The Setouchi Triennale 2025 ended last Sunday. I would like to say that it was a unique Triennale, but they are all unique in their own way. Here are some of my thoughts on this year's festival. A sort of debriefing if you want. ## Overall impressions A lot of the art this year was great — I'd even go so far as to say it was the best year in terms of artistic quality — but, at the same time, I'm not sure if there was one piece of art that really blew me away. I suppose that makes sense. When the overall standard is higher, fewer pieces stand out. Maybe. Despite this, I didn't feel as much in a “festival mood” as I did in the past. It's partly me. Having attended all the editions, I probably find the whole thing less exciting and more "business as usual" than before. Partly, it was the festival itself. I felt that there were much fewer events, workshops, and so on this year. From what I’ve heard, it's probably a budget issue (the weak yen is messing up everything in Japan these days). It's a shame because events and workshops are what make the Triennale a "festival" to me and not just a giant art exhibit. Partly, it was the visitors. I don't have the numbers yet, but the crowds just felt bigger than before. I tried to avoid them as much as possible, and I mostly succeeded (it involved a few sacrifices). The result is that I felt less involved overall this year. Well, I was literally less involved. Some years, I worked with the organization as a consultant. Some years, I did some guiding. Other years, I had a press pass that gave me free access to pretty much everything. This year, none of that happened. I was just a "normal" visitor. I was also quite busy during the spring session and away for most of the summer session (it was the first time I wasn't here during the Triennale). It's only this past month that it sort of felt like "the Triennale of past years" to me. Strangely, I didn't run into any readers, which makes me a little sad. At every Triennale, I'd run into at least one reader, and that was always a fun moment. Sadly, it didn't happen this year. As there were more foreigners, I guess I was more "invisible." Overall, I did fewer things and went to fewer sites than in previous years. For example, in 2019, my busiest Triennale year, I spent around 30 days on islands and at other art sites, not counting a dozen or so "pre-Triennale visits." This year, I believe I only spent about 16 days devoted to the Triennale. Money and energy were also factors. The weakness of the yen might make tourists happy, but it's killing us. As a reminder, Japan imports 60% of its food and even more of its energy. In other words, the cost of living has skyrocketed, while our salaries have stagnated for years. Not fun. I also find myself with much less energy than in the past. Is this aging? I suppose so. Okay, after this very long introduction, here are a few more thoughts about my experience with each site this year. * * * ## Naoshima Number of visits in 2025: One so far, but zero during the Triennale. This may come as a shock to some of you, but I tend to avoid Naoshima during the Triennale because it's just too crowded. Some of you may interject, "But isn’t Naoshima the heart of the Triennale?" No, it's not. Too many people, Japanese and foreigners alike, make this mistake again and again. Not only is Naoshima not the heart and soul of the Triennale, but worse, it's the island that is the least involved in the Triennale! Yes, you read that right. There is no art exclusive to the Triennale on Naoshima. You'll find the same things you'll find the rest of the time, just with more people. From what I've heard, the "over-tourism threshold" may have been crossed this year. If things remain this way, you won't see me on Naoshima during future Triennales either. I'd rather go during the off-season, if such a thing still exists. (It does; I'm being over-dramatic.) I did go to Naoshima once this year, though. It was for the opening of the New Museum. Benesse had the smart idea to open it between Triennale sessions, and having the privilege to be one of the first people in the world to visit, without huge crowds, and with most of the artists present, was an amazing experience. If you haven’t yet, you can read all about it in the link below. Naoshima New Museum of Art (Opening Day)A short tale of Naoshima New Museum of Art’s opening dayJapan Art IslandsDavid in SetouchiNaoshima Pavilion by Sou Fujimoto * * * ## Teshima Number of visits in 2025: Zero! I can't believe I didn't make it to Teshima this year. Avoiding the crowds is one reason, but not the only one. I meant to go just before the summer session when Lin Shuenlong was putting the