Friday, September 28, 2018

This (or another) side of a mountain 1: Afforested area in the southwest slope of Mt. Nabewari 鍋割山



Rejoice! My broken right wrist is improving! Now I’m able to operate a chainsaw! I’ve found out a maneuver for a chainsaw is a very good exercise as rehab. “Take a full-grip, and operate with a slow movement of both right and left wrists.” It means substantial weight-training for hands and arms. Perfect. One morning after a forestry activity the day before, I was surprised to find out a lighter feeling around my operated wrist. Hmmmmmmmmmmm. Life gives me lots of new findings … And so, recently I have visited several deep mountains for thinning and pruning. I have another new discovery: soil.




Kanagawa Forest Instructor Association has a field for forestry in a slope of Mt. Nabewari 鍋割山 (ASL 1272m), at around ASL 800-900m. According to FAO (2015), Japan places ourselves as World #2 for forest coverage of the territory with 66%, next to Finland (73.1%). 40-70 years ago, when the government gave a generous subsidy for commercial afforestation, people planted cedars and cypresses with gusto, which makes 40% of Japanese forest afforested area. It means quite a lot of our forests, 10,290,000ha to be exact (2017), were planted by human. You see? Japan does not have a wide territory, nor for a “vast expansion” to plant trees like in Siberia. Inevitably Japanese afforestation expands to the places like “What on earth were they thinking when they introduced these trees in such a remote area!?” Frankly, the area for Mt. Nabewari is one of such places.


This is the entrance to our field.


To be fair, not all of these “strange” places for afforestation went through commercial deforestation and haste afforestation with allergen, aka coniferous trees. For one thing, during the total war of the 1930s and the 1940s, Japanese Imperial Force did not bother long-term management of the mother land so that they just ordered to cut, cut, cut the trees “to build fighter airplanes, or the like, by wood”; were they crazy? In 1945 when the war was over, many slopes of Tanzawa 丹沢 were miserably bold (for this topic, pls. see my posts in September 22 and October 27, 2017). Planting something ASAP for avoid landslides at least was, and is, a reasonable option. In any case, very fragile soil of Tanzawa does not need to wait for a totalitarian Japanese Empire to have frequent deep-seated slope failures. So, it may be such considerations, not greedily pursuing profit from cutting trees, that made our grandpas to afforest such places that requires at least 2 hours mount climbing to reach for forest instructors with car-access privilege.


It’s not in the forestry field for the Association,
 but on Hadano Forestry Road
秦野林道,
 some 2K away from the activity site.
 On the last days of this July,
 it was a perfect mountain slope,
 but in mid-September, after several visits of typhoons,
 the place was like this.
 The scree was spreading over the forestry road.
 I guess it would be tricky for a car to maneuver this point.
 The other side is a tumbling-down valley for some 50 meters.
 Yes, there is a crash barrier in a spec same as for the downtown
 … Good luck for drivers.
 This is Tanzawa.
To reach to the forestry field,
 we proceed along the Ushirozawa gorge
後沢.
 Sometimes, we had to mend the road to go further.


The area Kanagawa Forest Instructors are taking care of for these 10 years is a public land owned by Kanagawa Prefecture. It expands the west side of a ridgeway hiking course to the peak of Mt. Nabewari. Across the narrow 1m wide trekking road, the east side is owned by the national government and populated by natural broadleaved trees, not afforested coniferous forests like in the west side ... There must have been some story behind it … Anyway, if you aim for the peak of Mt. Nabewari from Yadoriki Bus Stop , you’ll find such area between Kurinoki-bora 栗ノ木洞and Ushirozawa Nokkoshi 後沢乗越. (If you take a standard hiking course, it takes about 3 hours of continuous uphill to the area from the bus stop.) Unlike hiking roads, inside of a forest does / should not have a treaded route by visitors. Sure enough, the forest floor for the field of Kanagawa Forest Instructors is close to “natural.” And that’s the thing I was surprised.


