WHEN CONFRONTED by a Japanese journalist about the scandal that haunted the previous Aichi Triennale, artistic director Kataoka Mami responded with: “This has been asked too many times,” and “Let the [current] exhibition speak for itself.” Leaving us “outsiders” stunned, these statements seemed calibrated to banish from our minds that now-distant conflict, when outrage over a sculpture commemorating Korean women enlisted into sexual slavery by the Japanese military forced the closure an entire section of the exhibition (ironically titled “After Freedom of Expression?”), let alone the myriad
WHEN CONFRONTED by a Japanese journalist about the scandal that haunted the previous Aichi Triennale, artistic director Kataoka Mami responded with: “This has been asked too many times,” and “Let the [current] exhibition speak for itself.” Leaving us “outsiders” stunned, these statements seemed calibrated to banish from our minds that now-distant conflict, when outrage over a sculpture commemorating Korean women enlisted into sexual slavery by the Japanese military forced the closure an entire section of the exhibition (ironically titled “After Freedom of Expression?”), let alone the myriad
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