Nominated in the Miyagi Arts Yearbook｜宮城芸術年鑑

4 days ago
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Foreword for the Miyagi Arts Yearbook

Yoshihiro MURAI, the Governor of Miyagi

It has been inspiring to see so many of you engage in creative and cultural activities with such enthusiasm this past year. As social restrictions eased, we were able to meet in person and share our work, reminding us of the vital role the arts play in uniting us. Across our prefecture, from dynamic exhibitions and performances to the traditional arts that shape our towns, it has been encouraging to see our venues active and filled with people again.

We believe culture and the arts are central to our communities, fostering connection and making our prefecture more vibrant. With this in mind, we have supported a wide range of local projects. This year, I am especially pleased to see us bridging our rich history with the creative energy of today.

In October, the Sant Juan Bautista Museum reopened after a two-year renovation and is now ready to educate the next generation about the historic Keicho Embassy and our maritime heritage. We also celebrated the 1,300th anniversary of Taga Castle with a series of events and were pleased to see the Taga Castle Monument designated as a National Treasure, marking a proud moment for our local history.

Looking ahead, the Miyagi Museum of Art is making significant progress with its improvements to better serve the community. Construction has also begun on the new community hub, which will house the Miyagi Prefectural Civil Public Hall and the NPO Plaza, with completion expected in 2028. I believe this will become a new center for our local culture.

As we enter the next stage of our "New Miyagi Future Vision," our focus is clear: we aim to preserve our local cultural treasures while creating opportunities for young people to express their creativity. Above all, we want everyone to have the chance to participate in the arts.

Finally, I extend my sincere thanks to everyone who contributed to this yearbook, including the writers and those who shared their photos and records. Your efforts are greatly appreciated.

Natsoumi Exhibition: "Camera Mia – My Room"

Nominated by Motoki OKUBO

From 8 to 16 June, Birdo Flugas hosted Camera Mia – My Room, a photographic exhibition by Natsoumi. The exhibition featured a selection from her previous series: LES ÎLES FORTUNÉES, TOKϴYO and UBIQUITÉ, produced between 2012 and 2024.

While Natsoumi’s work in Paris was characterised by vibrant colours, her style shifted after moving to Fukushima a year before the 2011 nuclear disaster. Drawn to the primordial landscapes and folk culture of the Tohoku region, she transitioned to monochrome expression. Her subjects often include landscapes and flora, but she describes her practice as a quest for the "invisible" beneath the surface.

The title Camera Mia plays on the Italian word for "room." It suggests the camera is not just a device but a space where the artist’s inner world and memories are projected. While the exhibited works capture tangible subjects, they also serve as vessels for her emotional landscape.

Key Series on Display

TOKϴYO This series is rooted in Natsoumi’s experience of two miscarriages. In ancient Japanese belief, TOKϴYO is a spiritual realm, the land of ancestral spirits and the source of life and fertility. To feel closer to the souls of her unborn children, Natsoumi ventured into remote mountain paths, capturing landscapes and customs that evoke waking dreams.
UBIQUITE In this series, Natsoumi focuses on the reflectors found on utility poles. This body of work reflects her identity as a "shufu" (housewife/homemaker). For her, the utility poles multiplying alongside new housing developments symbolise the domestic role: essential infrastructure that supports the family while the partner engages with the outside world. The tiger-striped poles stand as distinct individuals within a vast network, yet their presence fades through weathering and time, a metaphor for how a woman’s identity can be overshadowed by her domestic role.

By layering personal experience and social positioning onto her subjects, the artist’s work attempts to give form to emotions and existences that otherwise remain invisible.