The spot where the forest instructors operated some 10 years ago
 … Now the place has at least sunshine reaching to the ground.
Peeking into the national side,
 the east side of the ridge way to Mt. Nabewari
The ridge way from Yadoriki to Mt. Nabewari


The ground we entered was steep and scree-covered slopes with not much variety in vegetation. The cypresses are clinging to the ground with their roots spreading bare on the surface. I could not be optimistic for those surviving that would one day become gigantic trees protecting the ground to collapse. My senior instructors told me the area is receiving heavy pest damage by deer so that the floor is dominated by plants hated by the animal. Hmmmmmm. … I moved up the slope almost crawling, and thinned and pruned not-so-well growing cypresses on the poor soil. “Don’t cause rocks to fall. It’s a very dangerous area …” Of course … Even at around ASL 800m, the heatwave of this summer attacked us ferociously. It surely was an adventure … The condition of the land might be due to heavy deforestation some 80 years ago, or it had been like that for millennia. I have not been deep into the national side, but just at a glance it seemed the floor for the broadleaved trees in the east slope was not much different. What instructors do in the west side was thinning and pruning to make the growing condition somehow better for the afforested trees. Sisyphean task (literally, yeah)? Could be. At best, it would take a very long time to have a tangible result from our activities … But if we don’t do it, the outcome shall be worse with serious land collapse. I recalled the episode in Tokyo where in 2005 a deer-infested and impoverished cedar forests collapsed and destroyed water supply network for Okutama Town 奥多摩町 (Takatsuki, 2015). That’s we have to avoid happening here …


* Seiki Takatsuki. “On Deer Problem: the direction of unbalanced nature.” Yamakei-shinsho, Tokyo, 2015. 高槻成紀 「シカ問題を考える:バランスを崩した自然の行方」ヤマケイ新書:東京、2015.


From this photo, you may think it’s not bad for the forest floor.
But the most dominating plant there in August
 was this pretty Boenninghausenia japonica.
 It’s a relative to oranges.
 When you pick them, it smells nice …
 Even though, with some reason deer hate it,
 and so the flower survives in this forest.
This is another spot the instructors operated several years ago.
 Could you see the soil condition?
Anyway,
 the prefecture built barriers to prevent deer from coming in.
 The effect of it is …
 The place is too wide to close off, perhaps.
This is the place we did thinning and pruning …
A diedback cypress tree due to, this time, bear-infestation.
 An Asian Black Bear (Ursus thibetanus)
 peeled off a swath of cypress bark to lick sweet sap.
 They effectively prosecute gardling for this tree.
 The leading nature photographer of Japan,
 Gaku Miyazaki
宮崎学,
 wrote in his blog the bears did not attack a tree randomly,
 but carefully chose weakened ones for their tasty treat.
 He continues, as such,
  observing many diedback cypresses would be
 an indicator for the health of the forest.
 Thank god,
 we did not find many bear-diebacks on that day …


With my recovering wrist, I am now venturing into Doshi Village 道志村 for thinning activity as well. Very broadly speaking, Tanzawa and Doshi areas belong to the same geological range, called Fossa magna that has very unique characteristics in Japanese archipelago. Though, strikingly, Tanzawa and Doshi are damned different each other. Next week, let me tell you my adventure in Doshi forest this year.


Broad-leaved forest along the ridgeway to Mt. Nabewari


If you find an environmental issues in Kanagawa Prefecture, please make a contact with Kanagawa Natural Environment Conservation Center 神奈川県自然環境保全センター

657 Nanasawa, Atsugi City, 243-0121 2430121 厚木市七沢657
Phone: 046-248-0323


You can send an enquiry to them by clicking the bottom line of their homepage at http://www.pref.kanagawa.jp/div/1644/