finishing touches on his newest installation, _Beyond the Border – Prayer_. But it was just too hot. Sadly, I didn't get to meet him again. Luckily, this installation is supposed to be permanent, so I can't wait to see it and tell you all about it. I also missed the other two new pieces installed this year. I barely heard about one of them. The other piece is Chiharu Shiota's _Memory of Lines_, and I hope it lasts longer than just one Triennale. I don't have any information about it yet. * * * ## Megijima Number of visits in 2025: Two. I'm not a huge fan of the island itself, but I really enjoyed the art there this year. It probably had some of my favorite new art, which was sadly most likely temporary. You can read all about it below. I’ll show you more in the near future! Setouchi Triennale 2025 Report: Megijima part oneHello everyone, The spring session of the Setouchi Triennale 2025 ended yesterday, so now I have time to tell you about it and write more frequent reports. I didn’t make it to all the places I wanted due to illness early May and the unusually rainy weather, but I stillJapan Art IslandsDavid in SetouchiSetouchi Triennale 2025 Report: Megijima part twoAll right, I think it’s high time to resume my Setouchi Triennale 2025 reports. Sorry for the delay. As I mentioned, spring is always a busy season for me (read: busy at work, so I’m more tired than usual at night). Nevertheless, I’ll try to finish all my reports fromJapan Art IslandsDavid in SetouchiThe "god oni" at Konbo-ya. * * * ## Ogijima Four visits during the Triennale and a few more outside of the festival in 2025. As you may know, Ogijima is my favorite island in the area, although I don't actually live there, contrary to what some readers believe. I don't exclude moving there one day, though. For some reason, there wasn't much new art this year, but I never tire of the long-term and permanent installations. Among the new pieces, "_Dreamland_ " was wonderful, "_Our Island_ " was poetic, and the "_Future Museum of Ogi_ " was very fun. The only piece that didn't speak to me much was "_Day Dreaming / Dear Future Us_." I probably would have liked it better in another location but it was in the former "Onba Factory," one of my favorite art projects, as well as my former favorite place on Ogijima and beyond. In other words, "too soon." The Onba Factory is irreplaceable. Setouchi Triennale 2025 report: OgijimaI had some big projects for Golden Week. I wanted to write at least one post and prepare at least one more, I wanted to do some spring cleaning in my house and also clean the garden a bit, maybe plant some vegetables. And maybe I would have been inJapan Art IslandsDavid in SetouchiAkinorium by Akinori Matsumoto * * * ## Shodoshima Four visits during the Triennale. I think this is the first year that I saw all of the new art on Shodoshima. That's quite an achievement, although there might have been fewer new pieces than in previous years. Shodoshima is a great island overall, and even more so during the Triennale. Thanks to its size, it almost never feels crowded, and the "inconvenience" of visiting without a car means that people coming for the "wrong reasons" don't bother going. I heard some people complain about the inconvenience of holding the festival in places that rely on ferries with limited daily runs, limited public transportation, and limited accommodations. Well, what can I say besides: "It's not a bug, it's a feature." Here are links to two past articles (one by me, and one by one of the few Anglophone journalists who "gets" the place) to help you understand what I mean. The Art of Island TimeOne element that visitors must not lose sight of when they attend the Setouchi Triennale is that the showcasing of art is almost secondary, or rather a “hook” in order to showcase the islands themselves. The goal is to raise awareness about the dire effects that depopulation has had on those insularKyoto Journal ### _Why is the most exciting art in Japan so hard to get to?_ Some of my favorite new art this year could be found in the "Setouchi Asia Gallery," as well as in the Nakayama and Hirayama valleys. I know I haven't talked about the latter yet. Here are my posts about Shodoshima in case you missed them. There are more to come soon. Setouchi Asia Gallery on Shodoshima (Setouchi Triennale 2025)Today, I’m taking you to a place that very few foreign (or even Japanese) visitors get to see on Shodoshima. First, most foreign visitors to the Setouchi Triennale seem to avoid Shodoshima altogether. Some avoid it out of ignorance; most avoid it because it’s true Shodoshima is difficult to navigateJapan Art IslandsDavid in SetouchiInner Light - Floating Houseboat of Setouchi by Ryusuke Kido on ShodoshimaHello everyone, First, I want to apologize for the lack of posts this month, despite my July promise. I’m still in France, but I’ve had much less free time than I expected. In fact, even right now, my son is talking to me while I’m typing this. 