Dialogue of the Spirit Able Art '97 Exhibition in TOKYO
Background
Between l980 and l992, 5672 museums of different types were constructed in Japan. The International Year of the Disabled in l98l guaranteed that those whose designs were still on the drawing board, incorporated many of the architectural features that wheelchair-bound or visually impaired visitors required. Ramps and handrails were included, as were slow-moving elevators with wide doors and braille signage. Yet besides this physical evidence of a welcome for visitors in wheelchairs, hung another invisible sign that read "Off-Limits to Visually-Impaired People and those with Other Sensory or Mental Disabilities."
For once inside there was little to tempt them, except lines of dimly-lit paintings with labels in print too fine to read, or sculptures that they were permanently out of bounds to their exploring hands. Large-print explanations were a rarity and taped guides to the collection even harder to find. A museum's brochure might state that it had disabled access, but it was access of the incomplete kind. It got you through the front door but after that you were on your own. For this perfect physical access has yet to be matched in Japanese museums by the development of programmes or displays geared to their needs. Rarer still have been attempts by the museums to display the creative endeavours of this population.
Aims of the Exhibition
The purpose of this exhibition is two-fold. First and foremost, it is to introduce the creative activities of people with disabilities to the wider audience they deserve in Japan. Secondly, it is to create an exhibition which is accessible on both the physical and psychological level so that it can be appreciated by every kind of audience regardless of their age, intelligence, educational background or state of health. In so doing, the organizers hope that it will stand as a model case for museums in Japan wishing to improve their level of access on both levels.
Although many of the works have been exhibited in smaller exhibitions both in Japan and abroad, this marks the first time that they have been seen together in a mainstream museum venue in Japan. The exhibition consists of 150 paintings from the Mizunoki workshop, five by Chuichi Nishigaki, fifty ceramic sculptures by the students of the Chiba Prefectural School for the Blind and five by Yohei Nishimura.
Access Events and Features
During the course of the exhibition, there will be workshops, guided tours, gallery talks for different audiences and a symposium on the topic of creativity and disability. The display itself has been made accessible for both wheelchair-bound and visually-impaired visitors.
A catalogue folder containing A4 colour reproductions of eleven works will be on sale. Three paintings and one sculpture have the added feature of a Muse-print overlay. A Muse-print is a new technique whereby a raised image in transparent ink can be overlaid on a coloured reproduction of the work to allow a visually-impaired visitor and their sighted companion to discuss the work together. This is the first time internationally that the technique has been used in the production of a catalogue of paintings. The folder will have an accompanying audio guide in two formats -a mini-disc or cassette tape. The text of the audio-guide will also be produced in braille and large-print formats. The seven other selected paintings will have conventional Minolta raised images displayed beside them so that can be used freely by visitors. The sculptures in the exhibition can also be handled.