Opened in 2023 in Otake City, Hiroshima Prefecture, the Simose Art Museum sits on the shores of the Seto Inland Sea, facing the sacred island of Itsukushima. Designed by globally acclaimed architect Shigeru Ban, the museum rose to international prominence when it was awarded the Versailles Prize in December 2024 as the ‘World’s Most Beautiful Museum,’ drawing significant global attention.
To commemorate this achievement, the museum launched its first-ever contemporary art exhibition, Ambient, Environment, Circumstances – The Topography of Contemporary Art, which runs from April 26 to July 21, 2025. Within just ten days of opening, the exhibition surpassed 10,000 visitors—a record-breaking turnout for the museum.
Featuring works by emerging artists born between 1980 and 2000, primarily from across Asia, this special exhibition marks a bold new chapter for the museum as it ventures into contemporary territory.
HYAKKEI visited the exhibition shortly after its opening and sat down with Chief Curator and artist Keita Saito for an in-depth interview. “I wanted this project to challenge the current condition of the Japanese art world,” Saito noted.
This international exhibition includes artists from Japan, South Korea, China, Indonesia, Myanmar, and Singapore. Representing Japan are Kaori Endo, Riyoo Kim, Daichi Kukita, Sou Suzuki, and MADARA MANJI. From South Korea comes Omyo Cho; from China, Zheng Tianyi; from Indonesia, Muhamad Gerly; and from Myanmar, Soe Yu Nwe.
First Showcase in Japan of Asia’s Emerging Artists
Keita Saito, Chief Curator of “Ambient, Environment, Circumstances – The Topography of Contemporary Art”
HYAKKEI: “The exhibition presents a striking range—from conceptual to emotionally resonant works. It seems to offer a potential starting point for a renewed trajectory in Japanese contemporary art. What is the central theme of this exhibition?”
Saito: “The Simose Art Museum is situated at the intersection of land and sea in Setouchi—a liminal zone. I saw significance in bringing together Asian artists here to exchange ideas and present a snapshot of contemporary art’s current geography.
One of the exhibition’s highlights is that we were able to invite such a strong lineup of up-and-coming Asian artists. In Japan, it’s often difficult to host exhibitions featuring lesser-known international artists, so curating this many emerging voices from abroad is almost unprecedented.
Some of the artists come from countries where artistic freedom is restricted—like Soe Yu Nwe from military-ruled Myanmar. Showcasing these artists’ resilience and expressive ingenuity within limited frameworks is one of the exhibition’s core intentions.”
Reviving Curatorial Vitality in Japan
The exhibition is composed of works by young artists born between 1980 and 2000.
HYAKKEI: “Why did you choose to feature artists born between 1980 and 2000?”
Saito: “I wanted to create an environment where Japanese artists of my generation could be recognized internationally. I was born in 1987 and have worked as an artist myself, but often feel that younger generations remain overshadowed by the large-scale activities of artists from the ’90s and 2000s.There’s a kind of psychological inhibition at play, and I’ve always searched for ways to break through it. As a young curator, I see it as part of my mission to help dismantle that mental barrier.”
HYAKKEI: “Would you say that the social and historical context of each generation is reflected in their work?”
Saito: “Absolutely. Today’s rapid diversification of values, combined with the fading sense of unity that once defined pre-social-media generations, has, in my view, diminished the expressive strength of artists in my generation.I also believe the weakening curatorial capacity in Japan plays a significant role in contributing to this situation. There are many talented artists here, but they’re scattered, and there’s a lack of platforms for dialogue and mutual growth. That fragmentation is a major issue.”
A Provocation Aimed at the Japanese Art World
HYAKKEI: “So this project was also intended as a response to that situation?”
Saito: “Yes. I want this exhibition to disrupt the current state of Japanese art in a positive way.Most Japanese museums, especially those outside Tokyo, struggle to organize international exhibitions. They usually rely on ready-made touring exhibitions featuring big names.This exhibition is different—it introduces four emerging artists from East Asia to Japan for the first time, and it’s held at a publicly accessible institution. That, I believe, is an invigorating development for the Japanese art scene.”
Toward Broader Recognition Beyond the Art World
HYAKKEI: “It sounds like your curatorial approach diverges from the norms of past contemporary art exhibitions.”
Saito: “I was very conscious of the format. Many Japanese contemporary exhibitions either lean heavily into social critique or rely on highly personal narratives. I wanted to strike a balance between the two.Moreover, I didn’t just aim for recognition within the art world. I wanted the show to resonate across industries, including entertainment. Thanks to the support of curators both in Japan and overseas, I think we’ve achieved that. The response on social media reflects it as well.”
Connecting to the Future of Contemporary Art
HYAKKEI: “Finally, how do you envision the future of the contemporary art scene following this exhibition?”
Saito: “This exhibition was a major challenge, but it was also a valuable learning experience for me as a curator.
To be honest, there are very few exhibitions in Japan that consider cost-effectiveness seriously. In that sense, this show sets a precedent while presenting the broader potential of contemporary art.
The visitor turnout has exceeded expectations, which has greatly boosted our motivation. We’re also seeing new international connections emerging—curators affiliated with international exhibitions such as the Singapore Biennale have already visited the site.
I would like to extend my heartfelt thanks to all who made this possible—Simose Museum’s Representative Director Ryosuke Yoshimura, Directors Kisei Takahashi and Masahito Oi, curator Kazuki Yamamoto, co-curators Jingwen Li, Takanori Matsuyama, and Yoko Negami, and of course, to every single visitor.”
Exhibition Information
Title:
Ambient, Environment, Circumstances – The Topography of Contemporary Art
Days Closed:
Every Monday (except public holidays)
Opening Hours
9:30 a.m. – 5:00 p.m.
Admission Fee:
General: ￥2,000(￥1,800)
High School and University Students: ￥1,000 (￥800)
Junior High School and Under: Free
* Price in parentheses ( ) for groups of 20 or more.
* Free admission for those who present a disability certificate plus one companion
Organizers:
Simose Art Museum / Chugoku Shimbun
