東京ビエンナーレ東京ビエンナーレ地下を走る首都高速道路。その空気を地上へと導くために設けられたのが、この「鍛冶橋換気所」である。本来は機能的な装置にすぎないが、アルミ素材の無垢な質感と円柱形のシルエットをもつその姿は、都市のなかでひとつの彫刻的存在として見えてくる。周囲のビル群との調和を意識した設計であることは明らかだが、そのミニマルでストイックな佇まいには、都市の垂直性を素直に受け止める誠実さがある。高層化が進む市街地において、無言のまま垂直方向のスケール感を可視化するこの塔は、構造と環境の間に成立するデザインのあり方を静かに示している。同種の換気塔は都内各所に見られる。いずれも煙突的な構造を共有しながら、設置環境に応じてそれぞれ異なる表情をもつ。それらはまるで、都市という生態系の中に自生する人工的植物のようであり、機能を基点としながらも、環境と調和する造形へと進化した存在といえる。思い起こせば、福島第一原子力発電所の建屋が世界的に注目を集めた際、空色をまとい、鳥が舞うようなデザインが施されていた。工場の煙突や排気塔など、空気を高所に放出する構造物が多くの社会に共通して見られるのは、人間の身体スケールを超え、より大きな環境単位と関わろうとする意識の表れであろう。ビルそのものを彫刻作品として捉えることもできなくなないが、機能が全面に出る建築は、造形そのものを純粋に鑑賞することには距離がある。しかし、この換気塔のように、機能が抑制され、造形的な秩序だけが前景化した存在に目を向けるとき、そこには“アートとデザインの境界”を探る視点が生まれる。機能のために生まれながら、造形としての自立を果たしている。鍛冶橋換気所は、機能が隠れストイックなプライマリーストラクチャーをコンセプトとしたアートの文脈で読みとっても鑑賞が楽しくなるだろう。（中村政人）所在地：東京都千代田区丸の内1-11-6

東京ビエンナーレ《Kanban Architecture》– Kamiya Ice ShopThis venue is free of charge for visitors.[Participating Artists]Gaku KurokawaAddress: 2-1-7 Kanda-Sudachō, Chiyoda-ku, TokyoAccess: Approx. 7 minutes on foot from Toei Shinjuku Line Iwamotochō Station (Exit A1);Approx. 8 minutes on foot from Tokyo Metro Awajichō Station (Exit A1);Approx. 9 minutes on foot from JR Akihabara Station (Exit 5)Open: 11:30–16:30Closed: Monday, Tuesday, Wednesday

東京ビエンナーレ《Kanban Architecture》– Ebihara ShopThis venue is free of charge for visitors.[Participating Artists]Tenthaus Art Collective and the Oven NetworkAddress: 2-13-5 Kanda-Sudachō, Chiyoda-ku, TokyoAccess: Approx. 2 minutes on foot from Toei Shinjuku Line Iwamotochō Station (Exit A6);Approx. 4 minutes on foot from JR Akihabara Station (Showa-dori Exit)Open: 11:30–16:30Closed: Monday, Tuesday, Wednesday

東京ビエンナーレOtemachi Park Building, 1st Floor EntranceSponsorship: Mitsubishi Estate Co., Ltd.※This venue is free of charge for visitors.※The artist’s live production is scheduled every Wednesday from 12:00 to 16:00.[Participating Artist]Naoki SatoAddress: Otemachi Park Building, 1-1-1 Otemachi, Chiyoda-ku, TokyoAccess: Directly connected to Exit C6a of Otemachi Station (Tokyo Metro Marunouchi, Chiyoda, Hanzomon, Tozai Lines / Toei Mita Line)Open: 7:00–21:00Closed: Saturday, Sunday, and public holidaysNote: The exhibition will close on Friday, December 12.

東京ビエンナーレGyoko Underground GallerySponsorship: Mitsubishi Estate Co., Ltd.※This venue is free of charge for visitors.[Participating Artist]Naoki SatoAddress: 1 Marunouchi, Chiyoda-ku, TokyoOpen: During walkway opening hoursNote: The exhibition will close on Friday, December 12.

東京ビエンナーレOtemachi First SquareSponsorship: Mitsubishi Estate Co., Ltd.Support: Otemachi First Square Co., Ltd.; NTT East Corporation※This venue is free of charge for visitors.[Participating Artist]Fu OuchiAddress: 1-5-1 Otemachi, Chiyoda-ku, TokyoAccess: Directly connected to Exits C8, C11, and C12 of Otemachi Station (Tokyo Metro Marunouchi, Chiyoda, Hanzomon, Tozai Lines / Toei Mita Line); approx. 5 minutes on foot from JR Tokyo Station (Marunouchi North Exit)Open: During daytime

東京ビエンナーレÉtoile Kaito Living BuildingThe Living Building of Étoile Kaito, a long-established wholesale company with a 123-year history that offers a wide range of merchandise—from fashion apparel to household goods and food products—will serve as one of the exhibition venues.Artworks will be displayed across six floors.Special Cooperation: Étoile KaitoPlease note that an admission ticket (paid) for the Hub Venue is required to enter this site.[Participating Artists]L PACK, Nozomu Kubota, Trương Quế Chi / Nguyễn Phương Linh(Vietnam), Piotr Bujak(Poland), Eiji Watanabeーーーーーーーーー『Tokyo Perspective』Mari Katayama, SIDE CORE, Risaku Suzuki, Yasuko Toyoshima, Masato Nakamura, Naoya Hatakeyama, Chihiro Minatoーーーーーーーーー『Open Call Project for International Artists「SOCIAL DIVE」』Nalaka Wijewardhane(Sri Lanka), Camila Svenson(Brazil), Mariam Tovmasian(Armenia), Adam Roigart(Sweden), Elke Reinhuber(Germany)ーーーーーーーーー『「Ten Oto-date」in Tokyo Biennale 2025』Akio Suzuki (around the Étoile Kaito Living Building)Address: 1-15-15 Higashikanda, Chiyoda-ku, TokyoAccess: Approx. 2 minutes on foot from JR Sobu Line Bakurochō Station (Exit 4);Approx. 6 minutes on foot from Toei Shinjuku Line Bakuroyokoyama Station (Exit A1)Open: 11:30–18:00 / Fridays 11:30–19:00Closed: Monday & Tuesday

東京ビエンナーレTokyo Dome City Water Feature AreaProject Partner: Tokyo Dome CorporationThis venue is free of charge for visitors.[Participating Artists]HogaleeAddress: Inside Tokyo Dome City, 1-3-61 Koraku, Bunkyo-ku, Tokyo(Water Feature Area located between the “Meets Port” complex and Tokyo Dome Hotel)Access:Approx. 5 minutes on foot from JR Suidobashi Station (West Exit);Approx. 6 minutes on foot from Toei Mita Line Suidobashi Station (Exit A2)

