Just as King Arthur’s round table went against hierarchical structure by abolishing the notion of the head of the table and ensuring everyone who sat there had equal status, SANAA’s building for the The 21st Century Museum of Contemporary Art, Kanazawa uses the form of the circle to create an integrated, community-oriented centre for contemporary art; one with flexible spacial definition, multiple points of access and a focus on inclusively and participation.
When I wrote about SANAA several months ago during their exhibition in Sydney, I mentioned how their work prefers gradual curvature over dividing walls and corners, synthesises interior and exterior spaces, and emphases transparency, reflections, ambiguity, flexibility and contemplation. The 21st Century Museum of Contemporary Art seems to be the perfect embodiment of all these things – situated in a park in the heart of the city, the transparent glass surface gives a sense of openness and means the interior and some of the artworks are visible from the outside, rather than separated from everyday life. The subtle reflections in the curved glass further integrate the outside into the inside and vice versa – and courtyards and skylights throughout keep visitors connected with the world outside even when they are in the middle of the building.
Anyone can wonder in and hang out in any of the public areas which have lots of seating, and while the temporary exhibitions usually have a fee there are several ‘people’s gallery’ spaces that are open to the public free of charge. There is a well stocked library and magazine reading room free to the public, as well as a children’s play room, a café that stays open into the night, and many public programs.
The art is worthy of note too. A favourite amongst the premanant collection is Leandro Erlich’s Swimming Pool, which seems perfectly suited to the building with its playful defiance of insideness and outsideness. The perpetual rain (for which Kanazawa is renouned) last weekend had a beautiful and hypnotic effect on the top of the pool from the inside (see below).
Other artists often create site specific works that interact with the building, such as the Tokyo-based Suda Yoshihiro’s easily overlooked Weeds which are incredibly realistic looking fine carved and painted wood sculptures that pop out of cracks in the concrete ground (see below). The temporary exhibitions feature a rotation of exciting names from Japan and abroad, too. I caught the end of the Tadanori Yokoo retrospective and opening at the end of November is a solo show from Olafur Eliasson that will run simultaneously with the survey of his work which is at the MCA in Sydney from December.
Currently celebrating its 5th year, The 21st Century Museum of Contemporary Art remains an extraordinary feature of the quiet, remote and inclement town of Kanazawa.
