Kanazawa Art Museum: Side Core Living Road & Space

The art world, perpetually seeking relevance beyond its own echo chambers, has found an unlikely, and profoundly moving, case study in SIDE CORE’s “Living road, Living space” at the 21st Century Museum of Contemporary Art, Kanazawa. This isn’t simply an exhibition; it’s a direct response to disaster, a reclamation of public space, and a pointed commentary on the role of art in the face of real-world trauma. The earthquake that devastated the Noto Peninsula in 2024 wasn’t just a geological event; it was a cultural disruption, and SIDE CORE – Sakie Takasu, Tohru Matsushita, and Taishi Nishihiro – have turned their practice into a lifeline, both for the affected region and for a museum system often accused of insularity.

What’s fascinating here isn’t just the art itself – Leandro Erlich’s The Swimming Pool, Stephen ESPO Powers’ mural, the integrated skatepark – but the *method*. SIDE CORE didn’t parachute in with pre-conceived notions. They traced a route, literally and figuratively, responding to the landscape and the needs of the community. The inclusion of works like rode work (construction lights), a chaotic assemblage of construction materials, isn’t just aesthetic; it’s a visual representation of the ongoing rebuilding process. This is art as active participation, not passive observation.

The strategic brilliance lies in the way SIDE CORE leverages the museum’s own infrastructure. By inserting a skatepark, a temporary artist-run space like I’M HOME, and a screening room, they’re not just displaying art *in* the museum; they’re challenging the very definition of what a museum *is*. The fish in the tank, requiring a permit for its display, is a particularly sly commentary on the bureaucratic hurdles that often stifle genuine cultural exchange. It’s a subtle, but effective, jab at the systems that often prioritize regulation over responsiveness.

The films new land and living road are the emotional core of the exhibition. The imagery of the altered Noto landscape, the woman driving through the region, and the subtle references to the Melody Line – a road whose musical feature has been silenced by repair work – are deeply resonant. SIDE CORE isn’t offering solutions; they’re offering a space for reflection, a reminder of the fragility of existence, and a plea to listen to the stories of those affected. The exhibition’s final act, opening the rooftop to reveal the world outside, is a powerful gesture, a deliberate breaking of the fourth wall. The urging of officials to avoid the peninsula after the earthquake, contrasted with the residents’ desire for visitors, underscores the complex dynamics at play. “Living road, Living space” isn’t just a show; it’s a conversation starter, and its impact will likely extend far beyond the walls of the museum.