東京ビエンナーレTokyo Dome City Park Ribbon VisionProject Partner: Tokyo Dome CorporationThis venue is free of charge for visitors.[Participating Artists]Goro MurayamaAddress: Inside Tokyo Dome City, 1-3-61 Koraku, Bunkyo-ku, Tokyo(At Central Park, featuring the over-100m “Park Ribbon Vision” surrounding the Lawn Square)Access:Approx. 5 minutes on foot from JR Suidobashi Station (West Exit);Approx. 6 minutes on foot from Toei Mita Line Suidobashi Station (Exit A2)Open: 7:30–22:59(Goro Murayama’s work: 30-second screenings at 00 and 30 minutes past each hour)

東京ビエンナーレFounded in the Edo period, “Tōeizan Kan’ei-ji” will celebrate its 400th anniversary in 2025.For Tokyo Biennale 2025, in addition to the main hall of Kan’ei-ji, the Kaizando Ryōdaishi Hall and the Benten-dō on Shinobazu Pond will also serve as exhibition venues.Special Cooperation: Tōeizan Kan’ei-jiPlease note that an admission ticket (paid) for the Hub Venue is required to enter this site.[Participating Artists]Mami Kosemura, Nobuyuki Fujiwara, Junichi MoriAddress: 1-14-11 Uenosakuragi, Taito-ku, TokyoAccess: Approx. 7 minutes on foot from JR Uguisudani Station; approx. 15 minutes on foot from JR Ueno StationOpen: 11:30–16:30Closed: Monday & Tuesday

東京ビエンナーレMatsuzakaya Ueno Department StoreSponsorship: Daimaru Matsuzakaya Department Stores Co., Ltd.This venue is free of charge for visitors.[Participating Artist]Akio Suzuki (3 locations on the 3rd floor, 1 location on the 8th floor)Address: Matsuzakaya Ueno Main Building, 3-29-5 Ueno, Taito-ku, TokyoAccess: Directly connected to Exit C6a of Otemachi Station (Tokyo Metro Marunouchi, Chiyoda, Hanzomon, Tozai Lines / Toei Mita Line)Open: 10:00–20:00

東京ビエンナーレIn front of Daimaru Tokyo Store, Yaesu North Exit, Tokyo StationSponsorship: Daimaru Matsuzakaya Department Stores Co., Ltd.Support: East Japan Railway Company (JR East)※This venue is free of charge for visitors.[Participating Artist]Shun YonahaAddress: 1-9-1 Marunouchi, Chiyoda-ku, TokyoAccess: Immediately outside the Yaesu North Exit of JR Tokyo StationOpen: During daytime

東京ビエンナーレAround the Kyobashi Saiku (Artizon Museum / TODA Building)Special Grant: The Ishibashi Foundation※This venue is free of charge for visitors.[Participating Artist]Akio Suzuki (4 locations)Address: 1-7-1 Kyobashi, Chuo-ku, TokyoAccess: Approx. 5 minutes on foot from JR Tokyo Station (Yaesu Central Exit);Approx. 2 minutes on foot from Tokyo Metro Ginza Line Kyobashi Station (Exit 6);Approx. 5 minutes on foot from Tokyo Metro Ginza Line / Tozai Line / Toei Asakusa Line Nihonbashi Station (Exit B1);Approx. 6 minutes on foot from Toei Asakusa Line Takaracho Station (Exit A5)Open: During daytime

東京ビエンナーレIn front of the Konpon Chūdō, Tōeizan Kan’ei-ji※Special Cooperation: Tōeizan Kan’ei-jiThis venue is free of charge for visitors.[Participating Artists]Gaku Kurokawa, Akio SuzukiAddress: 1-14-11 Uenosakuragi, Taito-ku, TokyoAccess: Approx. 7 minutes on foot from JR Uguisudani Station; approx. 15 minutes on foot from JR Ueno StationOpen: 9:00–17:00

東京ビエンナーレTōeizan Kan’ei-ji, Shinobazu Pond Bentendō※Special Cooperation: Tōeizan Kan’ei-jiThis venue is free of charge for visitors.[Participating Artists]Akio Suzuki(2 locations)Address: 2-1 Ueno Park, Taito-ku, TokyoAccess: Approx. 5 minutes on foot from JR Ueno StationOpen: 9:00–17:00

東京ビエンナーレ《Kanban Architecture》– Kakuchi PackingThis venue is free of charge for visitors.[Participating Artists]Juri AkiyamaAddress: 1-22-2 Kanda-Sudachō, Chiyoda-ku, TokyoAccess: Approx. 2 minutes on foot from Tokyo Metro / JR Kanda Station (Exit 4);Approx. 7 minutes on foot from Tokyo Metro Awajichō Station (Exit A1);Approx. 7 minutes on foot from Toei Shinjuku Line Ogawamachi Station (Exit A1)Open: 11:30–16:30Closed: Monday, Tuesday, Wednesday

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東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《View to the north from Nihonbashi》（From the series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Backshift 2015〜2025（Agata Takezawa Building）》（From the series〈Backshift 2025〉）The Tokyo Biennale 2025 will be held in several locations where I have previously held solo exhibitions. As if following the old saying that “criminals return to the scene of the crime,” or perhaps driven by some homing instinct, I find myself visiting these places I hadn't been to in a while.My memory of briefly displaying my work in these places remains vivid, and the stress from that time lingers. Back then, they were small spots where I painstakingly painted walls and worked on lighting to create a suitable exhibition space. Now, I see it in a different light—as real estate, as buildings and land. The fact that I was involved with these places at a certain time, and the fact that I went to see them again now. I chose photography as my method to connect these two personal points of connection to these spaces through a timeline, like a narrative.Some buildings remain unchanged from 35 years ago, while others have already been demolished and turned into parking lots. What they all shared was that the people involved back then no longer reside at those addresses.(Yasuko Toyoshima)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《台東区谷中２丁目付近》（From Series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ東京ビエンナーレ ※このスポットは作家の撮影場所です。作品展示はございません。作品は日本橋・馬喰町エリアの「エトワール海渡リビング館」にて展示しています。 《UR2L001》（シリーズ〈URBAN RITUAL /Tokyo2025〉より）東京は巨大都市（メガシティ）という形容が定着して久しい。「1000万都市」東京は1950年代にニューヨークを抜いて世界一となり、64年には2000万人を、85年に3000万人を突破、2020年にはついに4000万人を超えて世界一を突き進んでいるという。行政区をまたいで延伸する都市圏は衛星画像からも確認できる。統計上の数字とはいえ驚くべきことだが、そこに住んでいる住民に「世界一」の実感があるのかどうかはわからない。人口密度が連続する集積地域 (urban agglomeration) の内側は不均質な「地元」の積み重ねではないだろうか。そんな「町」の一角を切り取りつなげて連続性のパターンを作ってみる。不均質な都市から取り出す地元文様の試み。今回は東京ビエンナーレが繰り広げられる神田川沿いの高低差を含んだ地形と、そこを通る動脈である電車をモチーフにした。庶民の遊び心が生んだ江戸小紋ではないけれど、メガシティならではの文様と言えるかもしれない。（港 千尋）『Tokyo Perspective』とは？アーティストがまちを歩き、新作を撮影。各作家が撮影したポイントは公開され、そこを訪れた人々と視線を共有します。オリジナルプリントは「エトワール海渡リビング館」で展示するほか、セブン-イレブン各店舗に設置されているマルチコピー機でプリントが可能。

