Co-creating Cultures for the Future Week
Multicultural resonance towards a better future
Japan Association for the 2025 World Exposition
The programme, together with the General Sponsors, explores: 'What creative collaborations and actions can be considered for working together across different cultures to solve common challenges?'
Discussion
| Transmission of simultaneous interpretation | Provided |
|---|---|
| Language of interpretation | Japanese and English |
Reservations are required for this programme.
Booking typically opens with the '2-month advance lottery.' Click below for details.
* Arrive early; latecomers may not be admitted.
For more information about making a reservation to watch a programme.
Please watch the Virtual Studio if you are outside the venue.
-
Agenda2025
Organised Programme
- * Programme times and content are subject to change. Any changes will be announced on this website and via the ticket booking system.
- * The schedule is subject to change depending on the organiser's circumstances.
- Time and
Date of
the event -
-
2025.05.05[Mon]
17:30 ～ 20:00
(Venue Open 17:00)
-
- Venue
- Theme Weeks Studio
Programme details
Futures in Resonance
The six creators who jointly realised Expo 2025’s signature trilogy—the Grand Roof Ring, Stillness Forest and the Better Co-Being Pavilion—convene for a 120-minute dialogue entitled “How can diverse cultures, intelligences and forms of life truly resonate to co-design the future?”
Part 1: each speaker delivers a 7-minute field report, revealing the backstage process of collaborative making.
Part 2: three themed chapters—Planetary Resonance, Life Resonance and Future Resonance—spark cross-questioning on non-human intelligence, intercultural value weaving and better co-being.
Whether or not audience members have walked the installations, layered images, footage and narrative rebuild the on-site experience inside the hall, letting everyone follow the resonance process in real time. The session closes with moderator Hiroaki Miyata handing the baton to the audience, inviting each listener to ignite the next wave of resonance beyond the Expo grounds.
*Tomás Saraceno will be appearing the session online.
*Simultaneous interpretation is available in both English and Japanese. Please bring a smartphone, tablet or other internet-enabled device with earphones to listen.
Subtitles for this program are available at the URL below.
EXPO2025 Theme Weeks 「Multicultural resonance towards a better future」
<Subtitles URL> https://us06web.zoom.us/j/84849204296
Live streaming and subtitle may not be matched each other.
Please note that the accuracy of the translation results is not guaranteed.
Cast
Moderator
Hiroaki Miyata
Professor, School of Medicine, Keio University
Specialises in data science, scientific methodology, and value co-creation;
His research revolves around promoting social reform through utilising data science and other scientific methods to change society for the better. Is involved in a range of projects in and outside the field of medicine, such as the National Clinical Database involving 5,000 hospitals around Japan in collaboration with the medical specialist system and the nationwide COVID-related LINE surveys led by the Ministry of Health, Labour, and Welfare. Also works with the Keidanren and World Economic Forum to develop a new vision of society. One of the visions of society that Miyata has co-created is a “resonant society” characterised by vibrancy and diversity where each individual shines through experiencing that world with others.
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Speakers
©David Vintiner
Sou Fujimoto
Sou Fujimoto Architects
Sou Fujimoto was born in Hokkaido in 1971.
Graduated from the Department of Architecture, Faculty of Engineering at Tokyo University, he established Sou Fujimoto Architects in 2000.
Among his recent renowned projects is the 1st prize for the 2014 International Competition for the Second Folly of Montpellier, France ("L'Arbre Blanc"). Additionally in 2015, 2017 and 2018, he won several international competitions with 1st prize in various European countries. In Japan, he was selected as the Expo site design producer for the 2025 Japan International Exposition (Osaka/Kansai Expo). In 2024, he was selected for “Subcontract for the Basic Design of the International Center Station Northern Area Complex (Tentative)” in Sendai, Miyagi.
His notable works include; “House of Music” (2021), “MARUHON makiart terrace (Ishinomaki Cultural Center)” (2021), “SHIROIYA HOTEL” (2020), “L’Arbre Blanc” (2019), “Serpentine Gallery Pavilion 2013” (2013), “House NA” (2011), “Musashino Art University Museum & Library” (2010), “House N” (2008) and many more.
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Yuko Hasegawa
Curator, Visiting Professor at Kyoto University
Yuko Hasegawa is a curator, educator and writer based out of Tokyo. She currently holds positions as Director of the 21st Century Museum of Contemporary Art, Kanazawa, Director of Art and Design of the International House of Japan, Curator of the Better Co-being pavilion at Expo 2025 Osaka-Kansai, Artistic Director of the Inujima Art House Project and Professor Emeritus of Tokyo University of the Arts. She was Artistic Director of the Museum of Contemporary Art, Tokyo until 2021 and during her post she curated solo exhibitions of Dumb Type, Olafur Eliasson and rhizomatiks among others.
She has curated Japanese contemporary art and media and technology extensively both domestically and internationally. Her curatorial language is interdisciplinary, encompassing not simply art but also architecture, design, science and anthropology, and combined with global curating experience, allows her to view art as part of a single, holistic ecology.
