After two years of restricted trade with the remainder of the artwork world, round 350 VIPs from Asia, the US and Europe descended on Japan’s capital this week for the official launch of Artwork Week Tokyo—a wonderfully orchestrated occasion the place guests are shuttled by bus between 51 collaborating galleries, in addition to dozens of museums.
“The thought is to attach the dots between the totally different cultural stakeholders in Tokyo,” says Atsuko Ninagawa, the proprietor of Take Ninagawa gallery who co-founded the occasion along with the native collector and investor Kazunari Shirai. She thinks Tokyo has all the appropriate substances to grow to be a global artwork hub as soon as once more (Japan’s market final boomed within the late Nineteen Eighties, however severely declined after the early Nineteen Nineties recession). These embrace a wealthy artwork historical past, a big pool of latest artists and a well-established community of personal and public museums. “We have now improbable content material, we simply don’t know the way to showcase it to a world viewers,” Ninagawa provides.
Galleries within the metropolis are usually modest in measurement and dotted round varied districts. Rippongi and Harajuku boast a number of the largest clusters, although the scene is extra rhizomatic than most. Alongside eased journey restrictions, essential to the week’s success are the free shuttle buses, which depart from venues each quarter-hour. It’s laborious to think about one other metropolis working this scheme with such effectivity.
Monetary help for the occasion comes from the Tokyo Metropolitan Authorities and the Company for Cultural Affairs, whereas Shirai has offered different assets together with employees.
So, may Artwork Basel may grow to be one other stakeholder within the metropolis? The Swiss honest already helps organise Artwork Week Tokyo (along with the Japan Modern Artwork Platform), offering experience and all-important entry to its VIP tackle e-book. With Covid-restrictions and political pressures from Beijing placing a stranglehold on the Hong Kong artwork market, Artwork Basel is more likely to be searching for one other Asian perch. The Swiss honest’s guardian firm MCH Group purchased a 15% stake in ART SG, which is because of open in Singapore after a number of delays in January. That honest is owned by Tim Etchells, Sandy Angus and Magnus Renfrew. The trio are additionally launching Tokyo Gendai within the Japanese capital subsequent July, although MCH has not invested on this new honest.
Nevertheless, many sellers say they like the Artwork Week Tokyo mannequin over exhibiting at worldwide artwork festivals, which will be profitable but additionally costly to take part in, significantly for Japanese galleries dealing in a devalued yen.
Charcoal sculptures by Naho Kawabe at Ready Room Gallery Picture: Anny Shaw
Others say there isn’t a want for a global artwork honest in Tokyo given the relative proximity of Frieze Seoul, Artwork Basel in Hong Kong, Taipei Dangdai and ART SG. “Some Japanese collectors could be excited about a global artwork honest in Tokyo, however as a gallery we’d like one thing like Artwork Week Tokyo—different types of presentation would possibly work higher right here,” says Tomoko Ashikawa, the director of WAITING ROOM gallery, which is exhibiting delicate charcoal sculptures by Naho Kawabe along with glass items by Hanae Utamura.
Atsuko Koyanagi, of the eponymous gallery, participated in festivals for 15 years earlier than quitting in 2015. “You spend a lot cash sending artwork and employees overseas—however you possibly can’t increase the costs to stability it out,” she says. The supplier has a solo exhibition of Hiroshi Sugimoto’s pictures of opera homes (priced at $25,000 every).
Costs are certainly comparatively cheap in Tokyo, the place collectors had been buying items for a number of hundred {dollars} as much as tens of hundreds of {dollars}. A number of sellers provided to bundle works up for collectors to take with them of their baggage, shaving off further transport and tax prices.
For a lot of galleries, nonetheless, gross sales should not their major concern this week. “We’re warmly welcoming our pals from abroad and hope they benefit from the Japanese artwork scene,” says Hiroyuki Sasaki, the director of Tokyo Gallery + BTAP, which is exhibiting porcelain works by Takahiro Kondo, that includes the Kyoto-born artist’s patented method “silver mist” (gintekisai), during which a mix of platinum, gold, silver and glass is crystallised on the floor of the ceramics like dew drops.
Sasaki notes how exhibiting within the gallery “offers guests a greater understanding of [their] historical past and background”, which is “fully totally different from a good sales space presentation”. He provides that the “background of the town provides to the artwork work”.
Mitsuko Miwa, set up view of Full Home at SCAI The Bathhouse Picture: Anny Shaw
Arisa Saito, an affiliate director at SCAI The Bathhouse, says this week is about “the chance to attach with the distinctive world group the occasion brings collectively”. She provides: “[Art Week Tokyo] is a refreshing and fairly totally different approach of doing issues in contrast with the extreme, commercially oriented nature of artwork festivals.” For her first solo exhibition with the gallery, the Nagoya-based artist Mitsuko Miwa has reworked the constructing right into a pictorial world that includes motifs from figures and furnishings to landscapes.
Even when gross sales don’t come shortly this week, there may be at all times the hope that introductions will convert into gross sales in the long term.
Japanese market
After a protracted interval of decline, Japan’s market has slowly stabilised over the previous decade, although the nation nonetheless represents simply 2% of the public sale commerce in Asia. Mainly as a consequence of its reliance on native collectors and its relative affordability and liquidity, throughout the pandemic Japan’s market solely dipped by 14% in contrast with greater than 30% in nations such because the US, UK and France.
Nevertheless, many sellers be aware the significance of attracting a global shopper base. One of many largest teams of VIPs (round 15) this week got here from Russia, although none are based mostly of their house nation. Throughout its gentle launch final 12 months, Artwork Week Tokyo managed to draw 20,000 native guests. In contrast to Korea, for instance, Japan has not been aggressively cultivating a younger collector class; excessive inheritance taxes have been a barrier for some. “We nonetheless really feel the variety of native collectors is proscribed in Japan,” Sasaki says. “Worldwide collectors are important for our gallery enterprise, and participation in worldwide artwork festivals resembling Artwork Basel is our most vital focus.”
Ashikawa thinks the devalued yen will carry “extra curiosity from international collectors”, noting how Japan’s home market is “too trend-sensitive—and developments are too unpredictable”. She provides: “It’s a really closed scenario. Each artists and galleries should be related to the worldwide artwork scene to be part of artwork historical past.”
Artwork historical past apart, Ninagawa has been tasked with no small feat to carry a global collector base to Tokyo. As she places it: “I do know I’m alleged to activate the market right here. The query is, how do you wish to go about making gross sales and the way a lot stress do you wish to placed on the group?”
