+digi nikki+東京

Last week was the so-called “art week” in Tokyo with fairs and museum shows opening. It’s good to see a little synchronization here, compared with other “weeks” (the Tokyo fashion week comes to mind). The success of the “design week” is clearly the inspiration, but I am still wondering if fairs, exhibitions and shows do connect in any way with the general public. Outside of the art circle, I didn’t hear much talk about the art week around me. Even if you have no interest in art or fashion you would hear about la semaine des défilés or the Armory in Paris and New York; general media would talk about it. In Tokyo, it’s still happening at a different level. I hope to see the art week reach out to a wider audience, there is still a long way to go. 

101TOKYO opened its doors for its second year on April 2nd. It was good to see a “new” event returning, especially in the current context. Like it or not, it adds something on the art map.

Full disclosure: while I co-founded the fair, I was not involved in any way with 101TOKYO this year. I met Jason Jenkins, the new director, a few times, but was never offered anything by anyone. (I was told I could DJ “anytime” which I refused. I don’t want to be remembered as the guy who played records at the opening party when I actually co-founded the project in the first place). I am not an adviser, my name doesn’t appear anywhere, I’m not in the thank yous.

This being said, I went to the opening preview on April 1st.

I had no expectations, good or bad. I knew things would be different, and as I stepped out of Akihabara Station I was actually a little worried and excited. What would be left of the original concept?

The first thing I noticed is how professional the place looked. It looked pro and it felt like, well, a fair, in the traditional, established meaning of the word. Not as funky as our first year for sure. The budget was clearly much bigger this time. The independent feeling that was part of the first year is completely gone in 2009, resulting in a solid presentation, but without anything too surprising. I wouldn’t say boring, but safe for sure.

It’s actually hard to define what to expect from such events. I think I expect the adrenaline rush you get when you see amazing art, totally unexpected moments and encounters, a certain creative tension. You don’t know how to put it, but something is happening and you are part of it. Miami as a whole has this feeling. It’s exciting, though Art Basel itself is big, established and very business. I doubt anyone would see the convention center as an trully electrifying place (except, of course, when Gavin Brown is exhibiting). Nada is a much more exciting affair: the location, the grass around the building, Deerhoof playing with Ken Kagami etc: the atmosphere is friendly. Liste in Basel, again because of its location is exciting. And Art Basel Unlimited in Basel was exciting because it wasn’t an art fair but more a museum or a biennale: a presentation of well-curated large works.

Back to 101. As most of the Japanese galleries we had last year flew over to Art Fair Tokyo and its new contemporary section, and as the international galleries were reluctant to return to Tokyo (the transition from the old 101 team to the new one took 5 months without much information to the galleries), the 2009 selection committee had to select galleries from the applications they received, mainly from Japanese galleries. I wouldn’t say “second rate” galleries, but some of the selected art would certainly fit better in a interior design store. Nothing excessively bad, but some very generic artworks. The lack of an international lineup made the situation even more striking: when you are exhibiting, as a young Japanese gallery, next to a respected and/or established gallery from Europe or the US, you really have to come up with a great presentation. In total contrast to this, the 101 Gallery booth was actually one of the best, quality-wise, as works from major Tokyo galleries (Koyama, Koyanagi, SCAI…) were displayed. Were they shy to take full-size booths? In any case it was a good addition to the lineup.

When Tokia, the new young contemporary art section of Art Fair Tokyo, was announced last year it appeared as a potential 101 killer, positioning itself as the young and “cool” Art Fair Tokyo. In any case the announcement was clearly an indication that 101 had brought something new on the Tokyo art scene. AFT is the established fair in Tokyo, occupying a huge space in the Tokyo International Forum, but is technically not a “pure” contemporary art fair, as it offers a mix of modern and traditional japanese art (including antiques) as well as contemporary galleries. It looks, smells, and tastes old, but attracts quite a few collectors. Tokia, focusing on young contemporary galleries, would change this and inject some fresh blood in AFT.

But did AFT really get it?

Unfortunately, no.

Located in a (literally) cold, temporary space in an adjacent building to the Tokyo International Forum, where the main section of AFT was taking place, Tokia was disappointing. No real thrill, partly due to the location and to the lack of any “fun” from the AFT crew. Why didn’t AFT ask new kids to curate and work on the space? It puzzles me. The art on display was overall average if a bit better than 101 (less interior design-type) but the presentation really killed any excitement. It was nonetheless good to see the likes of Zenshi, hpgrp gallery or Mujinto exhibiting, and potentially connecting with AFT collectors. We’ll see how they enjoyed the experience.

Overall, I can’t help find the fairs a bit safe. I don’t think playing safe is the sine qua none condition to succeed in 2009. I think 101, with all its weaknesses, was much more original on its first year, and could have kept and used its originally to position itself as a different event, an unusual fair. It now looks like any other fair. Tokia could become something, but if only AFT allows little sparks of craziness in the overall concept. It’s hard to surprise, it’s even harder to make a strong impression. It’s never easy to play with established codes and format. But I believe it is mandatory. I haven’t lost faith in creating a place to experience and buy art that would be inspiring. More than ever, the traditional model of the art fair must be challenged and redefined. What’s the point of starting another Art Fair Tokyo, another Art Basel? We need events that integrate and stimulate our new relations to art. And I believe there is no better time to start. Let’s un-fair the art fair.

(for another point of view on the art week check Roger McDonald’s report)