At this year’s Art Collaboration Kyoto (ACK), held from October 31 to November 3 at the Kyoto International Conference Centre, visitors were greeted by an unconventional sight—household drying racks draped in creased T-shirts, set against the tranquil backdrop of a Japanese stone garden. The display, titled Laundry by Hong Kong-born artist Lee Kit, featured shirts bearing phrases like “He was the problem” and “Progressive failure.” Despite being battered by heavy rain, the installation stood as a poignant symbol of mundane defiance, curated by Andre Chan and Chong Chin-yin from Hong Kong’s Arts Collective.
Another highlight was Garbage Tomb (Translucent White 70L) by the Tokyo-based artist collective Chim↑Pom from Smappa!Group, showcasing realistic sculptures of trash bags made from white marble, challenging viewers to find beauty in everyday objects.
Now in its fourth edition, ACK has gained a reputation for its intimate atmosphere and unique approach to art exhibitions. With 69 galleries from 18 countries and regions, this government-backed fair offers a fresh take on art presentation, featuring collaborative booths that merge the works of Japanese and international artists. Since its launch in 2021 during the pandemic, ACK has maintained its ethos of low costs and facilitating meaningful connections between artists and collectors.
One memorable collaboration this year featured Hong Kong’s Rossi & Rossi gallery joining forces with Tokyo’s Satoko Oe Contemporary, presenting works by Tibetan heritage artists. The event’s Kyoto Meetings showcased pieces deeply connected to the city’s cultural legacy.
Held in a vast, pillar-free space, ACK’s booths were constructed from recycled wooden scaffolding, creating an open, transparent atmosphere. The absence of artwork labels encouraged viewers to engage with the art emotionally rather than analytically. Some visitors found this frustrating, but designer Alan Chan appreciated the minimalist approach, calling the venue “sophisticated, yet simple.”
The fair’s ACK Nishijin Murasakino Art Night brought contemporary art into traditional settings, including temples and gardens, offering visitors exclusive access to these spaces after hours. This blend of modern art with historic venues, also seen at the Venice and Bangkok Biennales, prompted new ways of perceiving Kyoto’s architectural heritage. At Murin-an villa, Swedish artist Andreas Eriksson’s fluid landscapes created an unsettling experience, intensified by the villa’s historical significance as the site of meetings leading to the Russo-Japanese War.
Yasuta Hayashi of Japan’s Agency for Cultural Affairs emphasized that while Kyoto is a popular tourist destination, contemporary art helps visitors gain a deeper understanding of the city’s blend of history and modernity, strengthening its cultural identity.
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