[The Magic of Art 02] Kanagawa Prefectural Museum of Modern Art, Kamakura Annex: Reflections on 40 Years and Passing on the Collection to the Future

The Kanagawa Prefectural Museum of Modern Art was established in 1951 on the grounds of Tsurugaoka Hachimangu Shrine in Kamakura.
The museum began its activities during the post-war reconstruction period, and has continued its work while adapting its structure to the changing circumstances, such as expanding its storage facilities and securing space for permanent exhibitions. The Kamakura Annex opened in 1984, and the Hayama Museum opened in 2003. With the closure of the Kamakura Museum on the grounds of Tsurugaoka Hachimangu Shrine in 2016, the museum is now comprised of two museums, the Hayama Museum and the Kamakura Annex. On April 1, 2024, Saki Nagato assumed the position of the 8th Director.

—It's been three months since Mr. Nagato became the new director.

Nagato: I have been a curator and chief curator at the Kanagawa Prefectural Museum of Modern Art since 1993, and have been the head of the planning department since 2018. I am from Kanagawa Prefecture and have loved art since I was a child, so I have many fond memories of the Kanagawa Prefectural Museum of Modern Art.

—What are your impressions since becoming a curator?

I feel that the past 30 years have been a period of significant change for Nagato.
I was happy to witness the closing and opening of the Kamakura and Hayama art museums, but then we were hit by a series of unexpected natural disasters. The Great Hanshin-Awaji Earthquake, the Great East Japan Earthquake, and the 2024 Noto Peninsula Earthquake still leave me feeling anxious. As someone involved in the arts, I am concerned about the preservation and protection of works of art, just as I am about our own lives and livelihoods.

—I understand that the Kanagawa Prefectural Museum of Modern Art has a dedicated staff member in charge of conservation and restoration.

Nagato: Following the Great Hanshin-Awaji Earthquake of 1995, our museum became more aware of the importance of preservation and restoration, and when the Hayama branch opened in 2003, we set up a room for this work and assigned specialized staff to it.

—Before that, did you have to hire external repair technicians each time?

Nagato : Yes. By the way, conservation and restoration is not simply about making things look good. Damaged works are restored, but depending on the condition, we may also consider preserving them as they are. At the restoration planning stage, curators and restorers work together, and it is necessary to consider each work individually, such as conducting thorough research on the artist's intentions and the historical context in which it was created. Being able to carry out restoration work within the museum has allowed us to take a long-term perspective on our collection and consider the necessity and timing of any treatment.

Initiatives to "provide care, protect, and preserve"

—Mr. Hashiguchi, we received a message from Director Nagato, didn't we?

Hashiguchi : Yes. I am a curator specializing in conservation and restoration, but I feel that there are still few staff members in the same position at other museums. Recently, not only major earthquakes, but also torrential downpours and large typhoons have been increasing. At our museum, a large outdoor sculpture suffered fatal damage from Typhoon No. 15 in September 2019, and we carried out restoration work. We are also introducing the process in the exhibition. I would be happy if you could see the "Healing, Protecting, and Preserving" exhibition and learn about the significance of conservation and restoration.

—At the exhibition, the first thing I noticed was a row of restoration tools lined up right at the entrance. I was thrilled to see familiar stationery items, and surprised by the sheer number of tools.

Hashiguchi Painting not only works on the surface of the artwork, but also improves the back and frame. Even in the ideal environment of a museum, artworks slowly deteriorate over time, so much of the work involves "preventive care," like treating a disease before it becomes serious, to avoid major problems.

Venue view (tools used for restoration) Photo: Katsuaki Sato

—The before-and-after transformations of the oil paintings were astonishing, and the explanations for each piece were very insightful.

Hashiguchi, thank you. The explanation is something I focused on; it explains not only the cause of the damage and the details of the repair, but also the reasons why those treatments were chosen.

Venue photos: Katsuaki Sato

—I heard you recently held a workshop on "washing outdoor sculptures."

The Hashiguchi Hayama Museum has 20 outdoor sculptures, and the Kamakura Annex has 8. Outdoor sculptures are exposed to direct sunlight, rain, and wind every day. They are also home to insects and birds, and because of their proximity to the sea, the salt concentration in the air is high. We inspect them regularly, but once a year we clean them using scrubbing brushes, rags, and a high-pressure washer. This time, we held a workshop to help people learn about the maintenance of outdoor sculptures.

—What were the participants' impressions?

The work using Mr. Hashiguchi's high-pressure washer was exciting, and he cleaned every nook and cranny (lol). I think that through the cleaning process, he was able to touch the sculptures and feel closer to them.

Shin Hongo, "Voice of the Sea," 1950, Bronze, Collection of Kanagawa Prefectural Museum of Modern Art, Photo: Keizo Kioku

Celebrating 40 Years: The Future of Kamakura Annex

—Finally, Director Nagato, could you tell us about your plans for the future?

We often hear the term "diversity," and indeed, the genres of artworks and the ways in which they are displayed have changed. We too want to present the diverse works in our collection in a variety of ways. For example, we are thinking about ways to display works that transcend time and arrangements that go beyond the exhibition rooms, so please look forward to it as we aim to make the museum an even more attractive place.

Furthermore, as a museum with specialized conservation and restoration staff, we intend to continue to sincerely communicate the importance of this field.

Text by Mai Shimura (editor/writer)

Kanagawa Prefectural Museum of Modern Art, Kamakura Annex
Address: 2-8-1 Yukinoshita, Kamakura City, Kanagawa Prefecture
Phone number: 0467-22-5000
Official website: Click here