MULTIPLE IDENTITIES VIA SPIRITUALITY, HISTORIES AND CULTURAL RE-PRESENTATIONS 151

The “Contemporary Art Museum” in Japan: A Study on the Role and

Function of this Cultural Institution in Today’s Urban Society
Aroon Puritat

Introduction in society, the trend toward globalization, and

the demand for lifetime education. They give
If art museums were considered a function existing in viewers a more active role and provide them with
the urban fabric in the same manner as markets, train greater opportunities for personal growth and
stations, theaters, parks, universities, offices, etc. are, self-realization.
one would see the constant adaptations and
adjustments of these urban buildings and spaces over It is noticeable how the architect Arata Isozaki
different periods. It is inevitable for art museums to categorizes the generations of art museums according
resist the changing course of time. Such changes to their architectural styles, while Yuko Hasegawa
eventually become significant evidences of Japan’s classifies art museums by their functionalities and
history of art and culture, and of the progression of its social roles. The researcher, meanwhile, incorporates
society, economy and politics, including its the insights of the two experts in the classification of
architectural developments. art museums proposed in this research. This research is
the result of a one-year fieldtrip, during which the
Architect Arata Isozaki classifies the historical changes researcher traveled to art museums in the different
of museums into three generations. “The Pantheon cities of Japan to explore and analyze the urban
style museums in the first generation focus mainly on contexts surrounding the museums, their
collection and preservation, while the second administration systems, as well as their architectural
generation art museums are modern museums where aspects.
white cubical space carries out main functionality in
exhibiting different genre of art. Contemporary The methodology chosen for this research included in-
museums in the third generation are site-specific, depth interviews with artists, architects, curators, and
which integrate artworks into the museum’s art museum directors in Japan. The researcher also
architectural space” (Fudo 2011, 2). participated in several academic seminars including art
and architectural exhibitions. The events were
Yuko Hasegawa (2004, 78-79), chief curator of the recorded in the form of a digital video for further study
Museum of Contemporary Art in Tokyo, divides the and analysis for this research.
evolution of art museums into four different
generations. She wrote: The First Generation Art Museum
Art museums have changed with the times. In
Japan, the first generation of museums built in After the Second World War, Japan attempted to
the postwar period up to the 1960s focused on reconstruct the nation from the debris of destruction
the function of preservation. The second through the developments that looked toward several
generation, in the 1960s and 1970s, emphasized Western models, ranging from the education system
display and presentation. In the 1980s and after, and industrial technology, to art museums, which were
a third generation appeared with an emphasis on then an emerging cultural unit inspired by the West. It
visitor participation, learning experiences, and was the era when the first generation of art museums in
hospitality to visitors. Facilities were established Japan was conceived with the main roles of collecting
for workshops, concerts and performances. and preserving several genres of art.
Amenities such as cafes, restaurant, and shops
were provided for the people who were spending Junzo Sakakura designed the Museum of Modern Art
more time in the museum, taking advantage of in Kamakura in 1951. The museum marks a
the many programs it offered. Since the 1990s, a prominent milestone in Japan’s modern architectural
fourth generation of museums has appeared in history and is considered Japan’s first museum of
response to the greater influence of information modern art. The country’s first National Museum of

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Art was initially founded under the administration of Corporation and assigned the architect Kunio
the Ministry of Education. The Japanese Government Maekawa to be responsible for the renovation.1
back then bought the building from Nikkatsu

The Museum of Modern Art, Kamakura, architect Junzo Sakakura (1951). Photos taken by Aroon Puritat.

Not long after, Le Corbusier designed The National art museums during this period were mostly paintings
Museum of Western Art in Tokyo, which opened in and sculptures.2
1959. Its spiral circulation plan resonates with Le
Corbusier’s desire for the museum to be able to expand This was also the period when collections of western
in the future when the collection grows larger. The art from different eras were gradually compiled in
different art museums. For instance, the National
original collection exhibited in the museum was Kojiro
Museum of Western Art exhibited a collection of
Matsukata’s personal collection. Such contribution artworks from the 14th to the 19th centuries, while the
exemplifies the way art collectors transfer their National Museum of Modern Art in Tokyo mounted
personal collections to public art organizations, a Japan’s notable artworks by both Japanese and
practice that later became more common in the international artists from the 20th century, or the
Japanese art culture scene. The art pieces exhibited in modern era.

