ photography-view-radiant-wonders-of-the-mid-century-world. html) New York Times.
[15] Holland Cotter (October 17, 2003), ART IN REVIEW; Hiroshi Sugimoto -- 'Architecture' (http:/ / www. nytimes. com/ 2003/ 10/ 17/ arts/
art-in-review-hiroshi-sugimoto-architecture. html) New York Times.
[16] Hiroshi Sugimoto (http:/ / www. guggenheim. org/ new-york/ collections/ collection-online/ show-full/ bio/ ?artist_name=Hiroshi
Sugimoto& page=1& f=Name& cr=1) Guggenheim Collection.
[17] Pine Trees (2001) (http:/ / www. sugimotohiroshi. com/ pinetrees. html) Hiroshi Sugimoto.
[18] Ann Wilson Lloyd (February 11, 2001), The Hall of Mirrors Meets the House of Wax (http:/ / www. nytimes. com/ 2001/ 02/ 11/ arts/
art-architecture-the-hall-of-mirrors-meets-the-house-of-wax. html) New York Times.
[19] Andrew Blum (September 17, 2006), Art Capturing Art Capturing Art Capturing ... (http:/ / www. nytimes. com/ 2006/ 09/ 17/ arts/ design/
17blum. html) New York Times.
[20] Hiroshi Sugimoto, Architecture (http:/ / www. sugimotohiroshi. com/ architecture. html)
[21] Hiroshi Sugimoto: Joe, September 9 - October 14, 2006 (http:/ / www. gagosian. com/ exhibitions/ september-09-2006--hiroshi-sugimoto)
Gagosian Gallery, Los Angeles.
[22] Michael Kimmelman (May 27, 2005), ART IN REVIEW; Hiroshi Sugimoto (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9401E2DF1139F934A15756C0A9639C8B63) New York Times.
[23] Hiroshi Sugimoto: Conceptual Forms, April 7 - May 28, 2005 (http:/ / www. gagosian. com/ exhibitions/ april-07-2005--hiroshi-sugimoto)
Gagosian Gallery, London.
[24] Rodin - Sugimoto, February 11 - March 25, 2011 (http:/ / www. gagosian. com/ exhibitions/ february-11-2011--rodin---sugimoto) Gagosian
Gallery, Paris.
[25] Carol Kino (November 11, 2010), Stealing Mother Nature’s Thunder (http:/ / www. nytimes. com/ 2010/ 11/ 14/ arts/ design/ 14sugimoto.
html) New York Times.
[26] Is the New U2 Album Cover a Rip-off? (http:/ / www. pitchforkmedia. com/ article/ news/ 148550--is-the-new-u2-album-cover-a-rip-off)
Retrieved Jan 19, 2009
[27] Photographer Sugimoto strikes a Stone Age deal with U2 (http:/ / search. japantimes. co. jp/ cgi-bin/ fa20090320a1. html). The Japan Times.
Retrieved Nov 18, 2010
5
Hiroshi Sugimoto
[28] Laura Cumming (August 14, 2012), Hiroshi Sugimoto; The Queen: Art and Image; Elizabeth Blackadder; Ingrid Calame – review (http:/ /
www. guardian. co. uk/ culture/ 2011/ aug/ 14/ sugimoto-blackadder-calame-edinburgh-review) The Guardian.
[29] Hiroshi Sugimoto: Five Elements, 2011, October 7 - July 15, 2012 (http:/ / www. chinati. org/ visit/ exhibition2011sugimoto. php) Chinati
Foundation, Marfa.
[30] Nick Compton (June 19, 2012), Limited-edition Hermès Editeur scarves by Hiroshi Sugimoto (http:/ / www. wallpaper. com/ art/
limited-edition-herms-editeur-scarves-by-hiroshi-sugimoto/ 5872) Wallpaper.
