Abstract
This paper examines art festivals that have been held in Japan throughout the 21st century. These festivals function not only as platforms for social education centered on the visual arts, but have also increasingly served as partners in school education. Naoya Fujita has critically pointed out that such festivals have led to a decline in the “criticality of art.” However, critical examinations of art festivals remain notably scarce in the existing literature. First, this study employs Colin Crouch’s theory of post-democracy to analyze the positioning of art and education within the broader context of societal transformation. Second, it outlines the historical trajectories of documenta and the Venice Biennale, both of which have had a significant impact on Japanese art festivals. Third, it offers a comparative analysis between these prominent European festivals and their Japanese counterparts. The analysis reveals a clear contrast: while European art festivals are primarily organized by networks of art professionals, Japanese festivals tend to be administered by elites from political, bureaucratic, and economic sectors. In conclusion, the paper clarifies the structural characteristics of art festivals under post-democratic conditions, presents new insights into the challenges facing the current system, and discusses prospects for the future.