The National Museum of Western Art, Tokyo, architect Le Corbusier (1959). Photos by Aroon Puritat.

The Second Generation Art Museums (1970-1980) It was during this period when the 1970 Expo in
Osaka manifested the majesty and early development
The second-generation movement emphasized of Modern Japanese architecture that started to break
exhibition and presentation more. During this time, away from the influence of Western architecture,
art museums began to emerge in the different particularly that of Le Corbusier. This era’s generation
provinces of the country, instead of clustering in of architects, among them, Kunio Maekawa and Junzo
several venues in Tokyo. Sakakura, projected such differentiation distinctively.

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In the early 70s, Arata Isozaki, the new generation the country’s bubble economy. Japan entered the
architect of that time, became widely recognized realm of architectural transformation, stepping into
through many of his important architectural creations the third generation with the rise of influential
such as The Kitakyushu City Museum of Art, architects of the era, particularly the renowned
Fukuoka and The Museum of Modern Art, Gunma protégés of Kenzo Tange: Kisho Kurokawa, Fumihiko
(finished in 1974). Kisho Kurokawa, another Maki, Arata Isozaki, Yoshio Taniguchi, etc. These
important architect from the same generation, architects had had the chance to work on several art
designed the Saitama Prefectural Museum of Modern museum projects, both in and outside Japan, since the
Art (finished in 1982). early days of their profession back in the 70s. But it was
the 80s that was considered the true golden era of this
The works produced during this period took the first group of architects.
step into the realm of late Modernism where geometric
forms were not distinctively visible. Instead, the In an interview, Professor Hiroyuki Suzuki (2010 ),3 a
architecture played with the diversity of form and prominent architectural historian of Japanese
space, which seemed to allow the Japanese architects to Architecture, notably the Modern era, explained the
conceptualize and crystallize their own architectural nature of the social movements that were influencing
notion and identity. Japanese architecture at the time. In 1969, university
students in Japan were actively participating in the
political movement that called for several changes in
The Third Generation Art Museum (1980-1990) Japanese society then. Professor Suzuki was a student
at Tokyo University where the architectural
This decade marked the time when art museums grew movement emphasized the search for the manner by
substantially both in terms of size and function. which to initiate massive residential projects, in
Theaters, concert halls, and workshop areas were the response to the expansion of the urban fabric and the
popular add-ons that allowed viewers to have a more increasing population. Nonetheless, when Japan
collective experience in museums. Since the venues developed into a country of better-quality living,
were getting bigger physically, areas such as a café and a which was the result of its post-war economic revival
restaurant were put in, mainly to accommodate the and advanced technology, Japanese architecture veered
viewers so that they could spend more time in the toward a more individual direction. Such change can
museums. be seen in the abundant births of architecture
conceived in the 80s and the early 90s—the times
This period can, more or less, be considered as the when Japan’s bubble economy reached its highest
Renaissance of art museum construction due to the capacity prior to the explosion that led the country to
massive financial injection art museums enjoyed from economic recession.

Kyoto National Museum of Modern Art, Kyoto, Architect Fumihiko Maki (1986). Photos by Aroon Puritat.

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Hiroshima City Museum of Contemporary Art, Hiroshima, Architect Kisho Kurokawa (1989). Photos by Aroon Puritat

