Working with a local performer, the artists will offer visitors a guided tour of the pavilion. The work plays on the form of the museum/exhibition tour with advertised tour times and the docent providing information about the artists and artworks. However, instead of providing visitors with reliable facts, unexpected twists and unlikely readings and interpretations leave no doubt that something has been both lost and found in translation.


THE THE, appropriates the humble park bench as a site for poetry readings, talks and happenings which will be staged throughout the duration of the project. Howe has adorned and attacked her bench with an eclectic mix of images from Japanese magazines, figurines, toys, plastic sushi and paint, collected in Tokyo. Treating her work as a form of expanded painting, Howe’s addition to the Folkestone landscape is both celebratory, dysfunctional and apocalyptic.


Working in collaboration, the artists have recreated noren or traditional Japanese restaurant signs, which are typically found hanging in the entrances of restaurants across Japan. While two large noren will flank the entrance and exit to the pavilion, other smaller ones will be offered to local Folkestone restaurants, with an invitation to the owners to hang them in their doorways. The names of the restaurants will be translated into Japanese and function as a form of exchange to mark the 2017 Triennial.


This artwork utilises virtual reality technology to create an augmented panorama of the pavilion, revealing a fanatical and surrealist interpretation of Folkestone. The artwork can be experienced via a website accessed from a mobile phone using QR codes displayed on sculptural signs outside the pavilion.


This work involves two elements. In collaboration with the Folkestone Shed project, where ex-servicemen are taught carpentry skills, the artist is creating a site-specific, architectural intervention based on the wooden supports made for tree branches commonly found in Japan. Alongside this work, beautifully crafted chopsticks made of offcuts from the pavilion construction will be produced using Japanese tools and given as gifts to visitors of the pavilion.
(Folkestone Shed is part of the Shepway Volunteer Centre).


Weaving together hundreds of plastic multi-colored origami fish with other culturally specific materials, the artist has created a symbolic flag that combines and fuses together different UK and Japanese references. The flag will be attached to the central part of the pavilion and act as a marker.


Based on factual and fictional interviews, stories, written accounts and collected images gathered while in Folkestone, the artist will generate a website that will incorporate and narrate her own personal experiences, encounters and responses on a daily basis throughout the project.


This project is based on the famous mystery novel Murder on the Orient Express written by Agatha Christie whilst staying at the Grand Hotel, Folkestone, in the 1930’s. Set within Christie’s bedroom, a spoken word and musical performance will take place in the pavilion with the help of local performers. The work also aims to connect aspects of Christie’s life with the 1980’s Russian punk band, Agatha Christie, resulting in a hybrid reincarnation of both the author and the band named after her.


A large wooden structure based on designs from ceremonial processions provides the support for a performance involving four ‘bearers’, each wearing a specific costume. The dark stained wooden structure has been intentionally ‘aged’ while the shoulder padding for the bearers refer to Pokemon characters.
The procession aims to both celebrate and undermine its apparent function and meaning, deliberately courting confusion and contradiction to create a mixed metaphorical message.


As is well known, eating raw and cooked fish has been central to the Japanese diet for centuries. Fascinated by the culture and history of fishing, the artist has spent the previous week meeting and interacting with local fishermen and will create a narrative-based artwork exploring personal stories and responses based on his discussions.


Adopting an approach that was pioneered in the 1960’s by the MONO HA (Japan) and FLUXUS (Europe and USA) movements, the artist invites visitors to participate in producing sculptural assemblages, using objects and materials found in Folkestone. The form and materiality of the work will expand and evolve in direct relation to the participants’ willingness to engage and create unexpected and unpredictable artworks.


Responding to the idea of ‘a message in a bottle’ and stained glass windows, the artist has collected and displayed bottles from local Folkestone shops, bars and hotels. Visitors are invited to write personal messages or wishes on Japanese washi paper. The bottles and the messages contained within, will be displayed to create the effect of stained glass in the pavilion before they are sent out to sea to take on their own random journey.


Based on a two-headed chicken, echoing the shape of the artist’s home country (Guilin, Northern China), a performance incorporating an elaborate and intentionally ad hoc costume, combines found materials gathered in Japan, China and the UK. Running throughout the exhibition, the performance involves the artist processing along the length of the Leas and around the pavilion.


In a work prompted by a fascination with the famous White Cliffs of Dover, which define an iconic point of arrival and departure to the UK, the artist will create a performative drawing using large pieces of locally sourced chalk. This piece will evolve and develop as a durational artwork throughout the project.