東京ビエンナーレ《TOKYO PERSPECTIVE》Yasuko Toyoshima（Photography location）※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Backshift 1990〜2025（Seitoku Building））》（From the series〈Backshift 2025〉）The Tokyo Biennale 2025 will be held in several locations where I have previously held solo exhibitions. As if following the old saying that “criminals return to the scene of the crime,” or perhaps driven by some homing instinct, I find myself visiting these places I hadn't been to in a while.My memory of briefly displaying my work in these places remains vivid, and the stress from that time lingers. Back then, they were small spots where I painstakingly painted walls and worked on lighting to create a suitable exhibition space. Now, I see it in a different light—as real estate, as buildings and land. The fact that I was involved with these places at a certain time, and the fact that I went to see them again now. I chose photography as my method to connect these two personal points of connection to these spaces through a timeline, like a narrative.Some buildings remain unchanged from 35 years ago, while others have already been demolished and turned into parking lots. What they all shared was that the people involved back then no longer reside at those addresses.(Yasuko Toyoshima)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Backshift 2016〜2025 (Chiyoda Art Square former Nensei Junior High School)》（From series〈Backshift 2025〉)The Tokyo Biennale 2025 will be held in several locations where I have previously held solo exhibitions. As if following the old saying that “criminals return to the scene of the crime,” or perhaps driven by some homing instinct, I find myself visiting these places I hadn't been to in a while.My memory of briefly displaying my work in these places remains vivid, and the stress from that time lingers. Back then, they were small spots where I painstakingly painted walls and worked on lighting to create a suitable exhibition space. Now, I see it in a different light—as real estate, as buildings and land. The fact that I was involved with these places at a certain time, and the fact that I went to see them again now. I chose photography as my method to connect these two personal points of connection to these spaces through a timeline, like a narrative.Some buildings remain unchanged from 35 years ago, while others have already been demolished and turned into parking lots. What they all shared was that the people involved back then no longer reside at those addresses.(Yasuko Toyoshima)About for『Tokyo Perspective』Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《somebody's cloud》（From the series〈Tunderpass poem〉）I used to live in Kanda. I often went for walks, but there was one place that caught my eye, yet I never stopped to look at it – the underpass beneath the Metropolitan Expressway Ueno Route 1.The history of the Metropolitan Expressway Haneda Route 1 runs deep. Over the years, exhaust soot has settled thickly on the guardrails and pillars beneath the overpass, turning them pitch black. Modern cars don't emit nearly as much exhaust, so now, beneath this dirty overpass, I just sense its history. In some spots, graffiti scrawled with fingers is scattered here and there. I often gazed at it during traffic jams.Much of the graffiti is meaningless, but looking closely, some is written in places people don't walk, like the median strip, revealing an unexpected intentionality. For this project, when we visited Kanda for the first time in a while to take a walk, we tried wiping the soot with our fingers to draw a poem. It looked simple enough, but the accumulated soot had hardened, making even drawing a single line difficult, and our hands and clothes turned completely black. I think there are aspects of the city you only understand by touching it. We encourage you to try touching it yourself if you happen to be out walking around looking for the spot. (SIDE CORE)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《UR2L002》（From the series〈URBAN RITUAL /Tokyo2025〉）Tokyo has long been firmly established as a megacity. The “10-million-person city” of Tokyo surpassed New York to become the world's largest population in the 1950s, exceeding 20 million in 1964 and 30 million in 1985. By 2020, it had finally surpassed 40 million, continuing to move forward as the world's largest.The metropolitan area extending across administrative districts is visible even through satellite imagery. While the statistical figures are astonishing, it is unclear whether residents actually feel like they live in the “world's largest city.” Is its interior not this densely populated, contiguous urban agglomeration simply a layered accumulation of heterogeneous “localities”?I've cut out corners of such “localities” and connected them to create a pattern of continuity as an attempt to extract local patterns from a heterogeneous city. For this project, I used the terrain along the Kanda River, where the Tokyo Biennale unfolds, featuring its elevation changes, and the trains running through it as motifs. It's not Edo Komon patterns born from the playful spirit of commoners, but it could be called a pattern unique to a megacity.(Chihiro Minato)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Bunkyō-ku, Hongō》（from the series〈Hongo–Kikuzaka Neighborhood〉）When rushing to catch a train or heading to the supermarket with a smartphone in hand, we walk without even realizing that we are walking. We see only the bare minimum of our surroundingsOn the other hand, there are times when we are very aware that we are walking. Often this is due to unexpected reasons like leg pain or getting lost, but occasionally it raises unusual questions like “Why am I walking again?” or “What does it even mean to be walking?”Taking a walk is not merely walking, it is deliberately putting oneself in that state of “walking.” The appeal of taking a walk lies precisely in the richness of perceptual experience brought, moment by moment, in that state of “walking.” During a walk, everything that meets the eye approaches us indiscriminately, yet with a persuasiveness different from the ordinary. We walk through real space with an intensity of perception and bodily awareness that could even be called phenomenological. It is as if we are swimming through water. (Naoya Hatakeyama)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Invisible people》（From the series 〈Tunderpass poem〉）I used to live in Kanda. I often went for walks, but there was one place that caught my eye, yet I never stopped to look at it – the underpass beneath the Metropolitan Expressway Ueno Route 1.The history of the Metropolitan Expressway Haneda Route 1 runs deep. Over the years, exhaust soot has settled thickly on the guardrails and pillars beneath the overpass, turning them pitch black. Modern cars don't emit nearly as much exhaust, so now, beneath this dirty overpass, I just sense its history. In some spots, graffiti scrawled with fingers is scattered here and there. I often gazed at it during traffic jams.Much of the graffiti is meaningless, but looking closely, some is written in places people don't walk, like the median strip, revealing an unexpected intentionality. For this project, when we visited Kanda for the first time in a while to take a walk, we tried wiping the soot with our fingers to draw a poem. It looked simple enough, but the accumulated soot had hardened, making even drawing a single line difficult, and our hands and clothes turned completely black. I think there are aspects of the city you only understand by touching it. We encourage you to try touching it yourself if you happen to be out walking around looking for the spot.