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Twenty-one years ago while having a dinner party, some Kochi politicians began chatting about Tosa Washi. Since everyone was drinking and feeling relaxed, all sorts of things came up, including how to introduce Tosa Washi to the world. At the time, no one thought very seriously about it, it was just talk after all. It should be noted that Kochi prefecture is known for its love of sake. In fact, even I am of the belief that having a drink with someone just one time is a lot more telling and informative than meeting with him several times just to chat. In any case, the next day some more Kochi politicians approached them saying, “This Tosa Washi something-or-other...Make it happen.” And this is how the world-renowned and greatly respected Kochi Triennial Exhibition began. |
Washi has two primary uses in today’s world: conservation and printmaking. As conservation was too broad of a category, we decided to make the exhibition focus on printmaking. Of course, we still had absolutely no clue how to go about things yet. In the end, we went to the Japan Printmaking Organization for help. Their response was, “Well, if your budget is large enough, don’t limit the exhibition to young artists only. In doing so, you can get a larger group of truly gifted artists.” So we took that advice, but we were still at a loss. We were advised to start an open application search for people to join, and what we got was the extremely gifted Keisei Kobayashi—and not just him, but others of his caliber, too.
From that point on, the very 1st Kochi Triennial was marked as having highly reputed and skilled artists. While the number of applications fluctuated, the popularity of the show only increased. This year, artists hailed from seventy-seven countries; there is a total 1,382 participants – 533 Japanese, 849 from abroad. From that, 195 pieces were accepted. Three judges deliberated for two days. On the first day, all 3,200 pieces were judged. On the following day, those that had passed were selected. To be a judge is to be wary of your own opinions and to never catch a wink of sleep. As such, each piece was reviewed at least 5 times; the assisting staff also had their work cut out for them. |
| There were eighteen staff members who carried art pieces in and out to the judges. Most of who were local youth who were papermakers and artists. So 3,200 pieces divided amongst eighteen people is about 178 (those eighteen people had to carry artwork 178 times). With white-gloved hands, each artwork is meticulously carried and shown one by one to each judge. That averages out to about 200 pieces lugged each day. It’s truly a work out! For this reason, many of these volunteers bought special sneakers. They endured cramps, back pains and more. What’s more, when they carried pieces to be |
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judged, they began to feel as though it were their own art, so that when a judge said, “The piece you’re carrying has been selected,” it was as if they themselves had been selected! And conversely, if the piece they carried hadn’t been selected, they also felt dejected. So in the end, we finally made it through the judging process.
Next year’s Kochi Triennial judging well be held in the Kochi prefecture, Ino City Museum of Art from March 15, 2008 to April 20, 2008.
TSUYOSHI AGETA
General Manager
Tosa Washi Coop
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