14th Edition of WAN wan ONE

This year’s main exhibition was held on the first and second floors of Kyoto Ceramic Center.

The 14th exhibition brought together a total of 117 bowls by 111 artists working in Kyoto, displayed in a spacious setting.

A defining feature of the WAN wan ONE Exhibition is the gathering in one place of a wide variety of works made with diverse materials and techniques by artists and kilns working in Kyoto.

It was an opportunity to experience the full appeal of Kyo-yaki and Kiyomizu-yaki.

An exhibition of sake vessels on the theme “A universe in the palm of your hand” was held on the second floor of the machiya gallery at Toutensei Kawasaki.

The exhibition brought together 111 works by 63 ceramic artists working in Kyoto, each exploring their own beauty and conveying the appeal of finely crafted sake vessels.

Through the different shapes and textures of these palm-sized vessels, visitors discovered the depth of vessels for enjoying sake and spent a pleasant time finding their own favorites.

Works by young Kyo-yaki and Kiyomizu-yaki artists were exhibited under the theme “Stories that Color the Four Seasons.”

The Kinki Branch of the Table & Food Coordinate Association arranged these works in table settings. Seasonal arrangements created a variety of stories that color the four seasons for visitors to enjoy.

An exhibition highlighted the history of Gojozaka and Chawanzaka during the Showa era and the legendary ceramic artists who led that period.

Planned in three chapters covering the beginning of Showa, Showa 20–29 and Showa 30–39, this final chapter focused on Showa 30–39 (1955–1964).

Through masterpieces by artists connected to the neighborhood, including Kanjiro Kawai, Rokubei Kiyomizu VI, Yuzo Kondo and Kazuo Yagi, the exhibition reconsidered local history and aesthetics from a community perspective and offered an opportunity to think about passing them on to the future.

The exhibition presented cups made through exchanges in which pupils at Higashiyama Special Needs School taught students from the Faculty of Human Development and Education at Kyoto Women's University how to make cups, paint them and apply glazes.

Visitors enjoyed the works created in this friendly atmosphere, which embodied the exchange between the two groups.

Food was served on Kiyomizu-yaki vessels at CICON’s restaurant, bakery and rooftop bar.

The limited-time menu used vessels made by Kyoto ceramic artists especially for NOHGA HOTEL.

A joint project led by Ritsumeikan University and Waseda University centered on an explanatory display of the Ibuki folding screen, which depicts the rows of machiya houses on the south side of Gojozaka lost during wartime building clearances.

The exhibition reconsidered Gojozaka from the Meiji to Showa eras, its Kyoto townhouses and back alleys, and the lives of its residents.

An increasing number of visitors look forward each year to the exhibition by UTSUWA DANSHI with Yuichi Ikai.

Kyo-yaki and Kiyomizu-yaki encompasses many techniques, and each member of UTSUWA DANSHI has a distinct character. Introducing the makers’ personalities alongside their works seemed to help visitors feel closer to the pieces.

We believe that enjoying vessels at home while picturing their makers is another way to convey the appeal of pottery.

Kyo-yaki and Kiyomizu-yaki artists take risks in pursuit of new forms of expression. We held a workshop making accessories from ceramic fragments produced in that process.

Participants enjoyed a rare opportunity to create their own one-of-a-kind accessories by setting ceramic fragments in resin.

A talk related to the Legends Exhibition welcomed family members and others who knew the period.

They shared specific stories not found in documents, including the background of the works, the local working environment and exchanges between artists.

Participants commented that the history of Gojozaka felt closer to them.

A talk event related to the Legends Exhibition was held.

Relatives of the legendary artists took the stage, exploring Gojo in Showa 30–39 (1955–1964) through stories passed down to them and seen from this neighborhood’s perspective.

A tea gathering using Kyo-yaki and Kiyomizu-yaki utensils was held at Tan’an Tea House in Kyoto National Museum, welcoming more than 100 participants.

Guests drank tea from bowls by artists currently active in Kyoto, as well as bowls by Kanjiro Kawai and Rokubei Kiyomizu that they would not normally have an opportunity to handle.

Participating artists also explained the utensils and the background of their creation, allowing guests to deepen their understanding of the works.

The gathering was conducted to welcome people with no experience of tea ceremony. First-time participants said they had expected it to be intimidating but found they could enjoy it comfortably.

Many appreciated the chance to learn through direct contact with pottery without needing specialist knowledge.

A festival was held to give thanks to Shoki, the deity believed to ward off evil who stands on roof tiles.

Many families joined the activities around the shrine, providing an opportunity to broaden understanding of local culture.

Shoki-themed goods were also sold at Gojo Green Tea Stand during the event period.

An event combining music with Shin Fujihira’s illustrated writings was held at Salon Fujihira, in front of the former Fujihira Pottery climbing kiln.

Live flute, clarinet and piano performances accompanied a page-by-page introduction to the book, creating a quiet setting in which to appreciate the works.

Exhibitions combining young artists’ vessels and coordinated table settings were held at Hall Keiryu on the second floor of the Gojo-building and other venues.

Artists and coordinators also discussed seasonal uses of vessels and spatial arrangements, sharing basic perspectives on what table coordination means.

Hearing perspectives on both using and making vessels offered new insights into richer daily living and creative work.

Speakers — Spring: Nozomi Oishi and Natsumi Ishii; Summer: Yoshiko Kusao and Ryuta Takagi; Autumn: Noriko Hirohashi, Yuya Yamamoto, Hisae Yamada, Ikuko Maekawa and Mizuki Yoshida; Winter: Rikako Higuchi and Takumi Yamazaki.

Under the theme of Gojozaka in Showa 30–39 (1955–1964), the exhibition combined records of ceramic artists of that period with works by young contemporary artists.

Contemporary artists made new works based on the question of what they might have made in that environment, allowing visitors to compare the different eras.

Many visitors moved back and forth between the works from both periods as they viewed the exhibition.

Participants visited exhibitions, enjoyed hands-on pottery making and joined a special lunch with locally active artists.

This special tour, held during the event period, offered an opportunity to fully experience the appeal of Gojozaka.

A workshop for high school students explored sculptural objects made with ceramic materials.

The theme was announced on the day, and participants made objects in clay. Kawajiri handled drying and firing, and participants returned later to collect the finished works.

The university also judged the works. Outstanding pieces were to be displayed in the university gallery and the following year’s WAN wan ONE Exhibition, although there might be no qualifying works. Participants also received the benefit of free attendance at a later university pottery workshop.

Kyo-yaki and Kiyomizu-yaki artists take risks in pursuit of new forms of expression. We held a workshop making accessories from ceramic fragments produced in that process.

Participants enjoyed a rare opportunity to create their own one-of-a-kind accessories by setting ceramic fragments in resin.

The workshop’s value as an ongoing introduction to local craftsmanship was reaffirmed.