The standardised norm of visiting an island is to sip a drink on the beach, dare to venture into some adrenaline-inducing water sports or simply sit back, soak in the sun and relax. But there are some countries that are changing this cliche, exploring a cornucopia of ways to lure visitors to their islands and promising an enriching and invigorating experience.
Defining an island through art and cultural experiences is not only an innovative way to boost tourism but can also play an integral part in revitalisation of rural pockets, which were once neglected regions. In Japan, amidst approximately 3,000 uninhabited islands, a cluster of islands is getting a new identity and lease of life. These are art islands with beautifully restored architectural spaces, exemplary exhibitions and installations.
While the multi-island vision has been under works for over 35 years now, it launched the Naoshima New Museum of Art last month. This is a beautiful three-storey structure focusing on commissioning and displaying works of Asian artists. In the impressive list of artists hailing from Japan, the Philippines, Thailand, and Indonesia, there is also an Indian artist. Mysuru-born N.S. Harsha, an artist who explores myriad subjects ranging from the life witnessed around him to the symbiotic relationship between man and nature, has been commissioned to showcase his work. I wonder how many Indians are taking notice of this.
Perhaps, it's time to balance flocking to Japan during the Sakura season and explore the art islands of the country!
Naoshima, an island which was once an eerie dumping ground with a dwindling population now welcomes over 5,00,000 visitors. The knock-on effect this has had on revitalising other sectors such as hospitality is a case study in itself. With the help of captivating contemporary art festivals and events, paradigm shifts in regional laws and policies and the investment of philanthropists such as billionaire Sōichirō Fukutake are organically taking shape. Activating dilapidated spaces such as an old dentistry or a public bathhouse is allowing these spaces to retain their historic integrity but be seen through a fresh, new lens.
From islands which were once losing their vitality, they have transformed into places where young people flock to learn and be creatively inspired. Imagine viewing a work of art by Impressionist Claude Monet in a once nondescript island of Japan. Pretty unbelievable, but that is exactly what one witnesses at the Chichu Art Museum.
The elderly are often seen narrating historic tales and imparting wisdom against a contemporary thriving artistic landscape. The juxtaposition is truly unique and a testament that art has the power to uplift economies and unite communities.
Artist Mizuki Nishiyama states, ‘‘As an artist shaped by both Japanese heritage and transnational experience, I see the art islands as more than revitalised destinations—they are quiet acts of restoration. When we place art in forgotten or weathered spaces, we are not just decorating a landscape; we are listening to its history, its silence, and its scars. This dialogue between art, land, and memory can’t be forced—it must emerge from care, from ritual, from a deep respect for the people and rhythms already rooted there. Japan’s islands remind us that cultural regeneration begins with humility.”
However, I do not think the same model that was used for activating Japan’s once-abandoned islands can be blindly followed in other destinations. Staying true to the local community and respecting the existing cultural framework is equally necessary.
For example, Abu Dhabi’s Saadiyat Island is defining itself as a cultural district by luring historic international museums and art centres such as the Louvre and Guggenheim and also building its own National Museum and Natural History Museum. The region aims to encourage cultural dialogues and knowledge exchange, exploring local culture through global perspectives. There is time and money being spent on creating an art and culturally thriving island.
I believe this was the original thought for Fort Kochi with rethinking historic houses and juxtaposing them with contemporary art installations. Despite the Kochi Biennale growing in a decade to become an international event, Fort Kochi still struggles to lure international tourists through the year. A single Biennale taking place in alternate years is just not enough. Island clusters such as Lakshadweep still struggle with zero to no planned development and a sheer lack of resources.
Furthermore, enticing artists to ditch a city which may offer more networking opportunities and the ability to visit museums and galleries may not always be a piece of cake. The evolution of a space through development strategies is highly integral in order to not only attract immigrants and tourists but to also reduce depopulation. With exciting business prospects and employment opportunities, there is hope to create a cultural utopia.
However, the making of an art island cannot happen overnight. Just as a city is gentrified over time, these captivating spaces require the integration and involvement of various stakeholders—to join in solidarity and make spaces creatively luring, and to understand nature, culture, and community and build something beautiful.