Free things to do in Tokyo this weekend

Known as one of the three great festivals of Edo (along with the Sanno and Kanda festivals), the matsuri at Fukagawa’s Tomioka Hachimangu shrine takes place annually, but is celebrated in its full glory only once every three years. The festival, which boasts 380 years of history, is well known for its unique water-splashing tradition. People enthusiastically throw water at the mikoshi (portable shrines) as an act of purification, drenching everyone in the vicinity, thus creating a playful and cooling experience, especially in the summer heat. This year, you can expect the real deal with the main version of the festival taking place in 2026. The main event, featuring mikoshi processions held on a grand scale, features over 50 portable shrines of various sizes and will be held from 7.30am on Sunday August 16. Expect to get soaked with plenty of water splashing this year. The festivities in the shrine grounds begin on August 12 and continue until August 16, with notable highlights including a jazz performance on August 15 (3pm) and a koto and shamisen performance on August 14 (from 3pm).  For more information including the festival schedule and procession map (Japanese only), check the shrine website.

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,...

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...

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.

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.

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...

Step into a world of vibrant chrysanthemums this spring at this free collaborative exhibition between teamLab and Galaxy. Now in its fifth year, the interactive, immersive space at Galaxy Harajuku uses cutting-edge projection mapping to depict flowers caught in an endless cycle of birth and death. Reach out to touch them and they’ll wither; stand still beside them and they’ll bloom more quickly. Look down and you’ll see flowing currents of gold beneath your feet – traces shaped by your very presence. The movements of others create their own currents, which intertwine and form swirling vortices. The result is a constantly shifting environment where no two moments are ever the same. The Galaxy store also invites visitors to capture these fleeting scenes using the foldable smartphones available at the venue.

First held at the 1946 'Festival of Recovery' when much of Tokyo was still in ruins, the mesmerising Toro Nagashi lantern light-up was revived in 2005 after a 40-year hiatus. Rooted in the tradition that floating lanterns guide the spirits of the departed safely back to the afterlife after obon, the event is now held annually on the Asakusa side of Sumida Park, near Azumabashi Bridge and the Tokyo Cruise Asakusa Pier. You can light a lantern for ¥2,000, but enjoying the magnificent view of glittering fires on the Sumida River on a cool summer night is completely free.Lanterns are sold in advance at the nearby Asakusa Culture Tourist Information Center, until Aug 15.

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.