Not far from the traditional Kenrokuen Gardens, the ancient castle grounds and the preserved tea districts of the quiet city of Kanazawa, the 21st Century Museum of Contemporary Art stands stark contrast. The aim of the museum, opened in 2004, was to revitalise the community and look to the future.
Featuring works created after 1980 and chosen for ‘proposing new values’, the exhibitions and installations are divided into paid and unpaid, permanent and temporary, but all encourage participation from the viewer. Be they the neon-like images of Nami Yokoyama requiring closer inspection, or the immersive Foam by Kohei Nawa, the temporary exhibits are chosen for their unusual and ground-breaking qualities.
Similarly, the permanent collection reflects a desire for visitors to interact with the pieces, like looking at the moving sky, stepping into a swimming pool or climbing through a metal structure. Leaving behind the tradition of art solely as a visual experience, the museum opens it up to be explored, both mentally and physically.
This removal of barriers between viewer and artwork is reflected in the museum’s design as a whole. Architects Kazuyo Sejima and Ryue Nishizawa of SANAA chose to embrace the concept of accessibility by creating a unique space with glass walls, multiple entrances and a free layout. Abandoning the traditional requirements of fixed entry and divisions between outer and inner space, the museum shows signature elements of SANAA design. The fluidity of the circular space and reflective glass walls blur the lines of visual division and allow changing natural light to alter the inner areas. With four entrances to choose from, visitors are encouraged to consider multiple viewpoints and refrain from the channeled approach of traditionally configured museums.
Recognised both domestically and internationally, the design was awarded the Golden Lion Award for the most significant work at the 2004 Venice Biennale of Architecture, the Good Design Award’s Golden Prize in 2005 and the AIJ Prize for the Architectural Design Division in 2006 among others. The museum was also a selected work in the considerations of the Pritzker Prize panel who chose SANAA for the 2010 title. Describing their style as ‘deceptively simple’, the jury notes their focus on light, transparency and continuous space — elements clearly visible in the here. Choosing to ‘blur the borders between inside and out, providing direct and changing views’, the duo’s signature style is embodied in the museum as well as their contribution to its outside space.
For the 10th anniversary in 2014, SANAA designed the eye-catching Maru — a structure of 18 stainless steel spheres elevated towards the sky. Encouraging visitors to study the ever-changing reflections and to venture within the structure itself, it is a symbol of the influence surroundings have on art.
Far from the only outdoor exhibit, Maru is joined by architect and artist Fernando Romero’s Wrapping, a metal cage-like structure. Also with multiple entrances, the angular shape takes on new layers when explored both internally and externally. Nearby, Olafur Eliasson’s Colour Activity House plays on the CMYK printing colours. Using rounded glass panels in cyan, magenta and yellow, the colours blend depending on the viewer’s location. Also giving visitors a chance to pass through it, the installation offers unique viewpoints together with a shared experience.
This duality of experience is perpetuated by the museum's most popular installation: Leandro Erlich’s The Swimming Pool. A playful example of deception, guests stroll beneath the surface of the shallow water, with the shimmering sunlight securing the deception. Reliant on the presence of people for the full effect, the installation is somewhat of a risk. Suggesting that art is nothing without its viewers, the intimation resounds for the gallery as a whole. If viewers are not there to see, explore and experience art, does it exist at all?
By Lily Crossley-Baxter
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