Friday, September 21, 2018

Fruits for Eau de Vie, or DRR: finding Crimson glory vine in a suburbia



This September, Japan has been visited consecutive natural disasters, started from a super storm, Typhoon Jebi, which destroyed Kansai International Airport on 5th of September. Then, on 6th, came a M6 earthquake that killed off the electrical grid for Hokkaido 北海道. Next is an activated stationary front bringing continuous rains and occasional tornados here and there of our archipelago. Many mud slides and home destructions ensued … Inevitably, our conversation in Yokohama tends to go in to our “preparedness” for survival if such things happen to us … “The storm surge damaged the port of Kobe 神戸港 …” “Then the port of Tomakomai 苫小牧港 couldn’t operate normally thanks to the earthquake.” “Yeah …” This June, Governmental HDQ for Earthquake Research Promotion issued their 2018 National Seismic Hazard Maps for Japan. There, a probability for Yokohama to have an earthquake of M6+ is 82% for the next 30 years. The matter is something urgent and serious … Have we secured emergency communication lines with cell phones and the others? Check. Enough batteries for emergency black out? Check. Does our family have sufficient water supply for 3 to 7 days? Check. How about cooking heats? Well, Niiharu’s bamboo charcoal will certainly be handy. Enough blankets, medical supplies, portable toilets, sanitary items … etc. etc. And, of course, FOOD! Rolling stock for our pantry is in operation. OK. And now, I am scouting our neighborhood for foraging fresh “vegetables” and “fruits.” Thankfully, it’s not difficult to find them in this suburb of Tokyo. Among the candidates, very recently I’ve found several trees of Crimson glory vine where we can harvest wild grapes, just in 10 minutes’ walking radius from my home.


With some reason,
 garlic chives are thriving
 along the road
 5 minutes from my home.
And now,
 common purslane is waiting on the road for us
 to join in our salad …


In the forests, or suburbia, actually of Yokohama, we can find at least 2 kinds of vines “having fruits look like grapes.” One is No-budoh 野葡萄, aka Ampelopsis glandulosa var. heterophylla, an endemic plant of East Asia. In autumn it has shiny and colorful, eg. blue, purple, or white fruits that can stimulate our curiosity. The color of the ripen fruits is originally white, but when parasites, including larvae of Asphondylia baca Monzen (1937), or Nippoptilia vitis decide to be in the fruit, they form galls which make the fruit a bit larger, less-juicy and in exotic colors. Can we eat them? Er, yes, you can try as they are not poisonous, but people say its taste is … non-existent at best. Some say they are effective ingredients for Chinese medicine, but no authority of such things in Japan recognizes them as such. I think it’s better to maintain a distance from them in terms of eating … Even though, we can find multihued No-budoh very often during the autumnal stroll in forests. We sometimes harvest them as a material for decorations of year-end festivities. Having said that, I suspect there is general confusion about the edibility of No-budoh among city folks. You walk in a downtown, and find a name of restaurant or bar No-budoh every so often. I don’t think owners of the premises expect a connotation between Ampelopsis glandulosa var. heterophylla and parasites for their gastronomic business. They would mix up No-budhoh with Yama-budoh.


A thriving bush for No-budoh
In September, galls of No-budoh start to turn their colors.
 This stem also has white ripen fruits
 that may be tasty for parasites. 😉


Yama-budoh 山葡萄, aka Crimson glory vine (Vitis coignetiae), is endemic species for northern archipelago of East Asia. According to this Wikipedia entry, it can be found in Sakhalin Island of Russia, Ulleungdo Island of South Korea, and Japanese Islands, except southern islands of Kyushu 九州, Amami 奄美, and Okinawa 沖縄. As an edible delicacy of autumn, it has been known in millennia in Japan. From the remains of Japanese Neolithic era (roughly 15000-2300 years ago), archeologists found evidences for people having them as fresh fruits, juice, or wine. Its vine is strong but supple so that Japanese have been using it as a material of baskets and containers for a very very long time. Especially, Ainu Tribes of Hokkaido have an elaborate tradition to use them for shoes and ornamental materials of rituals. When we visit Japanese mountainous areas, and find in local souvenir shops an elegant basket or the like, they are made of the vine of Yama-budoh. (Oh, they must have a “made in Japan” tag; in any case, the difference between Japanese and Chinese baskets is obvious.) To make an object from Vitis coignetiae, an artisan / artist must prepare the harvested stems with several steps of tanning, which makes their product AWFULLY expensive. One day, in a department store I found an understating, but gorgeous lady’s handbag made of the vine of crimson glory, created by a designer from Iwate Prefecture 岩手県. I asked the price: it was 30 thousand yen, i.e. USD 3,000 (“No Photo, please.”) Wooooooow. Recently, people have started to cultivate Yama-budoh in honest as an agricultural product. They plant them in a vineyard, and produce wine, juice, jam, and raisin. They are not cheap. Take this site from YamagataPrefecture 山形県 where they sell jam made of Yama-budoh. It costs 2500 yen (USD 25) for two 150g jars. Or this site for Hokkaidoh Wine, where a bottle of wine of Yama-budoh is also around 2500 yen. So, I simply assumed people easily recognize such expensive and long-utilized grapes of traditional Yama-budoh when they see it. Er, no.


