Transitioning to a new web hosting service over the next few months

It has been a frustrating few weeks on the internet as it relates to my website and this website associated blog.

The WordPress blog linked to my website has been intermittently accessible for the last month or so.  Even when it is accessible, moving within pages of my WordPress blog causes me to lose my connection.  In addition, my website has been intermittently offline.

From what I can gather, Yahoo is making some updates to their web hosting system which is affecting loading times and connections to those websites being hosted by Yahoo.  I contacted customer service several weeks ago, but I got no reply.  I sent another request for service today in hopes of getting a personalized response.  We will see.

In the meantime, I have decided that it is time to transition fully to WordPress.  I have created a transitional WordPress blog where I will be posting from now until the end of my domain and web hosting registration with Yahoo in July.  After that, I will migrate my blog archives and the post from this transitional blog to my WordPress hosted website.

What does that mean?

For continued Musings of a Conceptual Archivist, please visit.

arthurjhuang.wordpress.com

Planning to visit Ogijima for the Setouchi Triennale?

I am headed back to the Setouchi Triennale 2013 on Thursday for a three day visit.  The planned destinations are Shamijima, Teshima, and Ogijima with accommodations at Uno.  I plan to check on all three Houses for Light sculptures while I am on Ogijima.  I have seen photographs of the Houses for Light during the course of the spring session and they appear to be doing all right.  I want to do some basic cleaning, add a couple more coats of varnish and then decide what I need to bring on my next trip to Ogijima in the early summer to prepare them for the hot and muggy summer season.

If you are interested in going to Ogijima, here are a some tips and recommendations based on my own personal experience.  You can always find detailed schedules and information about the artworks and artists at the Setouchi Triennale 2013 website.

The Setouchi Triennale is being held over three separate seasons, each about one month long.  Weekends can be quite busy during the seasons with lines to see artworks and to catch ferries.  If you cannot make it during the week and want to avoid the weekend crowds, I would offer this alternative.

Between the three seasons, some of the artworks in the Setouchi Triennale 2013, especially those inside buildings or requiring supervision, will not be available for viewing.  However, almost all the artwork that is installed outdoors can be viewed anytime between now and the close of the festival in early November.

You can check the Setouchi Triennale website for details about each artwork’s availability.  If you want to see some of the art (without having a list in mind) and enjoy the atmosphere of Setouchi without the crowds, I would recommend coming in between the official seasons.  There may be less in terms of artworks, vendors, and conveniences i.e. the Setouchi Passport is not valid between seasons, but you will get to experience the islands in the way that has made this area mine and others’ favorite region in Japan.  Ogijima is especially easy to visit between seasons because the ferry schedule does not change from the spring schedule.  There are ferries every two hours to and from Ogijima.

Getting to and from Ogijima

If you plan to visit the Setouchi Triennale 2013 for more than one day or during the weekend, I recommend getting the Setouchi 2 Day Ferry Pass.  It saves you the effort of lining up to buy ferry tickets and then lining up to get on the ferry.  However, if you only plan to visit Ogijima, you are better off buying your ticket since the round-trip ticket is 1000 yen while the 2 Day Ferry Pass is 4000 yen.

The best way to get to Ogijima is to take the ferry from Takamatsu Port

The ferry runs every 2 hours from Takamatsu starting from 8 am.

The ferry back to Takamatsu runs every two hours from Ogijima starting at 7 am.  The last ferry back to Takamatsu is 5 pm during the spring session and in between seasons.  If you go during the weekend or holidays, you will want to line up early if you plan on catching the last ferry back to Takamatsu.  The ferry typically holds about 250 passengers and during busy times, the last ferry can be very crowded or even filled to capacity.

Places to eat on Ogijima

Takeshi Kawashima and Dream Friends’ Dream Cafe and the Onba Factory Cafe are two of the artworks on Ogijima, you can find more details about both at the Setouchi Triennale website.

