The primary impact that サイアフ has had on art in Sapporo can be summarized as the broadening and deepening of perspectives. The city’s art scene has been shaped over time by local artists through open-call exhibitions, independent showcases, and curated exhibitions at museums. サイアフ brought a new energy to this scene. For the very first time, diverse exhibitions and events centered around a single theme were held across the city over an extended period. The selection of Japanese and international artists and artworks went beyond personal networks, reflecting a broader global perspective. In addition to this, the involvement of experienced staff, including a director, curators, coordinators, managers, and skilled technicians who make sophisticated displays possible, was also a novelty. Pre-サイアフ, art exhibitions in Sapporo had never before captured the attention of national media or attracted visitors from outside Hokkaido purely for the purpose of art.
However, not everyone in the local art community welcomed this change wholeheartedly. Many practicing artists in Sapporo have explored the significance and expression of creating art here without succumbing to mainstream trends in the art world. They take much pride in their responsibility of developing the regional art scene and their many achievements. Hence, while there was cooperation from local artists during the movement of organizing an international art festival, discontent brewed due to the lack of information shared, all while the core planning team was predominantly composed of individuals from outside of Hokkaido, leaving little room for local involvement and allowing a sentiment of disillusion to prevail. Resentment also arose towards certain administrative tendencies, such as excessive reverence for prominent figures from outside Hokkaido while disregarding local artists, placing them in an inferior category. Despite efforts to align the participating artists and theme with Hokkaido, there remained an underlying sense of exclusivity. While there may have been some lack of consideration, I do believe that it was by no means the wrong choice of people or the wrong way to proceed in terms of the inaugural festival’s anticipation of future editions, national and international promotion efforts, and expertise in planning and execution. Subsequently, there was an undeniable and substantial increase in interpersonal exchanges.
Each edition of サイアフ has undoubtedly had its strengths and weaknesses. Reflecting on these experiences, efforts have been made to explore an appropriate way to hold an art festival in Sapporo. Over the years, progress has been seen in each edition in utilizing local talent, engaging residents, bridging together art and the community, exploring new exhibition spaces, improving information dissemination, developing venue signage, and collaborating with businesses. These initiatives exemplify a bold experiment in harnessing the power of art in revitalizing Sapporo, generating valuable outcomes that extend beyond the scope of サイアフ.
The skills of those involved in planning and exhibition support in Sapporo have certainly improved through experience with サイアフ. As Sapporo’s proactive approach to contemporary art has gained nationwide recognition, some artists and art professionals have relocated to Sapporo. Although it may not be an influence exclusive to サイアフ, it is undeniable that the art scene in Sapporo has evolved since the first サイアフ in 2014. While long-established rental galleries and art frame shops are closing their businesses, there is a noticeable increase in artist participation in art fairs in cities like Tokyo, indicating a shift in artists’ awareness toward presenting their work. Additionally, efforts are focused to make Sapporo a city where contemporary artists can thrive, with a system of shared studios, enhancement of grants and support systems for their activities, and the opening of the Sapporo Cultural Arts Community Center SCARTS in 2018 that lists the support of artist activities as one of its principles. In recent years, the artwork of local artists has been displayed in newly constructed hotels in Hokkaido, reflecting the growing interest in art from both inside and outside of Hokkaido.
The significance of サイアフ should not be confined to its temporary festival duration alone. In a city like Sapporo, where a multitude of artistic activities unfolds on a daily basis, holding this event every three years serves as a stimulating and experimental endeavor made possible by budget allocation and administrative involvement. It will also surely continue to shift the mindset of residents and the broader public while generating a wide range of interactions. There is no doubt that this contributes to establishing a unique and diverse Sapporo that embraces the outside world.
The primary impact that SIAF has had on art in Sapporo can be summarized as the broadening and deepening of perspectives. The city’s art scene has been shaped over time by local artists through open-call exhibitions, independent showcases, and curated exhibitions at museums. SIAF brought a new energy to this scene. For the very first time, diverse exhibitions and events centered around a single theme were held across the city over an extended period. The selection of Japanese and international artists and artworks went beyond personal networks, reflecting a broader global perspective. In addition to this, the involvement of experienced staff, including a director, curators, coordinators, managers, and skilled technicians who make sophisticated displays possible, was also a novelty. Pre-SIAF, art exhibitions in Sapporo had never before captured the attention of national media or attracted visitors from outside Hokkaido purely for the purpose of art.
However, not everyone in the local art community welcomed this change wholeheartedly. Many practicing artists in Sapporo have explored the significance and expression of creating art here without succumbing to mainstream trends in the art world. They take much pride in their responsibility of developing the regional art scene and their many achievements. Hence, while there was cooperation from local artists during the movement of organizing an international art festival, discontent brewed due to the lack of information shared, all while the core planning team was predominantly composed of individuals from outside of Hokkaido, leaving little room for local involvement and allowing a sentiment of disillusion to prevail. Resentment also arose towards certain administrative tendencies, such as excessive reverence for prominent figures from outside Hokkaido while disregarding local artists, placing them in an inferior category. Despite efforts to align the participating artists and theme with Hokkaido, there remained an underlying sense of exclusivity. While there may have been some lack of consideration, I do believe that it was by no means the wrong choice of people or the wrong way to proceed in terms of the inaugural festival’s anticipation of future editions, national and international promotion efforts, and expertise in planning and execution. Subsequently, there was an undeniable and substantial increase in interpersonal exchanges.
Each edition of SIAF has undoubtedly had its strengths and weaknesses. Reflecting on these experiences, efforts have been made to explore an appropriate way to hold an art festival in Sapporo. Over the years, progress has been seen in each edition in utilizing local talent, engaging residents, bridging together art and the community, exploring new exhibition spaces, improving information dissemination, developing venue signage, and collaborating with businesses. These initiatives exemplify a bold experiment in harnessing the power of art in revitalizing Sapporo, generating valuable outcomes that extend beyond the scope of SIAF.
The skills of those involved in planning and exhibition support in Sapporo have certainly improved through experience with SIAF. As Sapporo’s proactive approach to contemporary art has gained nationwide recognition, some artists and art professionals have relocated to Sapporo. Although it may not be an influence exclusive to SIAF, it is undeniable that the art scene in Sapporo has evolved since the first SIAF in 2014. While long-established rental galleries and art frame shops are closing their businesses, there is a noticeable increase in artist participation in art fairs in cities like Tokyo, indicating a shift in artists’ awareness toward presenting their work. Additionally, efforts are focused to make Sapporo a city where contemporary artists can thrive, with a system of shared studios, enhancement of grants and support systems for their activities, and the opening of the Sapporo Cultural Arts Community Center (SCARTS) in 2018 that lists the support of artist activities as one of its principles. In recent years, the artwork of local artists has been displayed in newly constructed hotels in Hokkaido, reflecting the growing interest in art from both inside and outside of Hokkaido.
The significance of SIAF should not be confined to its temporary festival duration alone. In a city like Sapporo, where a multitude of artistic activities unfolds on a daily basis, holding this event every three years serves as a stimulating and experimental endeavor made possible by budget allocation and administrative involvement. It will also surely continue to shift the mindset of residents and the broader public while generating a wide range of interactions. There is no doubt that this contributes to establishing a unique and diverse Sapporo that embraces the outside world.
YOSHIZAKI Motoaki Director of Hongo Shin Memorial Museum of Sculpture, Sapporo / サイアフ Committee member YOSHIZAKI Motoaki (Director of Hongo Shin Memorial Museum of Sculpture, Sapporo / SIAF Committee member)