Here is Yama-budoh.
 Can you see the difference in the shape of leaves from No-budoh?
 The leaves of Yama-budoh are cutting into more than No-Budoh.
Also, the back of leaves of Yama-budoh has tiny pinkish hairs like this.


One day last month, I was surprised to find lots of unripen green grapes of Yama-budoh dangling from a meshed fence circling a public sports facility so near from my home. Even astonishing, the place is just next to a street which lots of locals use for a daily commute. (By the way, Yokohama has 3.7 million residents.) I waited for about a month, and been there with scissors to pick some ripen fruits. Then, all seemingly-knowledgeable old ladies passing behind me asked “Oh, is it a morning glory, dear?” “Er … No” with a smile on my face with a hidden determination not to reveal the true identity of this nourishing plant. I’ll survive by eating it when a natural disaster destroys everything! “OK, good-bye” was almost a unanimous reaction from the senior citizens. It may be due to typically Japanese politeness in conversation. Or, they really cannot recognize the difference between Crimson glory vine and morning glory. When grandmas of Yokohama don’t know living Yama-budoh, their children and grandchildren won’t recognize them either, don’t you think? And Japan has more than 10 thousand years of tradition with Yama-budoh …


The grapes are ripening …
Well, this one is hiding behind the leaves …
 is it because of this they are not taken by the commuters?


Well, if a situation becomes for the “survival of the fittest” after mega-earthquake, I would have a leg-up as I know where to find nutritious Yama-budoh among collapsed houses ... Though, I feel something more fundamentally problematic here … From senior citizens to kids, we in Yokohama are so inexperienced with the nature surrounding (yeah, literally, surrounding) us. When the mother-nature hits us by typhoon or earthquake, can we really endure the trials thrown from something we have completely ignored? Maybe, silk flowers taped on the concreted floor on 2017 BankArt symbolized our vulnerability … Maybe.


A bush of Asiatic dayflower.
 They are also edible for salad.
Public enemy #1 in the US and the EU: Kudzu.
 Their roots yield very fine carbohydrate powder.


If you find a problem in the Forests of Yokohama, please make a contact with

Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局
Phone: 045-671-2881
FAX: 045-641-3490

http://www.city.yokohama.lg.jp/kankyo/

Friday, September 14, 2018

Orang Hutan to be, or not to be: 2018 Laboratory of Forest Art in Yokohama



Last year during the period of Yokohama Triennale, BankArt 1929 had a show titled “LifeV – tourism: a mysterious world of a forest, plants, and the sea” which I reported in my blog for October 13, 2017. Actually, the exhibition was consisted of a couple of plastic palm trees and some silk flowers, poking from the concreted floor. That may have been an artistic expression of the creators, but … er … I think if we were accustomed to be in real forests or nature, we could feel the “amount of data” (I cannot find a better word in this regard …) from those installations was extremely poor, or even childish. If such reaction was the intention of the artists for BankArt, that’s fine. Though, I didn’t think they were aware of their insufficiency. Otherwise, how was it possible for them in a straight face to title their other works as “Accumulation of Knowledge”? (Oh, by the way, BankArt 1929 has closed their door on the canal last March, and is now moving to smaller locations in the city, division by division.) That may be a serious thing. Art is very human activity. Well, apes may do it, but not in a so-complicated-way-as homo sapience, don’t they? When such representative behavior of the 21st century humans has a feeble grasp about nature, “achieving SDG by 2030” is really a pie in the sky … no, “a forest in the sky.” And those artists for BankArt were Japanese who were supposed to be educated in the tradition of “close and refined relationship between human activity and the nature, such as tea ceremony or flower arrangement.” “We Japanese have known the importance of nearby greenery called Satoyama 里山 that sustained an idyllic country life for millennia.” Heck. Since then, I am having a suspicion about the sorry relationship between the contemporary artists, aka representative humans, and the forest / mother-nature.