(SIDE CORE)Photography Project 『Tokyo Perspective』Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Around Yanaka 6-chome, Taito-ku, Tokyo》（From Series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Bunkyō-ku, Hongō》（from the series〈Hongo–Kikuzaka Neighborhood〉）When rushing to catch a train or heading to the supermarket with a smartphone in hand, we walk without even realizing that we are walking. We see only the bare minimum of our surroundingsOn the other hand, there are times when we are very aware that we are walking. Often this is due to unexpected reasons like leg pain or getting lost, but occasionally it raises unusual questions like “Why am I walking again?” or “What does it even mean to be walking?”Taking a walk is not merely walking, it is deliberately putting oneself in that state of “walking.” The appeal of taking a walk lies precisely in the richness of perceptual experience brought, moment by moment, in that state of “walking.” During a walk, everything that meets the eye approaches us indiscriminately, yet with a persuasiveness different from the ordinary. We walk through real space with an intensity of perception and bodily awareness that could even be called phenomenological. It is as if we are swimming through water. (Naoya Hatakeyama)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / The Hidden Fuji of Yubido, 2025》Location: Photographed from the third-floor terrace of Yubido, 2-4 Kanda-Ogawamachi, TokyoThe large Mount Fuji painting facing Yasukuni Street is the front Fuji—a landscape directed toward the city itself.When it reappeared in the burnt ruins of postwar Tokyo, this Fuji became a symbol of urban renewal and hope, offering reassurance and pride to those who passed by.To depict the image of Mount Fuji—Japan’s emblem of nature—on an artificial façade was, in a sense, an urban prayer, a wish to reconnect people with the nature that had been lost.In contrast, the back Fuji seen from the third floor of Yubido is another, unseen mountain.It was a view quietly contemplated by the shop owner, his family, and those who lived within the building.Unlike the outward-facing Fuji of hope and display, this inward-facing one evokes layers of personal prayer and memory.The coexistence of the Fuji shown to the world and the Fuji held within suggests that Yubido itself embodied a dual structure—between society and the individual, the outer world and the inner self, the city and everyday life.One was open to the public gaze; the other, attuned to private emotions.Together, they may have represented the twin forces of rebirth and remembrance—or perhaps the healing of the heart—in postwar urban Japan.When Yubido was revived through the Tokyo Biennale, the contemporary Fuji painted by the artist OJUN, along with the newly created community art project that ran a café and artist residence within the building, can be seen as an expression that carries this dual landscape into the present.The Fuji visible from Yasukuni Street and the hidden Fuji seen from Yubido’s third floor—two images, outward and inward, yet reflections of the same heart.One opens to the sky of the city; the other sinks quietly into the depths of human memory.Only through both can Tokyo’s landscape of remembrance truly exist.Yubido, holding the memory of these two landscapes gently within its walls, continues to live on—quietly, for the little time it has left.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Tokyo University of the Arts, Painting Building, 7th Floor Studio》Location: Photographed from the Nakamura Laboratory, 7th floor, Painting Building, Tokyo University of the Arts.My studio is located on the seventh floor of the Painting Building at Tokyo University of the Arts.There is a potted plant in the room. One day, a fallen leaf had naturally come to rest by the window. I placed a small yellow ball beside it and photographed the scene as a quiet composition of its own.Ueno Park was originally part of the precincts of Kan’eiji Temple, the Tokugawa family’s temple and the religious center of Edo. After the Battle of Ueno during the Meiji Restoration, the temple was destroyed, and the Meiji government redeveloped the area as Japan’s first public park. This transformation—from sacred temple grounds to a modern public cultural space—gave rise to a new kind of landscape where museums, galleries, and exhibition halls came to stand side by side. Known today as “Ueno, the Forest of Culture,” the area became a symbol of Japan’s pursuit of knowledge and art in the modern era. Tokyo University of the Arts, soon to celebrate its 150th anniversary, stands as a direct continuation of that lineage.In my view, the early art school, composed of single-story studios and open courtyards, embodied a form of learning rooted in the earth. By contrast, the current Painting Building, an eight-story vertical atelier, is structured as a place where creation is built upward within the limited space of the city. It seems to embody the nature of art in contemporary Tokyo—emerging from a dense, multilayered, and fragmented visual environment to generate new sensibilities.Each time I pass through the university gates, I feel a faint sense of tension. Yet, when I enter my studio and look out the window over Ueno Park and the cityscape of Tokyo, my heart opens, and that same tension turns into an urge to create. Reflecting on the history that has shaped this landscape, I sense the immense energy of those before us who built Tokyo—an endless cycle of destruction and creation. Gazing upon that view, I feel both unease and reverence intertwined. With those mixed emotions, and a quiet resolve to stand within that ongoing flow of history, I placed the yellow ball by the window.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow — Yuubidou 2025》Location: Shot from a building across Yasukuni Avenue, overlooking Yuubidou at 2-4 Kanda-Ogawamachi, Tokyo.Yuubido, a frame manufacturing and sales shop once located in Kanda-Ogawamachi, is believed to have been built during wartime, as an air-raid shelter still remains beneath the building.In its earliest photographs, the shop occupied only half of its current size, and the signboard featuring Mount Fuji was much smaller. Later, two adjacent stores were combined into one, creating the present shopfront and enlarging the image of Fuji as well.When Tokyo lay in ruins after World War II, the sight of a large Mount Fuji painting rising above the streets may have offered courage and hope for the city’s rebirth.The shop owner, Mr. Misawa, raised his family with pride in Yuubido and contributed greatly to the cultural life of Kanda.Before the long-abandoned Yuubidou was to be demolished, a project began to temporarily revive it as a community space where people could experience the spirit of the Misawa family and the foundational culture of Kanda.Volunteer architects and builders started the renovation in 2020, and despite the COVID-19 pandemic, the space reopened in time for the Tokyo Biennale 2021—with the first floor reborn as a café and gallery, and the second floor as a studio and artist residence.For the Mount Fuji painting, there was an early idea to recreate the traditional sento (public bathhouse) mural style. However, it was ultimately reimagined as a “contemporary Fuji,” with the artist OJUN commissioned to create a new original work.Now, Yuubido stands alone, nestled between tall buildings. Although its five-year lease is soon to end and redevelopment will eventually replace it with a new structure, the memory of this project—built together with many hands and hearts—remains deeply cherished.The shutter was closed with a feeling of respect and gratitude for Yuubido’s long and spirited history.