From social issue to art site and beyond – reassessing rural akiya kominka

Akiya or vacant houses are often perceived as threats to their neighborhood, as socio-political problems for local communities, and as objects of difficult decisions for their owners. However, recently there has been a reappraisal of their forgotten qualities and a revival in interest in such houses, especially when considered as sites of a special character suited to different types of cultural events. This article explores the implications of the use of akiya in rural communities in Japan, tracing the trajectory of change from irritating nuisance to local (touristic) attraction and art site. Furthermore, it analyzes how this shift has the potential to lead to their reassessment as valuable resources not only for the revitalization of local communities but also for private choices in everyday life. The article analyzes three specific art installations created within the framework of recurring art festivals and staged within the walls of old vacant dwellings, and the artists’ thoughts behind them, which hint at incentives for akiya use inspired by the sites. The artworks offer opportunities for interactions between residents, artists, and visitors, influencing insider and outsider perceptions of the local community, and they function as innovative playgrounds for local citizens’ and newcomers’ individual choices. Examples from the field show that the artist’s role as yosomono (outsider) ultimately has the potential to pave the way towards a more diverse and creative view of these community assets, changing the perception of the vacant house from being a bothersome and useless legacy into a resource.