🙂 Also, before IJapan Art IslandsDavid in SetouchiSetouchi Triennale 2025 - Shodoshima - Mito PeninsulaToday, I’m taking you to one of my favorite locations on Shodoshima: the Mito Peninsula. More precisely, I’m taking you to Konoura, a village near the peninsula’s southern tip. The Mito Peninsula is the southernmost part of Shodoshima. It’s quite rural and boasts beautiful landscapes, seascapes, and villages. You canJapan Art IslandsDavid in Setouchi"Ship's Cat - Jumping" by Kenji Yanobe * * * ## Oshima and Inujima I didn't make it to either island this year. I can blame time, the weather, and the need to save money (the trip to Inujima is not cheap). I really should have gone to Oshima, though, and I’m not sure why I didn’t. Inujima didn't have enough new art to justify a trip there. * * * ## Takamatsu Number of visits in 2025: I live here. 😊 While it's obviously the easiest destination, sadly, I didn't find much art that was interesting this year. * The art in Yashima was enjoyable, but not exceptional. * The Vietnam Project shouldn't have been held in the summer heat. I felt really bad for the Vietnamese craftspeople who were stuck there in the heat with little shade. * The art in the port: _Sora Ami_ is loved by many, myself included, but it should be on a beach, not in an urban environment. The refugee exhibit was important from an educational perspective, but I'm not sure if it was in the right place or if the festival was the right context for it. * I saw some of the exhibits in the city’s museums. I missed some. Sora Ami in Takamatsu Port (as well as Liminal - air core - one of the original art from the first Triennale) * * * ## Uno Port No visit in 2025. I was actually interested in the new art in Uno for once, but without a direct ferry, it's one of those places we intended to visit but ultimately didn't. You see, the "inconvenient" aspect of the festival affects not only tourists coming from 10,000 km away but also locals. It's just part of life here, partly because of the geography—I mean, we're talking about islands and the two coasts of a sea. Sure, it's a very narrow sea, but it's still a sea—and partly because of how Japan's depopulation affects rural and "less urban" areas. There used to be direct ferries. They’re gone because not enough people rode them anymore. If you think the Triennale doesn't have enough ferries, be aware that it helps most of the remaining ones survive financially. Without the Triennale, even fewer ferries would go to and from the islands. * * * ## Seijima Two visits in 2025. I'm glad the spotlight was on Seijima this year, but I’m sad it came at the expense of Shamijima. You can read my report on the first visit here: Setouchi Triennale 2025 report: Seijima (part one?)One thing that’s difficult about wanting to report on the Setouchi Triennale as it happens is that it’s difficult to do so in a timely manner. My days off are devoted to exploring the islands and experiencing as much new art as possible, and that doesn’t leave me much timeJapan Art IslandsDavid in Setouchi I may or may not discuss my second visit. It featured my favorite piece on the island. See the picture below. * * * ## Shido, Hiketa, Tsuda Sadly I didn't go to any of the summer locations as I was in France for most of the summer session. Luckily, Leonid Tishkov's new installation on Hiketa is permanent and open most weekends, so I'll go see it as soon as possible and I’ll tell you about it shortly after. * * * ## Utazu Two visits in 2025. (for the art, I'm not counting visits to shopping centers or the aquarium.) This was a revelation! After living in Kagawa for 14 years, I thought I knew the prefecture inside and out. But it turns out that I didn't know Utazu at all. I talked to a few people around me, and I have a feeling that not many people know about it. Even some people from Marugame, literally Utazu's "next-door" neighbor, were surprised by what they found. Let me explain. Utazu is the smallest municipality in Kagawa—or is it Kotohira?