Originally published on metropolis.co.jp on June 2011

In terms of the number of people actively involved in art, Tokyo is definitely the world capital. Not only do big museums pull in greater crowds than global competitors, but large artist associations like the Nihon Geijutsuin also organize massive exhibitions attracting thousands.

But Tokyo also has a thriving underground and amateur art scene, which finds its greatest expression at the twice-yearly Design Festa. This is a massive exhibition held over a weekend in the vast Tokyo Big Sight, where artists—whether part-time, professional, student or “other”—can rent booths to show their outpourings without any selection committee or curatorial guidance to cramp their style. In other words, it is pure artistic anarchy—though in Japan even that is well organized.

After years neglecting the show—assuming it would be swamped with enthusiastic amateurs and artless incompetents—I decided I had nothing to lose by visiting the recent 33rd Design Festa. I was delighted with what I saw.

With around 8,500 exhibitors in 2,900 booths and numerous performances there is no way you can see everything the Festa has to offer. Best to wander and follow your eyes, stopping to chat with artists and buy the occasional, reasonably-priced artwork, print, or postcard.

Several themes stood out. Naturally enough, many artworks and events made reference to the Great Kanto Tohoku Earthquake—with much fundraising going on. As this is the Year of the Rabbit, many lovable rodents were about, too. Then there were the more perennial themes—high-school girls, gothic dolls, and various otaku motifs.

A particularly impressive artist was Maromixxx, who creates naïve, childish paintings with an undercurrent of evil. One work showed a sinister rabbit in underpants holding a knife, while others were expositions on the kegadoru (injured idol) theme, showing babyish girls injured in various ways. The vulnerability evoked by the injuries produces feelings of tenderness—making what is already cute even cuter. Of course, kegadoru are routinely dismissed as part of a suspect otaku culture, but with Japan itself badly injured by the quake and in need of sympathy, Maromixxx’s quaint works struck a surprising chord.

The exhibition also had a darkened area for artists wishing to get far away from the white cube conditions dominating the conventional art world. Here I ran into French-Norwegian artist Jeanne-Sophie Aas, who had flown from Norway to show her illuminated stained-glass works. Unfortunately several flight transfers had seen some of her works damaged, cracked, and pieced back together.

“In a way, I felt it was appropriate,” she mused, “because it reminded me of what happened to Tohoku.”

After the solidarity and optimism conveyed at this Design Festa, it’s time to look ahead to the next one in November. If you have something to exhibit, just apply via the website. Applications are granted on a first-come-first-served basis. The fee is around ¥20,000 for both days—and equipment is available to rent. But even if you just fancy rubbing shoulders with the friendliest crowd in Japan, then make sure the date’s circled on your calendar.

The next Design Festa will be held Nov 11-12. www.designfesta.com

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