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Backshift 1992〜2025,1997〜2025, 2000〜2025（Nihonbashi Akiyama Building）》（From the series〈Backshift 2025〉）The Tokyo Biennale 2025 will be held in several locations where I have previously held solo exhibitions. As if following the old saying that “criminals return to the scene of the crime,” or perhaps driven by some homing instinct, I find myself visiting these places I hadn't been to in a while.My memory of briefly displaying my work in these places remains vivid, and the stress from that time lingers. Back then, they were small spots where I painstakingly painted walls and worked on lighting to create a suitable exhibition space. Now, I see it in a different light—as real estate, as buildings and land. The fact that I was involved with these places at a certain time, and the fact that I went to see them again now. I chose photography as my method to connect these two personal points of connection to these spaces through a timeline, like a narrative.Some buildings remain unchanged from 35 years ago, while others have already been demolished and turned into parking lots. What they all shared was that the people involved back then no longer reside at those addresses.(Yasuko Toyoshima)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Bunkyō-ku, Hongō》（from the series〈Hongo–Kikuzaka Neighborhood〉）When rushing to catch a train or heading to the supermarket with a smartphone in hand, we walk without even realizing that we are walking. We see only the bare minimum of our surroundingsOn the other hand, there are times when we are very aware that we are walking. Often this is due to unexpected reasons like leg pain or getting lost, but occasionally it raises unusual questions like “Why am I walking again?” or “What does it even mean to be walking?”Taking a walk is not merely walking, it is deliberately putting oneself in that state of “walking.” The appeal of taking a walk lies precisely in the richness of perceptual experience brought, moment by moment, in that state of “walking.” During a walk, everything that meets the eye approaches us indiscriminately, yet with a persuasiveness different from the ordinary. We walk through real space with an intensity of perception and bodily awareness that could even be called phenomenological. It is as if we are swimming through water.(Naoya Hatakeyama)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ《TOKYO PERSPECTIVE》Yasuko Toyoshima（Photography location）※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Backshift 1992〜2025（Hongin No.2 Building）》（From the series〈Backshift 2025〉）The Tokyo Biennale 2025 will be held in several locations where I have previously held solo exhibitions. As if following the old saying that “criminals return to the scene of the crime,” or perhaps driven by some homing instinct, I find myself visiting these places I hadn't been to in a while.My memory of briefly displaying my work in these places remains vivid, and the stress from that time lingers. Back then, they were small spots where I painstakingly painted walls and worked on lighting to create a suitable exhibition space. Now, I see it in a different light—as real estate, as buildings and land. The fact that I was involved with these places at a certain time, and the fact that I went to see them again now. I chose photography as my method to connect these two personal points of connection to these spaces through a timeline, like a narrative.Some buildings remain unchanged from 35 years ago, while others have already been demolished and turned into parking lots. What they all shared was that the people involved back then no longer reside at those addresses.(Yasuko Toyoshima)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Bakurocho Station》Photographed near the far end of the Tokyo-bound platform at JR Bakurocho StationBakurocho Station is one of my favorite stations—it is filled with works that could be described as acts or expressions of deviation.Standing on the platform, one is confronted by a mural whose overwhelming presence evokes the aesthetics of Mono-ha—an image that might even be called a kind of “dark painting.”The Mono-ha artist Koji Enokura is known for painting layer upon layer of black paint onto canvas, letting it soak and permeate the surface, or pressing oil-soaked timber against canvas to reveal the traces of its absorption.In Mono-ha, objects are not treated as symbols or carriers of meaning, but are instead presented as things that reveal their very being within the world.In this sense, the mural at Bakurocho Station seems to inherit and quietly evolve the philosophy of Mono-ha through the forces of nature itself.On the concrete walls, black stains accumulated over many years, traces of seeping water, and marks left by construction overlap in complex layers.Mold has appeared, creating a surface that resembles a living ecosystem.This is not a landscape intentionally created by human hands, but one born of time, environment, and chance.Perhaps the wall was once white.Now, subtle gradations from deep black to gray emerge, forming a beautiful stratum where the natural and the artificial intertwine.Its process cannot be explained through any clear chain of cause and effect, yet it is certain that within this tunnel—where trains pass every day—the wall’s pure material presence itself has painted this “picture.”Moved by gratitude for the preservation of such uncontrived, material beauty,I placed a yellow ball there, gently, and took a photograph.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《View to the east from Nihonbashi-Muromachi》（From the series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Nihonbashi》（From the series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Water and Work》Photographed near the entrance of the right-side corridor leading to the ticket gates at JR Bakurocho Station.Water never overlooks even the smallest crack in its path. It flows wherever gravity takes it, and as it continues to move,the force with which it gradually expands its reach from a single, tiny opening is immeasurable.People, in turn, struggle desperately to intercept its elusive course and redirect its flow.A square sheet of plastic is stretched across the ceiling to collect the dripping water at a single point,from which a hose runs along the wall, channeling the water downward for drainage.The workers’ highest priority is to control the flow—to prevent it from splashing onto the passersby.Their intense concentration reveals a kind of purity in the act of making,a focus so complete that the visible result—how it appears to others—no longer matters.It does not matter if condensation causes the paint on the wall to peel,or if stray drips leave traces that resemble accidental brushstrokes.No matter how roughly the surface is patched with layers of tape,what matters above all is to control the water.Here, the act of making takes absolute precedence over the act of being seen.In this way, a pure and urgent relationship between human and water unfolds—a kind of performance that, as a result, gives rise to a deviant installation:a temporary, unintended exhibition space within the station corridor.With a quiet sense of respect for the worker embodying this unique form of expression,I placed a yellow ball and took a photograph.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ東京ビエンナーレ ※このスポットは作家の撮影場所です。作品展示はございません。作品は日本橋・馬喰町エリアの「エトワール海渡リビング館」にて展示しています。 《UR2L003》（シリーズ〈URBAN RITUAL /Tokyo2025〉より）東京は巨大都市（メガシティ）という形容が定着して久しい。「1000万都市」東京は1950年代にニューヨークを抜いて世界一となり、64年には2000万人を、85年に3000万人を突破、2020年にはついに4000万人を超えて世界一を突き進んでいるという。行政区をまたいで延伸する都市圏は衛星画像からも確認できる。統計上の数字とはいえ驚くべきことだが、そこに住んでいる住民に「世界一」の実感があるのかどうかはわからない。人口密度が連続する集積地域 (urban agglomeration) の内側は不均質な「地元」の積み重ねではないだろうか。そんな「町」の一角を切り取りつなげて連続性のパターンを作ってみる。不均質な都市から取り出す地元文様の試み。今回は東京ビエンナーレが繰り広げられる神田川沿いの高低差を含んだ地形と、そこを通る動脈である電車をモチーフにした。庶民の遊び心が生んだ江戸小紋ではないけれど、メガシティならではの文様と言えるかもしれない。（港 千尋）『Tokyo Perspective』とは？アーティストがまちを歩き、新作を撮影。各作家が撮影したポイントは公開され、そこを訪れた人々と視線を共有します。オリジナルプリントは「エトワール海渡リビング館」で展示するほか、セブン-イレブン各店舗に設置されているマルチコピー機でプリントが可能。

