Free things to do in Tokyo this week

The Tokyo Metropolitan Government No 1 Building in Shinjuku serves as the backdrop for a jaw-dropping and record-breaking projection mapping show. Covering an area of a whopping 13,905sqm, the after-dark spectacle has been certified by Guinness World Records as the largest permanent display of its kind in the world. The nightly showcase features a range of visual wonders created by a mix of local and international artists. Some shows are inspired by Tokyo’s rich history, while others draw on themes like the lunar cycle.  Currently, on weeknights, you can catch striking visuals synchronised to ‘800’ and 'Zankyosanka' by hit Japanese pop singer and lyricist Aimer as well as ‘Pac-Man eats Tokyo’, ‘Lunar Cycle’, ‘Synergy’, ‘Tokyo Resonance’ and ‘Evolution’. On weekends, you can look forward to the aforementioned ‘Zankyosanka (Aimer)’, as well as ‘Godzilla: Attack on Tokyo’ and ‘TYO337’, a display featuring motifs of traditional Japanese performing arts such as Kabuki paired with electronic beats.  From March 20, Pokémon Trading Card Game ‘Tokyo Luminous Night’, a brand-new projection-mapping show featuring Pokémon cards on a massive scale, has been running on weekends and holidays from 6.30pm, 7.30pm and 9pm. Be sure to check the event website for more details. Shows take place every night at fifteen-minute intervals from 6pm (Mar from 6.30pm, 7pm from Apr, 7.30pm from May to Aug) to 9.45pm. For more details and to check the full programme of daily projection mapping shows,...

One of the most popular street dance festivals in Tokyo, Koenji's Awa Odori is returning this summer in full swing. This year, the celebration will feature over 150 Awa Odori dance groups parading around Koenji Station’s Pal shopping arcade, Koenji Junjo Shotengai shopping street and Konan street over the August 29-30 weekend. The tradition of Awa Odori can be traced back to Tokushima, in the Shikoku region. Legend has it that the local daimyo plied his citizens with booze to celebrate the completion of the local castle in 1586, leading to a citywide outbreak of dancing in the streets. Whatever the accuracy of that tale, the enthusiasm was contagious, and Koenji has been holding a street dance fest of its own since 1957. While the action starts at 5pm for both days, you'll need to arrive much earlier if you want to snag one of the best viewing spots along the three streets mentioned above. Check the official website for more details.

Late August is always a good time for dancing in the streets, with many major festivals happening around this time of year. The Yosakoi dance originated in Kochi prefecture in 1954, where it was created to help revitalise the struggling post-war economy. Tokyo's very own Super Yosakoi festival, however, while relatively new, has been going on for over two decades now. This massive event sees about 110 teams of brightly attired dancers from across Japan and around the world, trying to outdo each other as they strut their stuff to the rhythm of the naruko – a type of clapper that the people of Kochi originally used to scare birds away from the fields. The dance performances take place at various locations within the Harajuku/Shibuya area. But if you only see one thing, make sure it’s the massive parade along the tree-lined Omotesando avenue on Sunday (times TBA for 2026). Stage performances will also be held at Yoyogi Park on Saturday and Sunday. There are also smaller parades at the Yoyogi Park Event Square, along the road between the NHK Hall and the Yoyogi National Gymnasium, around the same time. At the Yoyogi no Mori Bon-Odori venue (5-68-1 Yoyogi, Shibuya), you can enjoy Yosakoi performances from (times TBA for 2026) on Saturday and on Sunday. For the latest information, check the event website.

The UNU farmers’ market is one of Tokyo’s longest running and best-attended markets. Taking place every weekend in front of the university’s Aoyama headquarters, this one always attracts a knowledgeable crowd. Organic and local fare is readily available every Saturday and Sunday from 10am to 4pm, with the farmers themselves happy to provide details about their wares. Plus, there's always a few food trucks on hand if you wish to enjoy a quick meal.

After collaborating with JoJo’s Bizarre Adventure creator Hirohiko Araki in early 2025, Yebisu Beer and Ai Yazawa reunite this summer for a second collaboration. The project centres on new illustrations that reinterpret Yebisu Beer’s historic bijin-ga advertisements – early 20th-century beer posters featuring elegant portraits of women. Yazawa presents two new bijin-ga works reimagined through a contemporary lens and themed around summer evening festivals. The pieces will be exhibited at Yebisu Brewery Tokyo from July 8 to August 31. Visitors can also look forward to limited-edition merchandise featuring her artwork, including T-shirts, notebooks, fans and more.