—and most of us only experience the town when driving along "Hama Kaido" (the coastal road) passing through a long stretch of stores. For many of us, Utazu is just the shopping center town of western Kagawa. However, it turns out that Utazu is much more than that. If you go just a few blocks inland, you'll find yourself in a cute, calm little town. I'll tell you more about it later, but it was a true discovery. There were only a few artworks, but they were well worth the detour. Since they weren't on an island, they were open until 8 p.m. Visiting art in old houses and temples at night was an amazing new way to experience the Setouchi Triennale. More details soon. Weaving Time by Motoi Yamamoto * * * ## Honjima One visit in 2025. As I mentioned before, Honjima is a wonderful island to visit, art or no art. There weren't many new installations this year, but Ekaterina Muromtseva's was great, and it's always a pleasure to revisit the old "classics." The cherry on top is that this is where I saw the Seppuku Pistols this year. Their performances are always some of the best moments of the Triennale, and they were quite rare this year—just a few days during the final week. More details later. a glimpse of House of Shadows by Katya MuromtsevaThe Seppuku Pistols on Honjima * * * ## Takamijima One visit in 2025. I've written before about my visit to Takamijima this year (see below), and my feelings remain the same: it's an eerie and somewhat depressing island because it's pretty much dead, but it's an amazing venue for interesting art. Takamijima (Setouchi Triennale 2025)Of all the islands in the Setouchi Triennale, I find Takamijima to be one of the most interesting. It’s also one of the least visited, which is probably for the best. To be honest, I always feel torn about people who think the Triennale is only about Naoshima. Part ofJapan Art IslandsDavid in Setouchi"Tower for Birds" by Yusuke Omuro * * * ## Awashima Oh no! What happened?! I couldn't make it to Awashima this year! That's a sad first for me. Oh well, I guess I'll have to go soon, then. Awashima has a long history of hosting art, which predates the Triennale. Some of its best pieces, which were once part of the festival, are now run independently and available outside of the Triennale. And... the Tanefune didn't make it to Awashima either! It's still on campus... Oh well. * * * ## Ibukijima One visit in 2025. I'll tell you more about Ibuki soon. Most of the art was new this year. It was interesting, though not mind-blowing. In any case, Ibukijima is always worth a visit, if only to see the _Tree of Ibuki_ , one of the area's masterpieces. "Tree of Ibuki" by Takashi Kuribayashi It looks much better on sunny days. Since the beginning of this newsletter, I've been promising you a post dedicated to it. It'll come in due time. * * * ## What's next? ### For the Setouchi Islands and their art. Most of the islands and their residents are now going to take a well-deserved break. The temporary art will be dismantled over the next few days. The long-term and permanent pieces will also close for now. Before the pandemic, most of the permanent art was open most weekends from March to November, but that stopped in 2020. This was partly due to the virus itself and partly due to the small number of available volunteers. The lack of activity due to the virus meant that many volunteers moved on to other things, leaving no new blood to replace them. Now that they have recruited enough new members, it's unclear if the art will reopen more often or remain open just a few days a year as it has been for the past few years. Of course, the art on Naoshima, Teshima, and Inujima keeps on following its own schedule and can be seen year-round. ### For the newsletter. I still have a few places and quite a few artworks to show you. I'm sure you'll enjoy seeing them, especially if you missed them, and hearing my perspective on them. After that, we'll see, but I have a few ideas. I maintained Setouchi Explorer for 15 years, even without the Triennale. There's no reason I can't do the same with this newsletter (and I haven't forgotten the original blog either). I've announced it a few times, it's taking longer than planned for reasons beyond my control (I need help from my admin, who is busy with more important matters), but I will merge this newsletter with my other blogs eventually, and I hope you'll be interested in the content unrelated to the Setouchi art islands too. Expect content about France, my grandfather's early 20th-century correspondence, culture in general, thoughts on the state and evolution of the internet and social media, animals, and a few other things. You'll be able to subscribe to the topics that interest you. I guess that's all for now. As always, thanks for reading and subscribing. If you liked what you read, please share it. If you've read this far and aren't a subscriber yet, maybe it's something you'd like to become. ## Sign up for Japan Art Islands a newsletter by David in Setouchi Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. Thanks!