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《UR2L004》（From the series〈URBAN RITUAL /Tokyo2025〉）Tokyo has long been firmly established as a megacity. The “10-million-person city” of Tokyo surpassed New York to become the world's largest population in the 1950s, exceeding 20 million in 1964 and 30 million in 1985. By 2020, it had finally surpassed 40 million, continuing to move forward as the world's largest.The metropolitan area extending across administrative districts is visible even through satellite imagery. While the statistical figures are astonishing, it is unclear whether residents actually feel like they live in the “world's largest city.” Is its interior not this densely populated, contiguous urban agglomeration simply a layered accumulation of heterogeneous “localities”?I've cut out corners of such “localities” and connected them to create a pattern of continuity as an attempt to extract local patterns from a heterogeneous city. For this project, I used the terrain along the Kanda River, where the Tokyo Biennale unfolds, featuring its elevation changes, and the trains running through it as motifs. It's not Edo Komon patterns born from the playful spirit of commoners, but it could be called a pattern unique to a megacity.(Chihiro Minato)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Around Yanaka 6-chome, Taito-ku, Tokyo》（From Series〈On Resolution〉）I once heard as a student that photos of Tokyo taken by people born there are particularly interesting. Perhaps this is because the photographer projects their memories onto landscapes that have changed. Or maybe this is because they have more reasons to press the shutter than someone born elsewhere.Let's consider the act of photography as two separate processes – “taking the photo” and “viewing the photo after it's taken.” When looking at the finished photo, if the reason for taking it is evident, we can imagine the photographer's memories and emotions, and our own feelings can overlap with theirs. Photographs often don't come into being the moment the shutter clicks, but from a time further back—from the photographer's past experiences and memories. I believe this layered sense of time is one of photography's distinct characteristics.Then what emerges from the photographed image itself? I wondered if I could start from there. Experience has taught me that the distance between subject and camera determines the type of photograph taken. Yet I wanted to photograph Tokyo, stepping away from the paths using effect that technique usually leads us down.(Risaku Suzuki)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Stone in Sotokanda》Location: In front of the Gokencho Disaster Equipment Storage, to the right of the entrance to Rensei Park, 6-11-4 Sotokanda, Chiyoda-kuJust before entering Rensei Park at Arts Chiyoda 3331, there is a square stone that has quietly remained in front of the Gokencho Disaster Equipment Storage for as long as I can remember.One day, a member of the local neighborhood association said to me, “That might be a stone from the moat used in the construction of Edo Castle.” Indeed, both the inner and outer moats were dismantled when the rivers were reconstructed in concrete.Perhaps someone brought this stone here at that time. Its rectangular form and the tactile sense of its surface certainly suggest it may once have been part of a castle wall.To present a stone in its minimally worked, raw state inevitably recalls the philosophy of Mono-ha. When I was a student, I took a class taught by Lee Ufan, one of the leading artists of the movement. The assignment was simple: we were given clay and told, “Make clay.” It was not about shaping an image or form, but about expressing through the material itself. Yet completely eliminating image and intention proved difficult—I remember feeling that I had not fully understood what was being asked of me.The fact that this stone in Gokencho has remained here for so many years may be because it expresses nothing beyond its own being—it simply is.For the local residents, too, it is not a special object, but a quiet part of the shared landscape. While stones associated with Mono-ha circulate in the global art market for high prices, this stone in Gokencho has acquired its own kind of value simply by continuing to exist where it is.With a sense of faith in the calm passage of time and the quiet strength embodied by this stone,I placed a yellow ball beside it and took a photograph.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Wire Lock》Location: Photographed from the entrance of the Etoile Kaito Merchandise Department Building, 1-13-3 Higashi-Kanda, Chiyoda-ku, looking toward the curbside in front of Hitotsubashi High School.When I come across a wire lock on the street, I can’t help but imagine its owner.How long has it been here, and why was it left in this place?Such thoughts inevitably make me raise my camera.Around 1994, I placed several bicycle wire locks in various locations around Ginza and exhibited their keys in a gallery.Naturally, anyone with a key could remove the locks—but one could also leave them there, untouched.In fact, one lock I attached to a bulletin board beside a police box remained there for years, until the board itself was replaced.Each time I passed by, I found myself unconsciously checking to see if it was still there.When I moved into a new office, I immediately noticed a thick wire lock in front of the building entrance.Since then, it has become a daily ritual to check on it whenever I come and go.“Still here today, I see,” I find myself saying softly, as if confirming its well-being.One day, its owner might appear and take it away.Or perhaps someone with wire cutters will remove and discard it.I can’t help but imagine such possibilities each time I look at it.Perhaps it’s because of the humorous, endearing mural on the wall of Hitotsubashi High School in the background,but this small scene—with its lone wire lock—feels like a precious place for quiet self-projection.The transmission tower visible beyond the fence is also a motif I once used in my own work,which deepens my sense of familiarity with the scene.I placed a yellow ball there, as if momentarily inserting myself into that landscape, and took a photograph.I left the ball where it was, but by the next day, it had disappeared.In Tokyo, to remain in a place—to quietly exist and endure—requires both suppleness and a quiet strength of resolve.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Yellow / Rooftop Pool》Location: Photographed from the rooftop of the Etoile Kaito Merchandise Department Building, 1-13-3 Higashi-Kanda, Chiyoda-ku, looking toward the rooftop of Hitotsubashi High SchoolFrom the window of my newly established studio,I can see the rooftop pool of Hitotsubashi High School just across the street.I had grown accustomed to this sight, accepting it as a matter-of-course aspect of the urban landscape.Yet one day, as sunlight struck the water and it turned a clear, luminous blue, I felt a sudden sense of dissonance—an awareness of something quietly out of place.The presence of that water, filling the pool to its brim—its sheer volume, its material density—seemed to speak of more than a functional facility.In contemporary art, Noriyuki Haraguchi’s Oil Pool—a steel basin filled with black waste oil—famously presents the relationship between matter and spirit through the darkly reflective surface of its liquid.But as I looked at this rooftop pool before me, I couldn’t help but sense a similar tension, a subtle resonance between the physical and the spiritual.Unlike the water of the Tamagawa Aqueduct, which was carved with precision and guided by gravity to carry flow toward Edo,this rooftop pool exists as a mass of water suspended in the air, defying gravity and diverging from the natural cycle.Water, capable of floods and destruction, holds immense latent energy; yet here, it lies still—its power condensed, contained, asleep.Amid the concrete geometry of the city, the water’s surface reflects sky, clouds, and light, creating yet another sky above the city.That scene, in its quiet poetry, evokes a rare sense of openness—an urban margin, a fleeting space of calm within the density of architecture.Drawn to that strange stillness and its quiet wonder, I placed a yellow ball by the pool’s edge and pressed the shutter.(Masato Nakamura)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《best hour》（From the series〈Tunderpass poem〉）I used to live in Kanda. I often went for walks, but there was one place that caught my eye, yet I never stopped to look at it – the underpass beneath the Metropolitan Expressway Ueno Route 1.The history of the Metropolitan Expressway Haneda Route 1 runs deep. Over the years, exhaust soot has settled thickly on the guardrails and pillars beneath the overpass, turning them pitch black. Modern cars don't emit nearly as much exhaust, so now, beneath this dirty overpass, I just sense its history. In some spots, graffiti scrawled with fingers is scattered here and there. I often gazed at it during traffic jams.Much of the graffiti is meaningless, but looking closely, some is written in places people don't walk, like the median strip, revealing an unexpected intentionality. For this project, when we visited Kanda for the first time in a while to take a walk, we tried wiping the soot with our fingers to draw a poem. It looked simple enough, but the accumulated soot had hardened, making even drawing a single line difficult, and our hands and clothes turned completely black. I think there are aspects of the city you only understand by touching it. We encourage you to try touching it yourself if you happen to be out walking around looking for the spot. (SIDE CORE)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《myterious old man sitting on the bench all day》（From the series〈Tunderpass poem〉）I used to live in Kanda. I often went for walks, but there was one place that caught my eye, yet I never stopped to look at it – the underpass beneath the Metropolitan Expressway Ueno Route 1.The history of the Metropolitan Expressway Haneda Route 1 runs deep. Over the years, exhaust soot has settled thickly on the guardrails and pillars beneath the overpass, turning them pitch black. Modern cars don't emit nearly as much exhaust, so now, beneath this dirty overpass, I just sense its history. In some spots, graffiti scrawled with fingers is scattered here and there. I often gazed at it during traffic jams.Much of the graffiti is meaningless, but looking closely, some is written in places people don't walk, like the median strip, revealing an unexpected intentionality. For this project, when we visited Kanda for the first time in a while to take a walk, we tried wiping the soot with our fingers to draw a poem. It looked simple enough, but the accumulated soot had hardened, making even drawing a single line difficult, and our hands and clothes turned completely black. I think there are aspects of the city you only understand by touching it. We encourage you to try touching it yourself if you happen to be out walking around looking for the spot. (SIDE CORE)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ※This spot is the artist’s shooting location; no artworks are exhibited here.The works are on display at the “Étoile Kaito Living Pavilion” in the Nihonbashi–Bakurocho area.《Tokyo / Ueno #001》《Tokyo / Ueno #003》《Tokyo / Ueno #004》Standing in Ueno Park, I recall the question my teacher posed during my very first class after entering university and the tension I felt then – “Do you know what kind of place this is?”As long as people live, history is made. Back in my student days, I craved explanations for everything, even to the point of demanding reasons for the pebbles on the roadside. Perhaps that's why, no matter how much I walk in Ueno Park, I can never quite memorize its paths – it never feels familiar.I use a medium format film camera for my photography. When taking self-portraits, I use a long exposure with bulb mode. To close the shutter, I must manually rewind the film, requiring me to return to the camera. The time lag created during this process renders my body translucent in the image. This is not a result of digital editing or multiple exposures, but a phenomenon born from the physical conditions of the shooting process. My translucent body merges with the uncontrollable scenery and environment, recorded as part of the place's pattern. Each time I shoot, I ponder how much harmony we—accidentally born beings—can maintain within this artificially constructed world. Human creations are riddled with mistakes.Forgetting what I don't know, and the values and standards I once took for granted, then rethinking them anew. The tension I feel in Ueno Park might be the origin of my photography.(Mari Katayama)Photography Project “Tokyo Perspective”Artists will wander around Tokyo and create photographs of the city today. The original prints will be exhibited at a special venue and published on an online digital map, allowing people to visit the locations where the photographs were taken and experience the actual scenery. In addition, there will be a system in place for printing these photographs conveniently on multi-copy machines at Seven-Eleven convenience stores, offering visitors new ways to enjoy viewing and collecting photographs.

