About the Director's Diary
My days, since assuming the directorship for Yokohama Triennale 2005, have been an endless sequence of meetings, discussions, research trips, presentations, venue preparations, and appearances at official events. So that I can look back at this intensely busy time—a time, in my brief tenure in this role, such as I may never know again—and remember what I thought, felt, and did, I have started a diary. The diary is at once a personal journal and a public record of my activities in an official capacity as director for Yokohama Triennale 2005.
Tadashi Kawamata |
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December 31, 2005 Tokyo
My official duties as Yokohama 2005 director end today, just as those of the staff do, so I will also bring this diary to a close. Thank you for reading its pages during the past year.
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December 28, 2005 Yokohama
We hold a year-end party at the Public Welfare Center. All curatorial staff will become discharged from their duties as of December 31, when their contracts expire. This is actually their last day of work, excluding remaining paperwork and document production staff work. As we toast with beer, I thank them for all they have done. Then we share a Japanese hot pot together.
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December 26, 2005 Yokohama
Mr. Anzai and I spend several hours selecting a total 300 photos, both color and black and white, for a Triennale documentary book. With this, we have managed somehow to finish our work for this year.
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December 25, 2005 Yokohama
We sell off the waste materials left from the exhibition at a low price. While a trifling sum, it is still better than paying to have the materials disposed of.
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December 22, 2005 Yokohama
On the second floor of ZAIM, we hold a strategy meeting in looking toward the next Yokohama Triennale. We discuss with citizen groups possible ways in which to continue the Triennale after this second exhibition.
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December 20, 2005 Yokohama
In the morning, I go to Yokohama City Hall and report to the mayor that we have ended the Triennale without mishap. The mayor, for his part, expresses his appreciation for our efforts. Does this mean I have fulfilled my public responsibilities as Triennale director?
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December 19, 2005 Yokohama
We begin removing the artworks from the exhibition. From 9:00 a.m. our curatorial staff members are already moving about busily. We begin by removing the machinery and other equipment, then little by little pack up the artworks. Around noon, Makoto Nomura brings his instrument and plays for us while we work. This touches my emotions, for it suddenly feels as if the exhibition were still on.
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