Hasegawa has also curated, either solo or in a joint capacity, international art biennials including the 7th International Istanbul Biennial (2001), the Shanghai Biennale (2002), the 29th São Paulo Biennial (2010), the Sharjah Biennial 11 (2013), and the 7th Moscow Biennale (2017), Thailand Biennale, Korat (2021) and also served as art advisor to the 12th Venice Architecture Biennale (2010). She has been honored with the Officier de l'Ordre des Arts et des Lettres, France (2024).
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©Tomás Saraceno. Photography by Dario Lagana
Tomás Saraceno
Artist
Tomás Saraceno (b. 1973, he/him/his) is an Argentina-born, Berlin-based artist whose projects dialogue with forms of life and life-forming, rethinking dominant threads of knowledge and recognizing how diverse modes of being engage a multiplicity of vibrations on the Web of Life. For more than two decades, Saraceno has worked with local communities, scientific researchers, and institutions around the world, and has activated open-source, interdisciplinary, collective projects, including Museo Aero Solar (2007–), the Aerocene Foundation (2015–), and Arachnophilia, towards a society free from carbon emissions, for intra and interspecies climate justice. Saraceno has been the subject of solo exhibitions and permanent installations at museums and institutions internationally, including The Serpentine Gallery, London (2023), The Shed, New York (2022), Palais de Tokyo, Paris (2018); Museo de Arte Moderno, Buenos Aires (2017); K21 Kunstsammlung Nordrhein-Westfalen, Ständehaus, Dusseldorf (2013); the Metropolitan Museum of Art, New York (2012); and Hamburger Bahnhof – Museum für Gegenwart, Berlin (2011). Saraceno has participated in numerous festivals and biennales, including the 17th Venice Architecture Biennale (2021) and the 53rd and 58th Venice Biennales (2009, 2019).
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©and the Credits are for the Photographer Giulio Boem
Stefano Mancuso
University of Florence and Pnat founder
Stefano Mancuso, Professor at the University of Florence is the founder of plant neurobiology and one of the world's leading authorities in this field which explores signaling and communication at all levels of biological organization. He published more than 300 scientific papers in international journals. His last books (translated in 27 different languages) include Brilliant Green: The Surprising History and Science of Plant Intelligence; The Revolutionary Genius of Plants, a New Understanding of Plant Intelligence and Behavior (Galileo Award); The Nation of Plants; The Incredible journey of plants; Tree stories. Some of his recent exhibitions include: The Florence Experiment (with Carsten Holler) at Palazzo Strozzi (2018, Italy); The Nation of Plants during the XXII Triennale di Milano (2019; Italy); The Botany of Leonardo (with Fritjiof Capra) (2019, Italy). Symbiosia at Fondation Cartier (2019; France), Econtinuum (with Thijs Biersteker) at NXT Museum (2021, The Netherlands); Mutual aid at Architecture Biennale Venezia (2021; Italy); Talking God at the Thailand Biennale 2022
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©Romeo Erlich
Leandro Erlich
Artist, Leandro Erlich Studio
Leandro Erlich was born in Argentina in 1973. He lives and works between Paris, Buenos Aires and Montevideo. In the last two decades, his work has been exhibited internationally and is part of the permanent collections of prestigious museums and private collectors, including: Museo de Arte Moderno, Buenos Aires; The Museum of Fine Arts, Houston; Tate Modern, London; Musée National d'Art Moderne, Centre Georges Pompidou, Paris; 21st Century Museum of Art Kanazawa, Japan; MACRO, Rome; Jerusalem Museum and many other institutions significant to his career.
Erlich has created several striking public works, such as La Democracia del Símbolo at the Obelisco and MALBA Museum in Buenos Aires, Maison Fond for the UN Climate Change Conference in Paris, Bâtiment at Nuit Blanche Paris, Ball Game for the Summer Youth Olympic Games in Buenos Aires, Port of Reflections exhibited at the MMCA in Seoul, and Palimpsest at the Echigo-Tsumari Art Triennial in Japan. Currently, his monumental work La Carte, À l’ombre de la ville is a permanent installation of the city of Bordeaux, France.
During the past years, Leandro Erlich has participated in major exhibitions at institutions such as CAFAM in Beijing, the MALBA in Buenos Aires, CCBB in several cities in Brazil, PAMM in Miami, and the Centre Pompidou Metz in Paris, reaching several times the record of visitors.
As a conceptual artist, his work explores the perceptual bases of reality and our ability to interrogate these same foundations through a visual framework. The architecture of the everyday is a recurring theme in Erlich’s art, aimed at creating a dialogue between what we believe and what we see, just as he seeks to close the distance between the museum or gallery space and daily experience.
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Co-creating Cultures for the Future Week
Multicultural resonance towards a better future
The programme, together with the General Sponsors, explores: 'What creative collaborations and actions can be considered for working together across different cultures to solve common challenges?'
-
2025.05.05[Mon]
17:30～20:00
(Venue Open 17:00)
- Theme Weeks Studio
- * Programme times and content are subject to change. Any changes will be announced on this website and via the ticket booking system.
- * The schedule is subject to change depending on the organiser's circumstances.
Reservations are required for this programme.
Booking typically opens with the '2-month advance lottery.' Click below for details.
* Arrive early; latecomers may not be admitted.
For more information about making a reservation to watch a programme.
Please watch the Virtual Studio if you are outside the venue.
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Co-creating Cultures for the Future Week
