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The performance installation, “The Mountain of Sadness: Return of the Souls” is part of the Japanese series of my Verdensrum-series, which deals with sacred mountains in Japan*. The installation is inspired by Osorezan, the desolated volcanic landscape in the Aomori prefecture, which, according to Buddhist cosmology, symbolizes the entrance to the underworld.

Background. Preparatory phases and opening
The installation, shown earlier in 2024 at The Aomori Museum of Art, consisted of a tableau inspired by “The Sources of Hell”, “The Heaven Lake” and “The Goddess of Mercy”, which was created using film, images, light effects and sounds. In this tableau, the story of an unpredictable encounter between the late Butoh dancer Kinya Tsuruyama** and the mysterious snow spirit Yuki Onna and other returning souls was told.

The whole thing was created and produced in Aarhus, Denmark, by the undersigned in 2023. Stage director Willie Flindt, served as dramaturgical consultant. Oscar Balund Jespersen and Sophie Balund Jespersen were assistants on the sound production (Oscar) and as Yuki Onna (Sophie).

The process in Japan consisted of a preparation and construction phase in Aomori and Tsugaru lasting 10 days. Prior to the installation, which AI-Sign supervised, the installation was thoroughly discussed with all parties present. This was based on the layout I brought with me, including a model, which was to facilitate understanding. The work was ready within five days and the installation was carried out with meticulous precision and care by the Japanese craftsmen. I followed the process, together with Fukushi, who willingly got involved, and had the opportunity to make adjustments along the way.

Everyone, including the temple, seemed extremely happy and satisfied with the result. For my own part, I was particularly pleased that the details had been successful and that the installation, including the large picture panels, resonated nicely with the otherwise atmospheric temple room, which was also the main room in the temple. The exhibition opened on September 1st with a steady stream of temple-goers and visitors, including networks and collaborators of the temple and the exhibiting artists, who, in addition to myself, numbered about 10 visual artists from the Aomori region. There were also repeat visitors from the exhibition of the work at AMOA earlier in the year and other art lovers.

Performances in the exhibition 
A highlight was the performance in the installation by butoh dancer Shoichi Fukushi that was part of the temple’s autumnal equinox festival. Beside Fukushi 9 year old butoh dancer Kai and flute player, Yokozuna Hiromasa, performed and found their way into “the underworld” (the set-up of the installation) to blend with the returning souls (the story of the installation). To me the installation, the performance and costumes as well as the temple interior seemed a fine match aesthetically and content-wise. It was also very well received by the audience. For the two days the festival lasted, the temple hummed with life and activities. Beside other performances there were fire walking among other esoteric Buddhist rituals.

Organization
The project was organized as a collaboration between The Koboji Temple (Tanjitsu Shirato), Shonchan Dance (Fukushi), AI-Sign (Akeo Ishizawa) and Verdensrum (me). It was great for the project to have local collaboration partners, who knew one another, and everything was carried out in a smooth and highly professional way. Furthermore it created lots of new artist networks. An interview was made with the vice priestess, Tanjitsu, which I took part in, too, and brought in The Aomori Prefectural Social Education Center’s information magazine.

Residency in The Aomori Contemporary Art Center. New projects and possibilities
During the exhibition period I spend 3 weeks in a residency in The Aomori Contemporary Art Center in Aomori. During my stay I made the concept for a last chapter of “The Mountain of Sadness” story, entitled “The Mountain of Sadness: World’s End”. A new collaboration was formed with dancer Satoko Kawamurafrom Aomori. Furthermore shootings were made in Osorezan.

I also had the chance to meet and exchange with other artists such as photographer Ai Iwane, who happened to be a friend of Kinya Tsuruyama. Together with chief curator, Yuka Keino, we went on an excursion to Tsugaru, so that they could experience my installation and “The Tsugaru art from the temple” exhibition in The Koboji Temple. During the long tropical-like nights in the center there were time to exchange ideas with Ai regarding our respective art works and to enjoy the great facilities of the art center and its magnificent surroundings.

Perspectives: The Mountain of Sadness: Return of the Souls
Efforts are being made to realize “The Mountain of Sadness: Return of The Souls” in other places in Japan such as The Kyoto Art Center as well as in Jeju island, South Korea. To help this happen I am in touch with curators in ACAC, regarding exhibition possibilities in Northern Japan and Kyoto as well as friends of Kinya Tsuruyama in Japan and Jeju. A meeting regarding next project “metal weavings” was held in Tokyo with Cipango and afterwards they luckily found a venue for it in Kyoto, The Gallery Heptagon.

*The Verdensrum-series focuses on Asian cultures such as Arabia, India and China. The Japanese part of the series focuses on Japanese culture and specifically deals with Japanese mandalas and sacred mountains.
** Kinya Tsuruyama was an important part of the Japanese part of my Verdensrum-serie until his passing in 2020.