[31] Lara Day (January 23, 2014), Hiroshi Sugimoto Designs Own Museum (http:/ / blogs. wsj. com/ scene/ 2014/ 01/ 23/
hiroshi-sugimoto-designs-his-own-museum-in-japan/ ) Wall Street Journal
[32] Lara Day (January 23, 2014), Hiroshi Sugimoto Designs Own Museum (http:/ / blogs. wsj. com/ scene/ 2014/ 01/ 23/
hiroshi-sugimoto-designs-his-own-museum-in-japan/ ) Wall Street Journal
[33] Hiroshi Sugimoto: The Day After, November 6 - December 24, 2010. (http:/ / thepacegallery. com/ #/ q_title=Hiroshi Sugimoto: The Day
After& q_searches=1& q_q_1=__uid:"PressRelease_keywords 477"& r_referrer=Exhibition& r_type=detail&
r_details=x_x_x_x_0_x_x_x_x_x_& r_page=x_x_0_x_x_x_0_x_x_x_& r_search=0~|0|0|0|0|0|0|0|0|0) Pace Gallery, New York.
[34] Darryl Jingwen Wee (October 8, 2013), Hiroshi Sugimoto-designed Restaurant Opens in Yamanashi (http:/ / www. blouinartinfo. com/
news/ story/ 969076/ hiroshi-sugimoto-designed-restaurant-opens-in-yamanashi) Artinfo.
[35] Lara Day (January 23, 2014), Hiroshi Sugimoto Designs Own Museum (http:/ / blogs. wsj. com/ scene/ 2014/ 01/ 23/
hiroshi-sugimoto-designs-his-own-museum-in-japan/ ) Wall Street Journal
[36] Grace Glueck (September 23, 2005), Hiroshi Sugimoto Show (http:/ / www. nytimes. com/ 2005/ 09/ 23/ arts/ design/ 23sugi. html) New
York Times.
[37] Elisa Lipsky-Karasz (September 11, 2013), Hiroshi Sugimoto's Fossil Inspiration (http:/ / online. wsj. com/ news/ articles/
SB10001424127887324591204579037022687412290) Wall Street Journal
[38] Rothko/Sugimoto: Dark Paintings and Seascapes, October 4, 2012 – November 17, 2012 (http:/ / pacegallery. com/ london/ exhibitions/
11142/ rothko-sugimoto-dark-paintings-and-seascapes) Pace Gallery, London.
[39] Carol Vogel (February 6, 2014), Japan Society Grant (http:/ / www. nytimes. com/ 2014/ 02/ 07/ arts/ design/
a-bellows-painting-moves-from-virginia-to-london. html) New York Times.
[40] Carol Vogel (February 6, 2014), Japan Society Grant (http:/ / www. nytimes. com/ 2014/ 02/ 07/ arts/ design/
a-bellows-painting-moves-from-virginia-to-london. html) New York Times.
[41] Lara Day (January 23, 2014), Hiroshi Sugimoto Designs Own Museum (http:/ / blogs. wsj. com/ scene/ 2014/ 01/ 23/
hiroshi-sugimoto-designs-his-own-museum-in-japan/ ) Wall Street Journal
[42] Carol Vogel (February 6, 2014), Japan Society Grant (http:/ / www. nytimes. com/ 2014/ 02/ 07/ arts/ design/
a-bellows-painting-moves-from-virginia-to-london. html) New York Times.
[43] Carol Vogel (January 28, 2010), (http:/ / www. nytimes. com/ 2010/ 01/ 29/ arts/ design/ 29vogel. html) New York Times.
External links
• Biography, interviews, essays, artwork images and video clips (http://www.pbs.org/art21/artists/sugimoto/)
from PBS series Art:21 -- Art in the Twenty-First Century - Season 3 (2005).
• official webpage (http://www.sugimotohiroshi.com/)
• Interactive web catalogue for "Hiroshi Sugimoto: Photographs of 'Joe' " at the Pulitzer Foundation for the Arts
(http://sugimoto.pulitzerarts.org/)
• Hiroshi Sugimoto at Gagosian Gallery (http://www.gagosian.com/artists/hiroshi-sugimoto/)
• Listing at Luminous Lint (http://www.luminous-lint.com/__sw.php?action=ACT_SING_PH&
p1=Hiroshi__Sugimoto&p2=ABCDEFGHIJKLN)
• Benesse Art Site Naoshima (http://www.benesse-artsite.jp/en/chichu/index.html)
6
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