The Roppongi Art Night Executive Committee will be hosting Roppongi Art Night 2017 for 2 days on September 30 (Sat) and October 1 (Sun), 2017. This year’s Roppongi Art Night 2017 will be featuring art and performance from around the world, including many from Asia, proposing a new creative form of ‘matsuri (festival). Its theme is ‘Mirai no Matsuri’ (festivals of the future), and Roppongi Art Night is excited in welcoming Photographer and Film Director Mika Ninagawa as the main artist.

In addition, Roppongi Art Night will be launching the ‘Southeast Asia Project’ in which artists from Southeast Asia as well as Japanese artists will work together with the Roppongi community and its people to create and present art.

Overview of Roppongi Art Night 2017

Official Title Roppongi Art Night 2017
Overview Roppongi Art Night is a one-night celebration of art staged in the district of Roppongi. The event proposes a pioneering model for urban development as well as a lifestyle that celebrates the enjoyment of art in our everyday lives. Presenting modern art, design, music, film, and performances, Roppongi Art Night offers a surreal, extraordinary experience. Launched in March 2009, the event is growing every year.
Time and Date September 30(Sat) 10:00- October 1(Sun)18:00, 2017
<Core Times> September 30(Sat) 17:27(Sunset) – October 1(Sun) 05:36(Sunrise)
*Core times is the period with the highest concentration of events with many performances and workshops held.
Venues Roppongi Hills, Mori Art Museum, Tokyo Midtown, Suntory Museum of Art, 21_21 DESIGN SIGHT, The National Art Center, Tokyo, Roppongi Shopping District, other cooperating facilities and public spaces in the Roppongi area.
Admission Free (however, fee is required for certain programs and museum events)
Organizers Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture), Minato City, Roppongi Art Night Executive Committee [The National Art Center, Tokyo, Suntory Museum of Art, Tokyo Midtown, 21_21 DESIGN SIGHT, Mori Art Museum, Mori Building, Roppongi Shopping District Association]


Thanks to Peter Bürger, the writings of my grandfather have been finally published. Peter did a great job in collecting all those articles – they show my grandfather as an engaged citizen and Catholic, who was very critical about the Adenauer regime and its attempts to supplant the horrible crimes that took place in Nazi Germany. I wish there would be an English translation, as those texts show a different post-war Germany … There is also no English translation for ‘Trauerarbeit’, but that is what he mainly did: reminding the Germans of their guilt, asking them to remember. Of course not many were ready for that. As filmmaker Christian Petzold once said, there is a big gap in German Cinema:

“The Germans had to have this ‘coming home’ story in 1945, but they didn’t make it. They don’t want to have a picture of themselves. Because they are guilty and because they don’t want to stand in front of their guiltiness. I think this is a scar, a wound, which goes through our film history through today. I think someone like Fassbinder, who started to make period pictures, in Fassbinder you can find the fascists in the contemporary movies, but then he starts to make period pictures, and he uses Douglas Sirk—also a German director, for example, who’s a refugee—to go back to this gap, this moment, where we don’t have the cinema. We had propaganda, and after we had propaganda again, and there’s a big gap.”

This gap is not only to be found in German Cinema. The collection of my grandfather’s writings can help fill that gap – just like Petzold’s latest movie did.