The Zushi Art Festival, begun in 2013 by local volunteers, has reached its 14th edition with a special triennial programme themed 'The Beginning of the Future, the Place of Beginnings'. Running until October 25, the festival spreads exhibitions, concerts and participatory projects across the coastal city of Zushi, with the 87-year-old Honda Residence as its main venue.

Built in 1939 by the founder of Kume Architects, the residence is a registered tangible cultural property of Japan. Unused for nearly three decades, it was restored over three years and now hosts artworks in its guest rooms, bedrooms and even its attic — a blend of Japanese and Western styles with wood-panelled walls, a fireplace and tatami rooms providing an unusual stage.

The programme is overseen by producer-director Hiroaki Sumiya, who drew inspiration from the words of local photographer Daido Moriyama and the thought of architect R. Buckminster Fuller. Fuller's large lithographic picture book 'Tetrascroll: Goldilocks and the Three Bears' (1976), which folds mathematics, natural science, human history and philosophy into a fairy tale about Spaceship Earth, is shown unfolded across the floor of a Western-style room.

Other works engage the site's material memory. Shingo Francis, based between Los Angeles and Kamakura, installed the new painting 'Serene Illumination' (2026) in an alcove, its pale surface shifting colour with the viewer's position. Hiromi Nakamoto's circular work 'Phase – Shoreline' (2026) uses driftwood and sand from Zushi beach, layering the town's own shoreline into a disc that changes expression with light. The festival's notion of 'beginnings' looks less like novelty than accumulation: countless past events layered into the present, which in turn extends toward the future.