Of all the islands in the Setouchi Triennale, I find **Takamijima** to be one of the most interesting. It's also one of the least visited, which is probably for the best. To be honest, I always feel torn about people who think the Triennale is only about Naoshima. Part of me wants to tell them to visit the other islands too (sometimes I do; that's in part why I write this blog). But another part of me is happy that people who don't care that much about the Triennale - and just want to visit Naoshima because it's famous - don't visit the other islands, as their numbers would be destructive. The small islands can't sustain such large crowds. So, yes, Takamijima. I always say that I want to visit it outside of the Triennale one of these days, but I haven't done it yet. The truth is that Takamijima is a living (?) example of what awaits islands and other rural places in Japan that won't be successful in their attempts at revitalization. Despite its rich past, the island was depopulated early and brutally once the pyrethrum cultivation industry ended. When the island joined the Triennale in 2013, only 50 people remained. Nowadays, only about 20 people live in a few houses near the port. The northern village was completely abandoned over a decade ago, and the village on the hillside only sees activity thanks to the Triennale and various cultural projects from time to time. If you would like more information about the island and its rich yet sad history, I invite you to read this post. Setouchi Triennale 2025: Autumn session and the Western IslandsAutumn is here, and the third and final session of the 2025 Setouchi Triennale is just a dozen days away. While a few new artworks will be on the “regular” islands, the western islands of Kagawa Prefecture are the traditional highlight of the autumn session. Since they only participate inJapan Art IslandsDavid in Setouchi Yes, the first reason I find this island interesting is because it's nearly abandoned. The second reason is the hillside village itself. It's such an impractical place to live. I've always wondered why the main village was built there, on the steepest hillside. The only answer I can imagine is that it's protected from the strong, cold winter winds that must hit the gentler slope on the other side of the island with terrible force. However, this impractical village may also be the reason why it was depopulated so quickly compared to most other islands. Still, I like to imagine what life was like there as I stroll through its streets. I especially like the abandoned mini-ropeway that was used in the village's later years to lift goods and materials halfway up the hill. The third reason I find the island interesting is that its art always seems more original than that of other places. I know that's a gross generalization, but it seems to have a unique flair. It's hard to explain. How about I show you instead? ## Time to sign up if you want to see some art. It's free or not, your choice. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### Upgrade to continue reading Become a paid member to get access to all premium content Upgrade

One interesting project on Takamijima this year is "**_Furniture φ in Takamijima._** " It's a collaboration between **PhStudio** and **BankART 1929**, which seems to have curated much of the new temporary art on Takamijima this year under the moniker "_Takamijima Art Trail_." They collected old chairs from Takamijima and the nearby town of Tadotsu (Takamijima is, administratively-speaking, a neighborhood of Tadotsu). With the help of high school students from the town, they used the chairs to create new public benches and chairs, which were placed near various art sites on Takamijima. And you may want to use them. Ura village on Takamijima is built on a very steep hillside. Hopefully, they'll be permanent. However, I'm not sure if they can withstand bad weather. I took pictures of most of them (but not all, so you still can have a few surprises looking for them):

