

The first Forest Festival of the Arts Okayama: Clear-skies Country encouraged visitors to listen closely to forests and rediscover the nature and culture in their surroundings by tuning into this sensibility. Taking this idea one step further, the 2027 installment espouses a new perspective under the banner “A Becoming Forest.” It focuses on the image of forests that continue to slowly change while heading into a tomorrow which is better, if only a little. Behind this image is the concept of “protopia” advocated by Kevin Kelly.(*) Protopia is neither an idealized utopia nor a pessimistic dystopia; its thrust is the gradual growth of a better society in reality through the accumulation of small improvements, day after day.
The festival combines this protopian vision with the idea of social common capital. More specifically, the aim is to cultivate venues, originating in the festival, for interchange and collaboration by people from all sorts of fields, including technology, agriculture, welfare, and education. The fruits are to be passed on to the next generation while protecting the precious foundation we share in the form of nature, infrastructures, and institutions.
Making the northern part of Okayama Prefecture its stage, Forest Festival of the Arts Okayama: 2027 will take another careful look at the resources and culture abiding in the area and build up a mass of small projects. These will by no means be confined to the production of artwork; they will also attempt to gently reweave the relationships between humanity and nature, and culture and living. We earnestly hope that this process will lead to the birth of new outlooks and pride among both visitors and locals, and nurture the energy needed to progress into the future from inside the area.
(*) Kevin Kelly is an American editor, thinker, and technology critic. He is known for his writings on the interplay between technology and society, and forecasts for the future. He was the founding executive editor of the magazine Wired. He has worldwide influence as a pioneering author on the subjects of artificial intelligence, the Internet, and the decentralized society.

Curator and art historian.
She currently holds positions as Visiting Professor at Graduate School of Management, Kyoto University, in "Curatorial Theory and Practice"; Program Director of Art & Design at the International House of Japan; Visiting Professor at the Research Institute for Humanity and Nature; Professor Emeritus at Tokyo University of the Arts; and Artistic Director of the Inujima Art House Project. Former Director of the 21st Century Museum of Contemporary Art, Kanazawa.
She is the recipient of the Commissioner for Cultural Affairs Award (Japan, 2020), the Chevalier of the Ordre des Arts et des Lettres (France, 2015), the Order of Cultural Merit (Brazil, 2017), and the Officier of the Ordre des Arts et des Lettres (France, 2024).
She has curated numerous biennales, including the 7th Istanbul Biennale (2001), the 4th Shanghai Biennale (2002, co-curator), the 29th São Paulo Biennale (2010, co-curator), the 11th Sharjah Biennale (2013), the 7th Moscow Biennale (2017), and the 2nd Thailand Biennale (2021). She also curated international exhibitions including Japanorama: A New Vision on Art Since 1970 at the Centre Pompidou-Metz (2017) and Fukami: A Plunge into Japanese Aesthetics at Salomon de Rothschild Hotel, Paris (2018).
From 2006 to 2016, she was Professor at Tama Art University, and from 2016 to 2023 Professor at the Graduate School of Global Arts, Tokyo University of the Arts. In 2023, she was Visiting Professor at Ca’ Foscari University of Venice, and in 2025, Guest Professor at Università Iuav di Venezia.
Her major publications include Curation -The way to shuffle sensibility and intelligence, Destroy, They Say: Women Artists Subtly Traversing Boundaries, Japanorama : new vision on art since 1970, and New Ecology and Art: Anthropocene as “dithering time”.


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