When you step off the ferry, you have many different food options right around the port.  If the weather is nice (i.e. not raining), there are a number of food stands selling takoyaki, and other goodies near Erika Yano’s The Ordinary.  With outdoor seating, this is a great place to mix with Ogijima locals and other festivalgoers.  If you walk past Jaume Plensa’s Ogijima’s Soul, you will find Murakami Shoten in a white building with a colorful awning.  Murakami-san and her daughter cook up tako (octopus) okonomiyaki, yakisoba, yakiudon.  They also prepare small bento lunches that you can take away with you to the Ogijima lighthouse or to eat along the water.  Next to Murakami Shoten, you will find a food stand that sells Ogijima curry plates.  Vending machines are also located along the port so you can keep yourself hydrated as you wander around Ogijima.

Ogijima Cafe Tachi has opened for the start of the Setouchi Triennale.  I have not been there as it was still under construction when I was there in mid-March.  It looks like they serve coffee, desserts, and light meals.  You can find more information at their Facebook page.

If you are looking for more of a sitdown lunch, I recommend two places.  The first place Madoka serves set menus for lunch.  Also, if you want fresh udon, you have to get there between 11 am and 11:30 am for a limited number of servings.  Their specialty is the octopus tempura lunch set but they have a variety of other Japanese fare.  To get to Madoka, just head to the lighthouse from Ogijima port – from Ogijima’s Soul, head left and then you will turn right when the road ends, head up the incline and about a third of the way before you reach the top of the switchback you will see a wheelbarrow standing on end with an octopus painted on it – you have arrived at Madoka.

The other place is the Minshuku Sakura.  The Minshuku Sakura is located along the path to the Group 1965 P.S.S.40 building – from Ogijima port, head towards the P.S.S. 40 building, continue straight along the path as you pass the P.S.S. 40 building on your left and about 50 meters before you reach the other port, you will see Minshuku Sakura on your right.  There is a catch, you need to make a reservation (you will need to speak Japanese or have a Japanese friend help you out) for lunch as the seafood is caught fresh and served for meals.  The specialty of Minshuku Sakura is the takomeishi which is chunks of octopus mixed with rice and herbs.  Sashimi and shellfish are likely to be served along with the takomeishi as part of the set menu.  You can make reservations by calling 087−873−0515.

Places to stay on Ogijima

If you decide to spend the night on Ogijima, both Madoka and Minshuku Sakura offer traditional Japanese accommodations.  After the last ferry arrives from Takamatsu and all the residents have returned to their homes, Ogijima becomes this quiet oasis.  You can stay along the port and watch the sunset over the Seto Inland Sea or you can climb up to the Toyotamahime Shrine and watch the sunset from on high.  After that, return to your accommodations for a warm delicious meal.  If you want to walk off your dinner, head back to Ogijima port to see Jaume Plensa’s Ogijima’s Soul illuminated.

To make reservations for accommodations, you can call either location (again, you will need to speak Japanese or have a friend help you out)  Be sure to make reservations for dinner because there are no other places on the island to eat after the last ferry leaves.  Accommodations at either place will run you between 4000 to 5000 yen depending on the kind of meal service you request.

For Minshuku Sakura, call 087-873-0515

For Madoka, call 087-873-0703

That covers the basics of visiting Ogijima.  For a relaxed visit, you can certainly spend an entire day on Ogijima, but if you don’t have the time, you can see most of the artworks and take in some food in just 3 or 4 hours.

If you have any questions about visiting Ogijima, please do not hesitate to contact me.

I hope you get a chance to experience the wonderful environment and kind people of Ogijima during this year’s Setouchi Triennale

Houses for Light through the eyes of Setouchi Triennale visitors

I have been collecting links to blogs, photos, articles about the Houses for Light project on Ogijima.  I am always curious to see how the work is being received as well as how people perceive the work.  Here is what I have found so far:

What’s going on in the studio these days

Frankly, not too much.  Ever since returning from Setouchi, I have been mulling over my proposal idea for the Aichi Triennale Curatorial Competition.  I have this habit of thinking about putting things down on paper in the form of sketches or ideas, but somehow it happens a lot less frequently that I would like.  Instead, I end up carving out a space in my brain to keep that idea and work it over in my mind until it is ready to be put down on paper.  This is exactly what happened on Sunday.  I started in on the application and everything seemed to fall into place.  I ended up finishing the application on Monday night.