… Could your imagination see a forest here?
 From “Life V – tourism:
 a mysterious world of a forest, plants, and the sea”
This is supposed to be a flower-bed.
 From “Life V – tourism:
 a mysterious world of a forest, plants, and the sea”


Ancient Japanese artists may not have been like this. Using materials harvested from nature for artistic creation needs accumulation of knowledge (indeed) about nature. The tenacity of our great artisans is really impressive in this regard; pls. just stand in front of our national treasures displayed in Tokyo National Museum. Actually, such expertise is not lost (more to it, next week). Probably, the matter is about the contemporary artists, not those who engage in traditional crafts/arts. And so, we return to the 2018 exhibition by the GROUP the Creation and Voice of the Woods, I reported last seek. Their show, named Laboratory of Forest Art, is for September 2-30, 2018 in in the forest next to the Yokohama Zoorasia. Actually this is the 4th year in my blog to report their annual event. I found a definite evolution this year, in their relationship with the forest.


Artists for Laboratory of Forest Art


For this year’s exhibition, the founders of the group, baby boomers, are handing over the programming to the Millennials. The new secretariat presented the manifesto:

Some things don’t change however; like the fact that calling this place “FOREST” is the most important thing for us; or that we want to be a group who work together in protecting and nurturing it. We adopted this view and will open a new exhibition this summer. We will have fun trying and experimenting so that this “FOREST” can be felt as a paradise for all artists, art lovers, their family and friends. Please join us in this “Laboratory of forest art.”


Now, the interesting part of this manifest is the meaning of “a group who work together in protecting and nurturing it (i.e., the forest).” They discussed this point during the symposium on the opening day. I found their approach is completely different from typical forest lovers, forest instructors included, in Japan. And that’s the most important, if we can think, at least for the forest, contemporary artists are representative of city dwellers nowadays in Japan.




The question the artists faced during the symposium was simple: why do you create your work in a forest? The answer from all 9 of them was also straight forward, and the same: the space is large in a forest. All of them said, normally they work in an atelier which ultimately limits the size and material of their installation. Then, their creation is transported to museum or gallery to be seen by the audience who are often regulars for such events. In contrast, in the forest the limit of space is practically non-existent for a single artist. They can bring in materials from the atelier, or procure the ones from the forest on the spot. The work in an atelier is lonely, but here in the forest fellow artists come and even help “building” the installation. The work will be seen by strollers who wonder in the forest without any intention to meet their artistic expression. Such audience is definitely different from those “knowing” visitors of atelier. So, in terms of space, material, and human resources, the control imposed over artistic creation is far laxer for this annual exhibition in a forest. That’s the thrills they found in the forest. And I suspect there is more.


Installation 4
Kazuma Horie, “Connecting
つなげる.”
  
He said he’s a painter usually,
 and created the installation by recalling
 his childhood memory of playing in the forests.
 He expects from this exhibition to absorb something different
 that would be a part of his foundation as an artist in 10 years’ time.
Installation 1
Noriaki Oka, “Nature and Un-nature
不自然と自然.
 In the symposium
 he confessed he loves ambiguous constraint the forest imposes.
 This year he used bamboos that
 he did not imagine using in atelier
 but was offered from the other members of the GROUP.
Installation 8
Ayumi Suzuki, “Ring
.”
 This is her first time to present the work in a forest.
 The idea of installation is hers,
 but her family visited the forest many times to “construct” it together.
 She said both the size and the collaborative nature of the work
 were very refreshing.