Hakkeijima Island near Yokohama is bringing back its music-synced pyrotechnic shows this summer, with approximately 2,500 fireworks being launched during a span of 10 minutes. Happening on select weekends and holidays from May 30 to November 22, the fireworks are viewable from the island’s free-to-enter boardwalk area or the paid Hakkeijima Sea Paradise amusement park grounds. Utilising state-of-the-art digital controls, the fireworks are timed to blast with musical beats to the nearest tenth of a second, illuminating the night sky as if the sparks danced to the music. Shows start from 8.30pm (8pm from October onwards) on May 30, Jun 27, Jul 18-19 & 25, Aug 1, 8, 15 & 29, Sep 19-22, Oct 10-11, Nov 21-22 and Mar 20-21, 2027. Check the event website for the latest details.

Dafi Kühne works at the intersection of graphic design, craftsmanship and mechanical performance. At a moment when digital production and AI-generated imagery increasingly dominate visual culture, the Swiss designer has devoted himself to the tactile rigor of letterpress printing, transforming a centuries-old technique into a radically contemporary form of expression. This summer, Ginza Graphic Gallery showcases his distinctive process with ‘Dafi Kühne: Constructing Posters’, on view from July 14 to August 26. Far from nostalgic revivalism, Kühne’s practice pushes analogue printing into unexpected territory. Working from his studio in the Swiss Alps, he operates nearly forty tons of presses, metal type, woodblocks and custom-built tools to produce monumental posters by hand. His works often reach the scale of Swiss street posters, demanding an intense physical engagement with the machinery itself. Combining traditional techniques with self-engineered modifications and digital experimentation, Kühne treats printing not simply as reproduction, but as a performative and sculptural act. The exhibition traces this intricate process from conception to finished object. Alongside completed posters, visitors encounter printing blocks, typographic elements, handmade linocuts and material fragments that reveal the labour embedded within each image. The result is a meditation on the enduring expressive power of the human hand in an increasingly immaterial age, and an immersive...

Head straight to Rinko Park in Yokohama’s Minatomirai area for this annual Bon Odori festival by the sea. Festivities begin at 4.30pm, with special stage performances scheduled for both days. If you're feeling peckish, you’ll also find food trucks selling all kinds of festival grub from the area. The food area is further expanded this year, with a food court area where visitors can take a break from bon odori dancing and enjoy matsuri cuisine.The program is yet to be announced. Check the event website for more details.

Born in Kolkata in 1963 and now based in New York, Rina Banerjee has established herself as a singular voice in the global contemporary art scene. Drawing from her experience of migration and diasporic identity, Banerjee creates intricate, richly layered sculptures and installations out of everyday materials like cotton threads, feathers, shells and glass chandeliers. Her practice, informed by both engineering training and fine art education at Yale, navigates the intersections of postcolonial history, feminism and global exchange, often infusing critical perspectives with a subtle, disarming sense of humour. ‘You made me leave home…’ at Espace Louis Vuitton Tokyo is an exhibition of 19 works drawn from the collection of the Fondation Louis Vuitton. Organised as part of the foundation’s ‘Hors-les-murs’ programme, which brings major artworks to venues around the world, the exhibition marks both the 20th anniversary of the Espace Louis Vuitton and a decade of the ‘Hors-les-murs’ initiative. Spanning installation, sculpture and painting, the exhibition foregrounds Banerjee’s ongoing exploration of migration, colonial legacies and the circulation of people and objects. At its core is the monumental installation In an unnatural storm… (2008), presented publicly for the first time by the Fondation. Suspended from the ceiling in a cascading constellation of forms, the work evokes both the wonder and instability of global journeys, drawing inspiration from Jules Verne’s Around the...

Daniel Buren has spent more than six decades questioning where an artwork begins and where the surrounding world enters into it. Internationally renowned for his unmistakable 8.7cm vertical stripes, the French artist has transformed this seemingly neutral motif into a rigorous conceptual tool, using it to expose the architectural, historical and symbolic conditions of every site he inhabits. This spring and summer, Scai Piramide in Roppongi presents ‘Situated Works 1966-2013’, a rare survey spanning nearly fifty years of his practice. The exhibition traces Buren’s evolution from his early, radical interventions of the 1960s to luminous optical-fiber works produced in the 2010s. Historical pieces such as Peinture aux formes variables reveal the moment when the striped industrial fabric first became his defining visual language, while the Five Elements paintings, originally created for a 1989 exhibition in Nagoya, demonstrate his persistent dismantling of expressive authorship and painterly convention. In later galleries, Buren expands this inquiry through works integrating LED-lit optical fibers, where colour and light become spatial phenomena rather than fixed surfaces. Their shimmering presence underscores the artist’s long-held conviction that colour is the irreducible core of visual experience. Deeply connected to Japan, Buren here appears as an artist whose disciplined investigations continue to sharpen our perception of space itself.