**Yusuke Asai** is no stranger to the Setouchi Triennale. In 2013, he gave us _Listen to the Voices of Yesterday Like the Voices of Ancient Times_ that you can still enjoy on Inujima: https://www.setouchiexplorer.com/listen-to-the-voices-of-yesterday-like-the-voices-of-ancient-times/ I like his style because it feels like a weird "Australian Aboriginal" style, though it's not authentic and doesn't claim to be. It's more like an imagined version of it. His work actually reminds me of Jamie Hewlett's take on Aboriginal art in the original _Tank Girl_ comics. This "**_Earth Eater_** " definitely makes me think of some creature that could come straight out of the comic book. Now, the fun part of this installation is the "_Stardust Kids_." What are they? ## Well, you'll have to sign up to the newsletter if you want to know. It's free if you want, and you can unsubscribe at any time. Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### Upgrade to continue reading Become a paid member to get access to all premium content Upgrade

As teamLab prepares to open their latest museum, teamLab Biovortex Kyoto, its member Takashi Kudo spoke to ArtAsiaPacific about their work, which challenges us to see ourselves not as isolated, passive observers, but as integral to the art itself. ELAINE W. NG

The autumn session of the Setouchi Triennale 2025 has started a few days ago, and... Despite having had three days off (the weekend and today), I haven't been to a single island yet. Last weekend was just too crowded. It's currently the Mid-Autumn Festival in China, which is, if I understand correctly, the biggest traveling holiday of the year there. And it feels like many of those travelers are in Japan this year, a sizable proportion in the Setouchi region. Also, I had planned to go to Megijima today, and maybe Ogijima, too. However, I took a short "morning nap" (I got up too early for my taste today) and missed the ferry. Oops. Then, I remembered that **Tsuyoshi Ozawa**'s exhibit at the Kagawa Museum was ending soon, and, since I hadn't been yet, today was the perfect occasion to visit. Luckily, the crowds were more interested in Naoshima—it seems affluence records were broken this weekend—than in the Kagawa Museum, even though the museum is also part of the Triennale. In fact, most local museums have special exhibits during the Triennale by renowned artists who participate in the festival. This year, it's Tsuyoshi Ozawa's turn at the Kagawa Museum. Tsuyoshi Ozawa is quite familiar with Kagawa Prefecture. As a member of the Group 1965, he participated in the Triennale three times: in 2013, 2016, and 2025. He has also had a permanent installation on Naoshima since 2006: _Slag Buddha 88_, which you may have seen at the entrance of the _Valley Gallery_. I was surprised by his limited involvement in Group 1965's project on Ogijima this year, but now I think it's because he was preparing for his solo exhibition at the Kagawa Museum. So, what is the exhibition about? I think the best way to explain is to quote the description from his personal site: > Tsuyoshi Ozawa is interested in the boundary between pure art and other things, and is widely acclaimed both in Japan and abroad for his work that raises various questions about history and society with humor and a critical spirit. In this exhibition, he focuses on objects and events from his own perspective in the vast amount of materials and information on the history, art, and folklore of Kagawa that are collected at The Kagawa Museum, and plans to display works inspired by them and actual materials. The world of his work, where different perspectives such as children and adults, past and present intersect, invites new encounters with the history and culture of Sanuki, as well as considerations about manufacturing techniques, collection and display, views on the world, natural science, and views on life and death. Like many of such descriptions, it's somewhat abstract (often because they're written before the project is finished). In short, Ozawa decided to recreate the "_**Seven Wonders of Sanuki**_ " (_Sanuki_ being the original name of Kagawa), drawing from the region's traditional culture: urushi (lacquerware), fish from the Seto Inland Sea, Bunraku puppets, and more. As explained in the blurb above, he mixed traditional artifacts with his own creations, resulting in a strange blend of the historical and contemporary. I didn't take many pictures, but here are a few: This is probably my favorite part of the exhibit. There are some very precise and scientific drawings of the fish found in the Seto Inland Sea, and above them drawings of the same fish by children. That's one of the many things I love about Japan's approach to art and museology. In France (and probably many other Western countries), museums always try to create a distance between art and people. This distance can be physical, psychological, or otherwise. This is especially noticeable for children. Most art museums are not child-friendly; worse yet, children sometimes feel unwanted in such places. Not in Japan. In addition to the many workshops and events aimed specifically at them, children are often put front and