![\"\"](\"https:\/\/www.yokohamatriennale.jp\/cms\/wp-content\/uploads\/2023\/06\/8thYT_Wild_Grass_Our_Lives.jpg\")
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The Organizing Committee for Yokohama Triennale has selected Okazaki Mariko as the designer for the 8th Yokohama Triennale. <\/p>\r\n \u00a0<\/p>\r\n <\/p>\r\n Design Concept<\/strong><\/p>\r\n \uff3bTypography\uff3d Normative or the deviant? \uff3bKey Color\uff3d Okazaki Mariko<\/p>\r\n <\/p>\r\n OKAZAKI Mariko (Designer and Founder, REFLECTA, Inc.)<\/strong> Website: https:\/\/reflecta.jp\/<\/a> <\/p>\r\n <\/p>\r\n The 8th Edition of Yokohama Triennale <\/p>\r\n <\/p>","protected":false},"excerpt":{"rendered":"The Organizing Committee for Yokohama Triennale has selected Okazaki Mariko as the designer for the 8th Yokoha […]","protected":false},"author":1,"featured_media":0,"menu_order":8,"comment_status":"open","ping_status":"open","template":"","format":"standard","meta":{"footnotes":""},"cat_news":[2],"class_list":["post-1425","news","type-news","status-publish","format-standard","hentry","cat_news-information"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/news\/1425","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/news"}],"about":[{"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/types\/news"}],"author":[{"embeddable":true,"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/comments?post=1425"}],"version-history":[{"count":11,"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/news\/1425\/revisions"}],"predecessor-version":[{"id":1480,"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/news\/1425\/revisions\/1480"}],"wp:attachment":[{"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/media?parent=1425"}],"wp:term":[{"taxonomy":"cat_news","embeddable":true,"href":"https:\/\/www.yokohamatriennale.jp\/english\/wp-json\/wp\/v2\/cat_news?post=1425"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\r\nOkazaki collected handwritten letters by approximately 200 citizens and students in Yokohama to be incorporated into developing a new set of typography.<\/strong><\/span>\u3000<\/p>\r\n![\"\"](\"https:\/\/www.yokohamatriennale.jp\/cms\/wp-content\/uploads\/2023\/06\/IMG-9195.jpg\")
![\"\"](\"https:\/\/www.yokohamatriennale.jp\/cms\/wp-content\/uploads\/2023\/06\/IMG-9196.jpg\")
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\r\nWhen I was looking for conceptual clues to express the spirit of \u201cWild Grass\u201d in the logo and typography, I started by studying the history of letterforms in my own way.
\r\nIn the process, I found two parallel streams: standardized letterforms provided by a centralized entity, and spontaneous letterforms created with physical actions as if they were extension of the throat and arms, that deviated from such norms (or transcended them).<\/p>\r\n
\r\n\u201cWild Grass\u201d as \u201ca symbol of a life force that is unregulated, irrepressible, defiant, self-motivated, and prepared to fight alone at all times\u201d is clearly the latter.
\r\nFrom this point of view, I came up with the idea to create a logo in which the latter type of letterforms would clash with and surpass those of the former.
\r\nAs the result, I created the motion and still logo, in which the typefaces produced as global standards by a major company in a large country is gradually broken down and transformed into a lively appearance through the variable mixing of handwritten letters by a variety of individuals, including Yokohama citizens.<\/p>\r\n
\r\nIn Lu Xun’s writings, \u201cwild grass\u201d is a metaphor for the continuous cycle of life that decays to become soil and then takes on new life, and it is also a symbol of the strengt hthat waits patiently for spring in the cold of winter.
\r\nDeath and life, despair and hope, darkness and brightness, they do not exist as simple binary oppositions, but as a process of gradational mixing and circulation.
\r\nFor the key color of the 8th Yokohama Triennale, I chose the color of the time of day when the darkness of night gradually becomes brightness of day.
\r\nIt also expresses the process of change, from death to life, from despair to hope, and from darkness to brightness.<\/p>\r\n
\r\n![\"\"](\"https:\/\/www.yokohamatriennale.jp\/cms\/wp-content\/uploads\/2023\/06\/OKAZAKI_MARIKO.jpg\")
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\r\nBorn in 1984 in Tokyo. Okazaki Mariko majored in architecture at Keio University SFC, then studied graphic design at Gerrit Rietveld Academie in Amsterdam. After returning to Japan, she worked at neucitora and village\u00ae, before becoming freelance in 2018 and establishing REFLECTA, Inc. in 2022.
\r\nDevoted to various cultural fields including contemporary art, performing arts, architecture and fashion, Okazaki seeks to explore design in an editorial\/structural way based on observation and conceptual thinking.<\/p>\r\n
\r\nInstagram: @reflecta.jp<\/a><\/p>\r\n
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\r\n \r\nExhibition Title<\/td>\r\n 8th Yokohama Triennale \u201cWild Grass: Our Lives\u201d<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n \r\n Artistic Director<\/span><\/td>\r\n LIU Ding and Carol Yinghua LU<\/td>\r\n<\/tr>\r\n \r\n Dates<\/span><\/td>\r\n March 15, 2024\u2013June 9, 2024
\r\n\uff3bOpen: 10:00\u201318:00\uff5cClosed: Thursdays (except for April 4, May 2, June 6)| Total: 78 days\uff3d<\/td>\r\n<\/tr>\r\n\r\n Venues<\/span><\/td>\r\n Yokohama Museum of Art (3-4-1 Minatomirai, Nishi-ku, Yokohama\uff09
\r\nFormer Daiichi Bank Yokohama Branch (6-50-1 Honcho, Naka-ku, Yokohama\uff09
\r\nBankART KAIKO (KITANAKA BRICK & WHITE 1F, 5-57-2 Kitanakadori, Naka-ku, Yokohama\uff09
\r\n<\/span><\/td>\r\n<\/tr>\r\n\r\n Organizers<\/span><\/td>\r\n City of Yokohama, Yokohama Arts Foundation,
\r\nJapan Broadcasting Corporation [NHK],
\r\nThe Asahi Shimbun, Organizing Committee for Yokohama Triennale<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n