One of the things that I did differently with this application was to print my work samples on photo paper rather than just regular paper.  It made quite a difference.  I was able to get a nice approximation of what the composite digital photographs would look like when they were printed.  The photo paper which I used had a gloss finish.  I was not sure how the gloss finish would go over, but I was happy with how they looked.  With an idea of how these photographs look as printed matter, I am going to use Moo to print out a limited postcard series for one or two of the digital composite series.

With the completion of the Aichi Triennale Curatorial Competition application, I finally feel free of deadlines for the first time in months!  Not that I don’t have other applications to fill out, but I feel like I have a better handle on the application process.  In the near term, I just need to complete my submission to the Delhi Photo Festival.  I have decided not to submit to the 6 x 6 event at the Rochester Contemporary Art.

In the studio, it has been quiet, but I did pick up a brayer to use for sanding my wooden panels.  I also picked up a few wood panels for carving.  I would like to organize my digital composite photographs a little bit more and then start back in the studio with the Place Cell Recordings.  I am also thinking a bit about how to transform the Interstices Project into a different medium like drawing or painting.

I also have the Things Out of the Ordinary and Emotional Dictionary data that I would like to sort out.  Much to work out.

Ogijima / 男木島

Of the seven areas that participated in the Setouchi Triennale, I think that Ogijima and Shodoshima have the largest percentage of new artworks.  I posted a few pictures of some of the new work on Ogijima.  I took a rather leisurely pace in checking out the artwork on Ogijima since I spent a good number of days on Ogijima and look forward to spending a good number of days throughout the year.

One of the first works you can see when you arrive at Ogijima is Takashi Nishibori’s Corridor of Time which consists of countless handmade umbrellas installed inside an old building which he also used for another installation in 2010.

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In the second floor of the building, the umbrellas are connected to a motorized mechanism which rotates the umbrellas like gears and all without the umbrellas touching each other.

Sayaka Ishizuka’s Water Mirror consists of various household items gathered from Ogijima residents to create an installation in which the tools, containers, and other items are hung and clustered to form floating islands.

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Haruki Takahashi’s Seavine is an old favorite of mine.  I was not able to see it during the Setouchi Triennale 2010 because the lines were too long, but I did see it last May when I came to Ogijima to do some research.  I was happy to be able to see it again on this last visit.

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For the Setouchi Triennale 2013, Takeshi Kawashima & Dream Friends have opted for a cylindrical rather than a spherical motif for the new installation.  Handmade kaleidoscopes also come into play with this new installation.

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The six artists from the loosely knit collective Group 1965 took over a closed school building to create installations and drawings throughout the structure.

You will find Oscar Oiwa’s Mirror Room in this building.

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One of Parco Kinoshita’s installation appears to be nothing more than a bunch of work created with glow in the dark materials with the words “Have a good time”

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But there is a foot pedal on the floor near the door and when you step on the footpedal, dance music begins to blare and the room lights up.

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By far, the most beautiful installation on Ogijima for me is Mayumi Kuri’s Memory Bottle which is inside one of my favorite buildings on Ogijima.  The work is simple and beautiful.

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I was sad to leave Ogijima, but I know I will be back quite a few times this year.  In fact, I will be back there again in less than three weeks.  When I left Ogijima, the cherry blossoms in Tokyo were in full bloom.  But on Ogijima and the Seto Inland Sea area, they had only started.

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I also just learned that a good portion of the artworks will be available for viewing in between the spring, summer, and fall sessions.  This is a picture of the line to catch the last ferry from Ogijima to Takamatsu on the first Saturday of the spring session.

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If you are coming during the weekends for the spring session, expect crowds.  If you are thinking of coming during the summer session, I highly recommend avoiding the weekends because you may end up spending most of your time waiting in line for ferries, buses, and artworks.  If you do go in the summer, definitely try to go during the weekdays.  It will still be crowded, but not like the weekends or holidays.

Knowing that a good portion of the artworks will be available for viewing between sessions (check the Setouchi Triennale website for more information about specific artworks), I would also say that between sessions maybe the best way to see the Setouchi Triennale and the area the way that I have experienced it in my visits this last year.  There may not be as many ferries or amenities that come with the festival, but the people, art, food, and environment are always there.

If you are thinking about visiting the Setouchi Triennale 2013 this year, let me know if you have any questions.  You can also check out David Billa’s website Ogijima.com who has extensive coverage of the Setouchi Triennale in English and French.