What Can You Do at the International Art Fair “Tokyo Gendai”?

First, please tell us about “Tokyo Gendai.”

Takane: It’s an international art fair, now in its second round following last year’s debut. We have 70 galleries participating, with about 60% being international galleries—roughly half from Western countries and half from Asia—while the remainder are Japanese galleries. One distinctive feature is the scale and strong international presence of galleries not commonly seen in Japan. For overseas visitors, it’s a rare opportunity to encounter such a range of Japanese galleries and artists. The event takes place in Exhibition Halls C/D of Pacifico Yokohama in Yokohama. The venue spans approximately 10,000 square meters, providing spacious booths and an environment conducive to viewing artwork. These are all criteria typical of world-class art fairs.

You mentioned spaciousness, but can you tell us more about the inside of the venue?

Takane: Inside the venue, there are three main sections. Right at the entrance, there’s the “Galleries” section, featuring well-known artists and galleries—a classic zone. Moving further in, there’s the “Eda ‘Branch'” section with curated exhibitions, and deeper inside, you’ll find the “Hana ‘Flower'” section, which showcases emerging to mid-career artists and galleries. One notable difference from last year is the increase in installations, from one to five. These include historical sculptures and installations where artists perform. There are also interactive artworks that evolve through conversations with the audience, making installations a highlight this year.

Okuyama: I’d like to hear about the notable galleries and artists participating in “Tokyo Gendai.”

Takane: Among the top-tier global galleries, there’s Pace Gallery, which is also scheduled to open in Azabu Dai Hill this year, drawing considerable attention within the art community. There are many interesting emerging galleries and artists, too. I’m particularly interested in the works of Sophie Barber, a young female artist exhibiting in the space of Alison Jacques, a gallery from London participating in Tokyo Gendai for the first time. She creates artworks that reinterpret pieces by renowned artists such as Alex Katz and David Hockney in her own style, using fabric scraps as the canvas, showing a thoughtful consideration for the environment.

Sophie Barber, A cake for the party, 2023, oil on canvas
Courtesy: Alison Jacques, London © Sophie Barber; photo: Michael Brzezinski

Okuyama: Her artworks are interconnected with contemporary society, aren’t they?

Takane: Exactly. Also, many of the galleries that participated last year are continuing to exhibit this year. The works of an artist named Danful Yang from Beijing’s SPURS Gallery are interesting. For example, she turns delivery boxes made of cardboard into artworks, meticulously recreating them with embroidery stitches. However, since the material is cardboard, they look just like ordinary delivery boxes.

Danful Yang, Packing Me Softly, 2021
Hand embroidery on canvas, foam
Courtesy of the artist and SPURS Gallery

Takane: But when you understand the concept, it becomes fascinating. Everyone values the contents, but the exterior, which actually protects the contents, is simply discarded without notice. For instance, in urban planning, people desire cleanliness in city centers, yet often fail to respect the workers who maintain it. There’s a concept behind this—highlighting the need to pay more attention to those who truly safeguard our environment. It seems that a growing number of interesting young artists are emerging recently, including this artist. At “Tokyo Gendai,” I hope people will enjoy the mix of established artists and galleries and promising young ones.

Photos from last year
Courtesy of “Tokyo Gendai”

Art fairs differ from museum exhibitions in that you can not only view but also purchase artworks, correct?

Takane: That’s a major difference, I think. But besides that, another significant aspect is that it gathers galleries from overseas and Japan in one place to exhibit artworks, which is unique to art fairs. Of course, back when I was a student, buying artwork was out of the question, but even just coming to see is enjoyable. Looking ahead, I hope people can appreciate the artworks with the possibility of purchasing them. Some works have editions available at affordable prices, and sometimes galleries introduce pieces they haven’t brought physically. Being able to interact with galleries is also one of the charms.

Yoshida: The venue is different from the quiet atmosphere of a museum, isn’t it?

Takane: It’s bustling. And walking around to appreciate everything can be tiring, you know (laughs). At “Tokyo Gendai,” when you want to take a break, you can have a meal at a restaurant and relax at a media café with magazines available.

Revisiting the Question: What is Contemporary Art?

Contemporary art is diverse and wide-ranging, but how do you usually explain the question “What is contemporary art?”

Takane: Hmm, that’s actually one of its intriguing aspects—I find it challenging to explain. It has multiple facets and interpretations vary among individuals. One thing I can say is that it has persisted since the post-war period, and its allure lies in its genre-less approach, encompassing everything from materials to forms.

Okuyama: I sometimes visit galleries on weekends, but I’m curious about where to focus when looking at artworks. Takane-san, what do you pay attention to when viewing artworks?