The City of Yokohama allows them to present their art work in the forest that will be a botanical part of Yokohama Zoorasia. There is a reason for this generosity. The GROUP the Creation and Voice of the Woods is registered as an organization of forest volunteers. As such, they, the artists and the non-artists, engage in forest management activities year-round. The basic maintenance of trekking roads in the forest is a part of their “expected” activity. Thinning smaller trees to prevent biodiversity from degradation is another. It seems to me, as the artists join to such pursuits, they unconsciously digested the spirit of the Satoyama forest. According to Harada who is a founding member of the GROUP since 1997, in earlier days artists brought in the installations created in their downtown atelier to the forest, just like they normally did for the shows in galleries. However, after thinning and pruning for 20 years lots of logs and branches have been piled up that can be a part of their artistic material. Why not using them for their creative work? The installations made of materials regularly found in the art galleries gradually become  works from the offerings from the forest. Larger works let them think more the relationship between their work and the surrounding forest. ASADA said for some time she regarded the forest something to tackle with, or to conquer for her installation. This year, No. She dug the forest floor becoming a part of the forest, and found her art work stress-free. Chikada said she realized whatever the freedom the forest offers, ultimately the existence of the forest is far stronger than her or her work. It is the humble conversation with the forest that lets her creative urge to go forward. Yoshikawa mentioned now he’s certain about his artistic direction that can walk naturally with the time of the forest. For him presenting his work in the forest is really free without even the time constraint. 


Installation 3
Kazuo Ishikuro, “Wind God, Thunder God
ふうじんらいじん.
 He found liberating
 using the thinned trees and pruned boughs of limitless supply.
Installation 2
Yoko Kiga, “territory.”
 In the symposium, she pointed out physical challenges,
 such as rain, heat, insect bites, injuries, …
 during the activities in the forest. It made her resolve to create art.
 
Installation 9
Akatsuki Harada, “The Imagination of the Giant Tree – 15
巨木のイメージ – 15.”
Installation 6
ASADA, “Dive into the forest.”
Installation 5Haruna Chikada, “There and Here むこうとこちら
Installation 7
Youichiro Yoshikawa, “Green
circles and lines 2018 緑の丸と線 2018.”
  
He said amblers in this forest may think
 the importance of artistic expression without coming to the museums.


And so, here is the difference between the exhibition of Laboratory of Forest Art, and the silk flowers pasted on the concrete in BankArt. The artists for the GROUP the Creation and Voice of the Woods have dived in the forest in honest, and making the environment really a part of their creative process. This year’s installations definitely show their evolution in understanding of the environment. Certainly theirs are different from re-creation of organic farming, or traditional crafts from the forest materials. Yes, they hang heavy objects from the trees which could put pressure on the forest, albeit temporarily. The academic biologists or botanists would frown at their treatment of the nature. But, I think the artists’ approach could be a part of 21st century Satoyama management. They sincerely search for the establishment of relationship with the forest, for their own creative necessity. They are exploring a win-win route for the environment and the humans. That’s the necessary condition for the sustainable “development,” isn’t it?




If you find a problem in the site introduced in this post, the best contact address will be GROUP the Creation and Voice of the Woods.


In any case, the city office which is in charge of this forest is

Office for the Park Greeneries in the North 北部公園緑地事務所
Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局
Phone: 045-311-2016

FAX: 045-316-8420

Friday, September 7, 2018

Laboratory of Forest Art: 2018 art exhibition in the forest of Yokohama



September. Yeah, it’s still hot in Yokohama, but surely the autumn is coming. On September 2nd, 2018, the annual art exhibition is opened its 11th show in the forest next to the Yokohama Zoorasia. It will be held till 30 September, organized by GROUP the Creation and Voice of the Woods 創造と森の声. (Phone/FAX: 045-933-1460, Email: morilabo.ws@gmail.com. Their Facebook is here.) The show is free of charge for visitors. As a continuation of organizational change started since the last year for the GROUP, the concept of 2018 program reflects the transition from baby boomers (the founders of the group) to Millennials. This year, they named their exhibition in English: Laboratory of Forest Art. Next week, I’ll report you what their idea is, which was presented during the symposium on the opening day. Anyway, it’s better you yourself go there first and find it out from their work. This week, let me introduce you the installations the GROUP has presented in the forest for 2018 exhibition.