東京ビエンナーレ本堂の右の渡りをくぐり不忍池ボート場前の橋の近く、コンクリート手摺りのコーナーのスポットには、蓮池を隔てて上野動物園の鳥たちのざわめきが風にのって届いている。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。協賛特別助成：公益財団法人石橋財団特別協力：東叡山 寛永寺※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男（2箇所）東京都台東区上野公園2-1アクセス：JR「上野駅」から徒歩約5分Open：9:00-17:00

東京ビエンナーレ東京ビエンナーレ右の「樹に聴く」（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団特別協力：東叡山 寛永寺※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都台東区上野桜木1-14-11アクセス：JR「上野駅」から徒歩約5分Open：9:00-17:00

東京ビエンナーレ東京ビエンナーレ左の「樹に聴く」（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団特別協力：東叡山 寛永寺※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都台東区上野桜木1-14-11アクセス：JR「上野駅」から徒歩約5分Open：9:00-17:00

東京ビエンナーレ東京ビエンナーレ境内に在る三本の杉の老樹に対して、「樹に聴く」と題する「点 音」。 古代オリエントの「ギルガメシュ叙事詩」や聖書「エゼキエル31章」に記された〈レバノン杉〉とも想えるこの樹々。徳川家安泰を願い創建された天台宗の寺院に聳え、永く時代を聴いてきた大樹に耳を澄ますスポット。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団特別協力：東叡山 寛永寺※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都台東区上野桜木1-14-11アクセス：JR「上野駅」から徒歩約5分Open：9:00-17:00

東京ビエンナーレ東京ビエンナーレ辨天堂に向かう参道の中程左側。蓮池のほとりに放置されたような平な石の上面にマーキングした「点 音」。マークの指し示す方向に佇むと、群生する蓮が遠方の街音のフィルターの役割をしている。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。協賛特別助成：公益財団法人石橋財団特別協力：東叡山 寛永寺※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男（2箇所）東京都台東区上野公園2-1アクセス：JR「上野駅」から徒歩約5分Open：9:00-17:00

東京ビエンナーレ東京ビエンナーレ「松坂屋上野店」と並ぶ中央通り「PARCO_ya 上野」の、鋭角状のビル角に向かって佇むスポット。左は、上野広小路駅方面の、右は、御徒町駅の騒音が立体的に交差して耳に作用する。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都台東区上野3丁目Open：日中

東京ビエンナーレMatsuzakaya Ueno StoreSponsorship: Daimaru Matsuzakaya Department Stores Co., Ltd.This venue is free of charge for visitors.[Participating Artists]Akio Suzuki (3 locations on the 3rd floor, 1 location on the 8th floor）Address: Matsuzakaya Ueno Main Building, 3-29-5 Ueno, Taito-ku, TokyoAccess: Directly connected to Exit C6a of Otemachi Station (Tokyo Metro Marunouchi, Chiyoda, Hanzomon, Tozai Lines / Toei Mita Line)Open: 10:00–20:00

東京ビエンナーレ東京ビエンナーレ東京メトロ銀座線「末広町駅」近く、蔵前橋通りから入ったL字の路地角に位置するスポット。道路のあちこちにスプレーによる「路上喫煙禁止」マークがあり、「点 音」もその仲間入り。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都千代田区外神田3丁目Open：日中

東京ビエンナーレ東京ビエンナーレ境内にある明神会館の横、「明神男坂」 の階段から昌平橋方面の眺めは、パリのモンマルトルを想わせる観光的なスポット。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都千代田区外神田2丁目Open：日中

東京ビエンナーレ東京ビエンナーレ東側（末広町駅近く）のポイントから三筋を隔てた道路に入った T字路にある。何の変哲もない風景ながら、電信柱に背もたれして町の活動・聴察のスポット。（鈴木昭男）《点 音（o to da te）》とは？日本におけるサウンド・アートの先駆的な活動者として知られる鈴木昭男は、1960年代より、音と場の関わり方を探求する姿勢によって、「自修イベント」やパフォーマンス、インスタレーションなどを国内外で展開してきました。今回は、鈴木の幅広い活動の中でも特に「聴く」ことにフォーカスした代表的なプロジェクト「点 音（o to da te）」を、都内6か所で実施します。「点 音」は、茶の湯の野点（屋外で行う茶会）のように、参加者が定められた場所（ポイント）で風景を感じながら耳を澄まして感覚を開くプロジェクト。それぞれのポイントは、鈴木が自らまちなかを探索して、ユニークな環境音や反響音が聴ける場所を探し出したものです.選ばれたポイントには、佇みを誘う足跡の形と、聴くことを即す耳の形からなるマークが敷設されています。歴史ある寺院の境内にある老樹に向き合うものや、美術館やギャラリーの多い賑やかな通りの周辺など、参加者はマップをもとにそれらのポイントを訪ねます。ひとり静かにマークの上に立つと、聴覚意識がスイッチオンし、その時々の巷の音に耳を澄ます体験ができます。そこでは私たち誰もが「聴く側にも、作曲者にもなれる」、そうした能動性のある時間を過ごすことになるでしょう。特別助成：公益財団法人石橋財団※本会場は無料で鑑賞可能です。［参加作家］鈴木昭男東京都千代田区外神田3丁目Open：日中

