Australian Aborigines used the boomerang as an effective hunting tool. Flying in a huge sweeping arc, it would mercilessly kill or maim anything that crossed its path. The Boomerang Art Project, a collaborative effort between 24 young Kyoto and Bremen artists, seeks to emulate the power of that flight through the creative process. This time, however, the only cutting edge to be found will be the artwork of the participants, who are gathered to live and work together in Kyoto Oct. 5-29, and who will repeat the experience in Bremen next March.

Installation by Kuri Yorigami

The Boomerang Art Project was initiated by Yuji Takeoka, professor of fine art at the Bremen University of Fine Arts and who previously taught at the Kyoto City University of Fine Arts. However, it is the participants' own organizational efforts that have ensured that the project has come into existence.

Apart from being an opportunity for the artists to display their work, the Boomerang Art Project aims to bring young artists with differing perspectives into an environment where they can explore new artistic territories.

Due to time considerations (artists have only two weeks in total to complete their works) and space constraints, spontaneity and compromise is encouraged. It is hoped that these conditions will inspire constructive debate on two issues: what is the best medium to convey their ideas and how to best express their ideas.

The artists will draw on a range of mediums, and installations will be the focus of the exhibition. While each artist's individual exhibits have been planned, an improvised approach to any collaboration is expected.

"Since the project started to become a reality, the members from Bremen and Kyoto have been communicating with each other about what they hope to achieve collectively," said participating artist Asuka Yamaguchi.

Over 50 volunteers are assisting with such things as interpreting, cooking and transportation. "Kyoto is a really supportive city for young artists and it makes me happy to realize that young people can organize a project of this size," Yamaguchi said.

The project has received funding of 6 million yen from a number of corporate and cultural entities including the Goethe Institute, the Pola Art Foundation and the Japan Foundation. While it has been necessary to buy certain materials, efforts are being made to use found materials or recovered materials from government recycling centers.

Omuro House in Arashiyama, formerly a kimono textile factory, is serving as the artists' work and living space. It is now open to the public, enabling visitors to observe the work in progress. Upon completion, all works will be relocated to the Kyoto Art Center. Kyoto's historic Keifuku railway has also offered display space in its stations and single-carriage trains. Linking Omiya near central Kyoto with semi-rural Arashiyama, the Keifuku Line's classic carriages will bring the project's art into the community. The artists are looking forward to exploring the juxtaposition of the old structures with their contemporary artworks.

A symposium will be held Oct. 28 to discuss the direction and trends of contemporary art in Japan and Germany as well as any differences and similarities that were discoverd during the project. The symposium will be led by Takeoka; Peter Rautmann, teacher and critic at the Bremen University of Fine Arts; Keiji Nakamura, assistant curator of ICC Gallery; Minoru Shimizu, assistant professor at Doshisha University; and Hisako Hara, an art project director.

The city of Bremen has already expressed interest in the project, which should guarantee the success of next year's reciprocal exchange. Gallery and workspace has been confirmed, along with wide-ranging support from cultural institutions.

"The support of the people of Kyoto and the Boomerang Art Project has been overwhelming. It is now up to the Bremen participants to return the goodwill extended to us here," said participating artist Astrid Nippoldt.