Takane: Trying to remember every single artwork is overwhelming, so I focus on pieces that resonate with me emotionally. I prefer to look at the artwork itself rather than starting with the caption, as reading captions can lead to preconceptions, and I end up feeling like I’m accumulating knowledge and getting an education. Enjoying the experience yourself is key.

Yoshida: I also visit galleries with friends, and some artworks can be quite complex. I used to think that you couldn’t enjoy them without knowledge, but hearing your perspective makes me realize that you don’t have to know everything.

Takane: Yes, I think it’s good to start from there. If you feel curious and want to know more, you’ll naturally study it yourself, and that’s how it becomes even more interesting. Your perception of the same artworks can change over time, so you can enjoy them throughout your life. It’s like keeping a visual journal. For example, I first encountered Barry McGee’s work at “Deitch Projects” by Jeffrey Deitch and was deeply impressed, which sparked my interest in contemporary art. Recently, I’ve been more interested in personal topics like politics, environment, and women’s empowerment, so I find artists like Tomona Matsukawa interesting. She interviews women of her generation and creates artworks inspired by their stories. I felt a connection as certain aspects resonated with my own life, so this led me to purchase her artworks.

What kind of feelings do artists have?

Yoshida: I also create illustrations, and sometimes people say that art pieces can be expensive. Are there ways to support artists other than purchasing their work?

Takane: I’m not sure if this answers your question, but in my case, rather than feeling like I’m supporting artists, I am conscious of being on the same level. It’s not about who is above or below; both artists and viewers/purchasers share the same position. So, I hope we can inspire each other. When I purchase artwork, I don’t feel like I’m “allowed” to buy it or “supporting” by buying it. I believe it’s important to approach it neutrally, without thinking too much about the fact that they’re an artist. From the artist’s perspective, just having someone show interest and ask questions about their work brings them joy.

Yoshida：That’s true. For me as well, I infuse my own beliefs and experiences into my artwork, so I’m glad when others try to understand me through my pieces. I think in every artwork, some aspects of the artist’s life are expressed.

Takane：Expressing yourself takes courage, doesn’t it? Showing something that you believe in through your artworks can be embarrassing at times, and there are moments when you may lack confidence in whether it’s good enough. But having someone who encourages you in those moments can lead to significant growth. It varies for each person, but I believe many artists struggle with both the desire to express themselves and moments of self-doubt.

Artworks are not something you can create at someone’s request.

Takane：You have to pose unanswered questions, which makes it a challenging task, and there’s also the pressure of having to keep creating that indefinitely. Perhaps that’s where the difference between design and art lies. Design has answers; it’s about creating designs and languages that resonate with consumers, which are considered correct. On the other hand, art only poses questions, so fundamentally, it’s uncertain who it will resonate with. I really think being an artist is tough.

What do you think about the value of purchasing artwork and enjoying it in your home or personal space?

Takane: When you hang a piece of artwork on the wall at home, it becomes clear whether it was a good purchase or if it might not have been the right timing.Through the cycle of appreciating, purchasing, and displaying artwork, you gain a sense of what works best. One interesting aspect of having artwork at home is how your impressions of it change. Pieces you initially fall in love with might make you think about putting them away after a while. However, if you come across artwork that feels like a partner to you, it doesn’t become a hindrance when placed in your home, and its impression can change between morning and night. I think these are things you can only understand once you’ve purchased them.

Tokyo Gendai is just around the corner.

Yoshida: Are there any places around “Pacifico Yokohama” that are good to visit before or after the venue?

Takane: Personally, I recommend “Sankei-en,” a Japanese garden created by businessman and tea master Sankei Hara. It combines modern architecture with a beautiful garden, which is wonderful but probably not well-known. Also, there’s an area in Yokohama called “Noge” where small izakayas (Japanese pubs) are clustered, and frequented by locals. It might be nice to have a drink there on the way back.

Photos from last year
Courtesy of “Tokyo Gendai”

Lastly, what is the attraction of “Tokyo Gendai” again?

Takane: In addition to the exhibitions, there is a symposium called Art Talk. There will be an interesting lineup of speakers that even beginners will enjoy, and I myself would love to go and listen to all of them. The program is free for “Tokyo Gendai” ticket holders and will be held in the Annex Hall next to the venue. For the first time, there will be a workshop for children, where they can create art with an artist and then see the artist’s work at the venue. This allows children to interact with an artist and then see their artwork together, exposing them to art from an early age.

So, there are not only exhibitions but also various events. Plus, with so many galleries and artworks, the chances of encountering interesting pieces are higher, right?

Takane: Exactly! The open space allows visitors to view the works at their own pace without being nervous. For first-timers, it’s interesting just to enjoy the overall atmosphere of the art fair. If you’re interested in the works, feel free to talk to the gallerists there!