東京ビエンナーレスキマプロジェクト／日本橋室町･本町都市の構造を物理的、観念的な「スキマ」からとらえ、ビルの間のわずかな隙間（すきま）を作品発表の空間や作品そのものとして活用する試み。1999年に中村政人とコマンドNが実施した伝説的なプロジェクトで、今回は路地裏の鉢植えの隙間を縫うように、アーティストたちの彫刻作品が鉢植えに「擬態」しながら、まちのスキマ空間を豊かに彩ります。［参加作家］岩岡純子／片岡純也＋岩竹理恵／栗原良彰／6lines studio+塚本由晴／寺内木香／戸田祥子／ミルク倉庫ザココナッツ／森 靖協賛：三井不動産株式会社※本会場は無料で鑑賞可能です。日本橋室町・本町の路地裏（中央区日本橋室町1／日本橋本町1）各作家の展示場所はこちら（日本橋・馬喰町詳細マップ）

東京ビエンナーレ東京ビエンナーレ東京ビエンナーレ考現学マップ《サラリーマンの必需品：心身を支える病院・マッサージ治療院・薬屋》京橋の中心地に隠れた紳士の憩いの場所が粋な趣味空間だとしたら、道を隔てた兜町の銀行や証券取引所でバリバリ働くサラリーマンの憩いの場はどうだろう？それは古美術店でも、繁華街にある飲み屋でもない。すっきりと碁盤の目状に整理されたすずらん通りには、中層階のビルの足元に、かなりの密度で心身の不調を癒す病院やマッサージ治療院、歯医者や薬屋が立ち並んでいる事に驚く。証券会社や銀行で働く人々の心を映すように、整備された街並み、ささやかな緑と癒しの場所のバランスは、都市生活のリアリティと新たな方向性を物語る。（黒石いずみ）【考現学マップ／京橋周辺】『考現学マップ』とは？日本橋・馬喰町エリアと八重洲・京橋エリア内で、考現学の視点により江戸から現代までの生活者の痕跡を読み込み、ストーリーを紡ぐプロジェクト。考現学は「考古学」に対し、現在の人々の生活文化を調査・研究する学問で、建築学・民俗学研究者の今和次郎（1888–1973）により提唱されました。現代人の暮らしの観察、筆記、撮影等により対象を調査・分析する考現学は、後の生活学、風俗学、社会学の発展にも貢献。さらに美術家の赤瀬川原平や建築史家の藤森照信らによる「路上観察学会」の活動にも影響を与えました。今回は考現学研究の第一人者、黒石いずみ氏（福島学院大学教授）を中心に地域の人々と共に作成した考現学マップを制作。まちのディテール、人の動きを観察することにより、新たなレイヤーが浮かび上がります。

東京ビエンナーレ東京ビエンナーレ考現学マップ《すずらん通りのサラリーマン御用達のカフェや定食屋は、金魚と軒先の緑が目印》すずらん通りのサラリーマンの生活は、中華チェーン店以外にも古びた日除や装飾のある喫茶店、昔懐かしい漢字のお品書きの和食屋、プラスチックの食モデルの定食屋で支えられている。それらの店は積極的に歓迎している素振りはないが、店頭には植栽が飾られ、金魚が泳ぎ、古びたドアが少し開いている。休憩時間の限られた時間にサラリーマンたちは道に溢れ一気に店の中に吸い込まれ英気を養う。決して機械的な大量生産食ではない。この高度なコミュニケーションを成り立たせるものもアートかもしれない。（黒石いずみ）『考現学マップ』とは？日本橋・馬喰町エリアと八重洲・京橋エリア内で、考現学の視点により江戸から現代までの生活者の痕跡を読み込み、ストーリーを紡ぐプロジェクト。考現学は「考古学」に対し、現在の人々の生活文化を調査・研究する学問で、建築学・民俗学研究者の今和次郎（1888–1973）により提唱されました。現代人の暮らしの観察、筆記、撮影等により対象を調査・分析する考現学は、後の生活学、風俗学、社会学の発展にも貢献。さらに美術家の赤瀬川原平や建築史家の藤森照信らによる「路上観察学会」の活動にも影響を与えました。今回は考現学研究の第一人者、黒石いずみ氏（福島学院大学教授）を中心に地域の人々と共に作成した考現学マップを制作。まちのディテール、人の動きを観察することにより、新たなレイヤーが浮かび上がります。【考現学マップ／京橋周辺】

東京ビエンナーレ東京ビエンナーレ考現学マップ《日本橋の住人ーたぬき・鳩・檻の中のサラリーマン》日本橋から銀座に続くピカピカの表通りには観光客や買い物客、サラリーマンが歩く。しかし裏道に入ると通行人は減り、碁盤目状の街並みに車が流れる。そんな街の目立たないコーナーの柵に囲われた場所には喫煙をするサラリーマンが囚われている。しかし道端の水たまりには堂々と水浴びをする鳩のカップルがいて、ビルの２階のテラスには空を見上げるたぬき像がいる。ツボのなかの金魚同様に、街は人だけのものではないことをしみじみとかんじる。（黒石いずみ）『考現学マップ』とは？日本橋・馬喰町エリアと八重洲・京橋エリア内で、考現学の視点により江戸から現代までの生活者の痕跡を読み込み、ストーリーを紡ぐプロジェクト。考現学は「考古学」に対し、現在の人々の生活文化を調査・研究する学問で、建築学・民俗学研究者の今和次郎（1888–1973）により提唱されました。現代人の暮らしの観察、筆記、撮影等により対象を調査・分析する考現学は、後の生活学、風俗学、社会学の発展にも貢献。さらに美術家の赤瀬川原平や建築史家の藤森照信らによる「路上観察学会」の活動にも影響を与えました。今回は考現学研究の第一人者、黒石いずみ氏（福島学院大学教授）を中心に地域の人々と共に作成した考現学マップを制作。まちのディテール、人の動きを観察することにより、新たなレイヤーが浮かび上がります。【考現学マップ／京橋周辺】

Nihonbashi/Bakurocho Area More Nihonbashi is a town of commerce and culture that developed as the home of the Edo Shogunate. It is characterized by a rich streetscape in which long-established stores retaining their historic atmosphere coexist with new facilities. For the Tokyo Biennale 2025, the Sukima Project / Nihonbashi-Muromachi, Honcho will be held, in which participants will walk around the area to trace the art scattered throughout. Encountering works by eight artists that mimic potted plants in alleyways will allow participants to rediscover the area’s margins and potential for creativity.The neighboring Bakurocho is an area where the activities of a historic wholesale district coexist with new trends in the fields of art and design. The Tokyo Biennale will make use of the long-established wholesaler Etoile Kaito Living Building as its base exhibition venue, offering artwork displays and project information

Nihonbashi/Bakurocho Area More Tokyo Station is known as the gateway to Tokyo, where many different people come and go. A dynamic and detailed painting by Shun Yonaha will appear at the Yaesu Exit/North Exit (in front of the entrance to Daimaru Tokyo). Nearby, Kyobashi is known as a business district as well as a distinct antique and art district. Around the Artizon Museum, sound artist Akio Suzuki will carry out his signature o to da te project.* Like the "nodate" tea ceremony, he will select outdoor spots where you can listen carefully and open up your senses.*Akio Suzuki’s "o to da te" will also be set up in other areas.