As there is no parking, the access to the venue is by bus. The most convenient transportation is a bus ride to Yokohama Zoorasia, from JR Nakayama 中山 station, Sotetsu Tsurugamine 鶴ヶ峰 Station, or Sotetsu Mitsukyo 三ツ境 Station. (Time tables are here.) Get off the bus at Yokohama Zoorasia, and proceed further along for about 400m to the direction of #2 Parking of the Zoo. On the right, there will be a small gate with the sign GROUP the Creation and Voice of the Woods. If you visit the place during weekends, many buses will take us to the North Gate of Zoorasia (terminal stop) that is the closest to the exhibition entrance. When you leave the terminal stop of Zoorasia North Gate, go back a bit along the bus road, and on the left there is the sign for the GROUP. From the sign, enter the forest; the road is a relatively wide walking promenade. On your left there is an entrance, and you can see a big banner over there saying “the Creation and Voice of the Woods 創造と森の声.”


The gate to the forest for the Exhibition from Zoorasia
The entrance to the exhibition. Welcome!
The banner we can find nearby


When you enter the forest, pls. find the reception desk where we can have free pamphlets and the map of the forest for the show. On the right, there is a wire fence decorated by acorns and leaves. It’s like a vignette constructed by objects from the forest. According to the GROUP, it’s for visitors to complete by hanging whatever they found / created in the forest (+ to protect the trekking roads from violent trespassing). The GROUP said from this year the City of Yokohama gave OK to leave picnic benches in the opens space at the entrance. You can have your lunch there (; though it’s a heaven for mosquito). Below is the map for this year’s exhibition.



Vignette in the forest


9 artists have installed their work for the 2018 show. The route for the exhibition is also changed here and there, which is, I think, an evolved approach (, on which I’m going to talk about next week). Each installation shows a QR code that can lead us to the concept of the work explained by the words of the artist. … Yeah, QR code may not be so familiar for you outside Japan. It’s a 2-dimensional bar code that can carry more data than the codes you find in the shelves of supermarkets. To use them, please download a QR code app. on your mobile (you can search “QR-code” in whichever vendor). In this post, I show you the link for each manifestation of the concept, which is the same web-page you can open from the QR code.




Installation 1
Noriaki Oka, “Nature and Un-nature 不自然と自然

https://labforestart.wixsite.com/mysite/noriaki-oka


Installation 2
Yoko Kiga, “territory”


https://labforestart.wixsite.com/mysite/youko-kiga


Installation 3
Kazuo Ishikuro, “Wind God, Thunder God ふうじんらいじん


https://labforestart.wixsite.com/mysite/kazuo-ishikuro


Installation 4
Kazuma Horie, “Connecting つなげる


https://labforestart.wixsite.com/mysite/kazuma-horie


Installation 5
Haruna Chikada, “There and Here むこうとこちら


https://labforestart.wixsite.com/mysite/haruna-chikada
To enjoy this installation,
 please stand on the stump in the back to the mirror.


Installation 6
ASADA, “Dive into the forest”


https://labforestart.wixsite.com/mysite/asada-asada
ASADA has an accompanying video for this installation here.


Installation 7
Youichiro Yoshikawa, “Green circles and lines 2018 緑の丸と線 2018”


https://labforestart.wixsite.com/mysite/youichiro-yoshikawa


Installation 8
Ayumi Suzuki, “Ring


https://labforestart.wixsite.com/mysite/ayumi-suzuki


Installation 9
Akatsuki Harada, “The Imagination of the Giant Tree – 15 巨木のイメージ – 15”


https://labforestart.wixsite.com/mysite/akatsuki-harada
The work is a continuation of his Giant Tree series,
 following #14 at Yogyakarta last year.


This year, they have one workshop titled “Let’s make a magic tree in the forest.” It’s on September 16, 10:00-13:00, MC-ed by Noriaki Oka (300 yen for an adult, 200 yen for a kid). RSVP via email below. Enjoy. 😄




If you find a problem in the site introduced in this post, the best contact address will be GROUP the Creation and Voice of the Woods.


In any case, the city office which is in charge of this forest is

Office for the Park Greeneries in the North 北部公園緑地事務所
Yokohama Municipal Government Creative Environment Policy Bureau 横浜市環境創造局
Phone: 045-311-2016
FAX: 045-316-8420