center in exhibits. Their art is sometimes on equal footing with that of renowned artists. I will always be grateful that my daughter was part of a very official Art Setouchi exhibit (with many other children) when she was only two. Not to mention the dozens of workshops my kids could join during the Triennale or over summer vacation at the city's museums. There is no better way to introduce kids to art and teach them that it's for everyone, not just for a cultural (and often social) elite. Oops! Close-ups of the drawings weren't allowed, but I only saw the sign after the fact, and the woman in charge of watching the room didn't scold me. It probably wasn't close enough. Phew! The "Seventh Wonder" is hidden outside the museum, but there are signs and hints to help you find it. It's a collection of small stone stacks by Ozawa, located on and around one of the original walls of Takamatsu Castle. It's a bit late to advise you to visit this exhibit unless you're already in town (it ends on October 13), but the main point of this post is to remind you that the local museums are also worth a visit during the Triennale. This is especially true if you want to escape the crowds for a little while. There is one caveat, though. Sadly, the Kagawa Museum has very little information and documentation in English or other languages. I guess they don't have a budget for translating temporary exhibits. It's unfortunate that they haven't translated any of the permanent exhibits yet. The permanent exhibits include permanent art, as well as a very detailed history section if you want to learn about the history of Kagawa. However, you'll need to be able to read Japanese for this, although the history section of the museum has audio guides in Japanese, English, Chinese, and Korean. * * * In other news, as I mentioned, Naoshima and Teshima have been extremely crowded. It's worth mentioning again that if you have the opportunity to visit these two islands outside of the Triennale, you should take it. Don't forget that most of the art on these islands is permanent, and there are fewer crowds outside of the festival. The Setouchi Triennale really takes place on all the other islands, which are often ignored by foreign tourists. Some don't even seem to know they exist. Don't make that mistake. * * * Finally, on the technical side of things, the site moved to a new server yesterday. While it seems that everything went smoothly, this post is also a test. Please tell me if you see anything out of the ordinary. As I mentioned before, big changes are coming. I'm about to merge this site with my other online writings. This could happen as early as this week. But don't worry; if you're only interested in the Setouchi Islands, you should only receive posts related to them. I'll explain everything in due time. And if you see a lot of aesthetic changes, some of which may be less than ideal, it's because I'll be trying different options until I'm satisfied with one. * * * I think that's all for now. As always, thanks for reading. If you enjoyed this post, please share it with your friends and contacts. If you haven't signed up for the newsletter yet, now is a great time! ## Sign up for Japan Art Islands a newsletter by David in Setouchi Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. See you soon.

Autumn is here, and the third and final session of the 2025 Setouchi Triennale is just a dozen days away. While a few new artworks will be on the "regular" islands, the western islands of Kagawa Prefecture are the traditional highlight of the autumn session. Since they only participate in the Triennale for one month, right before it ends, they're usually the least discussed islands and have the least amount of information online. So, how about I tell you a little bit about them? Well, "a little bit" is a figure of speech here. This may be the longest post I've written for this blog/newsletter, so save it for later if you can't read it all right now. Also: Disclaimer: Because unscrupulous humans and so-called AI regularly steal and plagiarize this kind of content from my site, it is the kind of post that is now reserved for paid subscribers only. If you find an entire post about the Western Islands of Kagawa containing advice and information worth a few euros, and if you can afford it, now is the perfect time to become a paying subscriber. Thanks in advance. ## Sign up for Japan Art Islands a newsletter by David in Setouchi Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### Upgrade to continue reading Become a paid member to get access to all premium content Upgrade