It comes as no surprise to see renowned architects of fabric. The huge staircase is at the side of the building,
the 80s create their own architectural theories and use allowing viewers to access different areas of the
these to conceptualize their own designs. It was also building, such as the restaurant and the library,
during this period when the Post-Modern Movement without having to buy a ticket to enter the exhibition
started to emerge, and many art museums were created area of the museum. The distinctive development of
without sufficient supporting factors that could MIMOCA as an art museum is its ability to
enhance future sustainable operation, and address the incorporate extra functionality, such as the public
museum’s lack of a suitable architectural program and library, into the building. The large ground in front of
administration strategy. Given that many art museum the museum is mostly used for exhibiting sculpture
organizations had to face massive maintenance costs, pieces; however, the area also has opened public access.
the art museum buildings were unable to function as In 1991, wrote:
properly as expected. While the architects from the
The main point of Taniguchi’s design is his
third generation were swamped with large-scale public
creative intention to create a building that
building projects, the fourth generation ones who had
enhances the viewer’s desire to go to the
never studied under the Japanese or Western
museum, but in the meantime, the architecture
education system, among them Tadao Ando and the
must not disturb or distract the viewer’s interests
Tokyo University educated Toyo Ito, played
from the artworks exhibiting inside of the
increasingly significant parts. This group of architects
would later assume an important role in the local museum. This explains the simplicity of his
architectural scene, specifically from the post-90s until architecture, which is a simple looking box that
the present. doesn’t have any gaudy decorative architectural
composition or flashy building’s surface. 4
One of the interesting art museums built during this
period was the Marugame Genichiro-Inokuma Architecturally speaking, Taniguchi’s design can be
Museum of Contemporary Art (1991) designed by classified as belonging to the Second Generation art
Yoshio Taniguchi, the modernist architect whose museums, which basically have a white-cube space
works were known for their rather simple, humble, suitable for artworks from the Modern art era. The
and serene architectural expression. Interviews with accessibility the architect creates for the general public
several curators showed how most of them admired to use certain spaces in the museum without having to
and agreed that Yoshio Taniguchi’s design exemplifies see the exhibitions was developed from this generation
the architectural program of a museum that is highly of art museums. However, when considering the
flexible, making it very convenient to facilitate administration system and time of construction,
different forms of installations and presentations. MIMOCA can be classified as a Third Generation art
museum.
The Marugame Genichiro-Inokuma Museum of
Contemporary Art (MIMOCA) is located in a small
town of Magurame. The functionality of the building
is designed to interestingly connect itself to the city

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Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame, architect Yoshio Taniguchi (1991). Photos by Aroon Puritat.

The early 90s was when Installation art and not just work in their studios and install their works in
Conceptual art became more influential, resulting in museums anymore. On several occasions, they began to
the museum’s readjustment of exhibition space due to incorporate museums into their artistic projections.
the changing process of artistic creations. Artists did

Yokohama Museum of Art, Yokohama, architect Kenzo Tange (1989), Photos by Aroon Puritat.

One of the interesting museum projects from the late the exhibition and preservation of artworks with a
80s is the Yokohama Museum of Art, which began to strong “institution” image. It projects a great deal of
operate in 1989. The museum was designed by master contrast with other museums conceived during the
architect Kenzo Tange. Globally renowned and one of time of transformation, when art museums were
the most influential architects in Japan, he was known beginning to adjust and adapt themselves. Several
for his work in stadiums and urban planning projects
museums had then opened up their spaces for more
in the 60s and the 70s.
public access, connecting the museums to the city
The Yokohama Museum of Art can be classified as a fabric and communicating with a general public more
Second Generation art museum for its emphases on than they used to.

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Watari-Um Museum of Contemporary Art, Tokyo, architect Mario Botta (1990). Photos by Aroon Puritat.

Opened in this particular period was the small art The Fourth Generation Art Museums (1990-2000)
museum, the Watari-um Museum of Contemporary
Art, with Mario Botta as architect. This private, The Fourth Generation Art Museums were
family-operated museum had the Watari family in constructed during the age of information and
charge of administration. Koichi Watari, the director globalization. It was the period when viewers were able
and second-generation successor of the museum, to access information and began to extend their artistic
provides an interesting point of view. In an interview understanding in the form of long-term studies.
on how the Watari-um is operated, he said, “I organize Through art, viewers became capable of understanding
the exhibitions that I find interesting, be it art or themselves more under different social roles, be this
architecture. We don’t really mind whether the politic, gender, or culture. For their part, art museums
contents we choose to exhibit are popular or not. I were adapted and extended to encompass several other
discuss what I want to do with my colleagues and forms and genres.
family, and then we make the final decision”. The
Despite the economic recession, the construction of
museum has hosted several art and architectural
art museums in Japan continued. Some of the private
exhibitions of many world-class artists and architects ones had to close down after less than two decades of
such as Joseph Beuys,Henry Darger, Jean Fabre, operation. In interviews, curators and directors of
Federico Herrero, Mike Kelley, Barry McGee, and several state-funded and provincially-funded art
Nam June Paik, to name a few. museums revealed that their budgets were cut down by
10 percent for 10 consecutive years, while many art
Mario Botta designed the architecture of the Watari- museums were required to prove to the general public
um Museum of Contemporary Art by emphasizing that their organizations were spending the taxpayer’s
symmetrical forms, while the installation of surface money properly and efficiently.
materials and the structure were designed in response
to the symmetrical shape of the building. It was a In the late 20th century, a distinctive example of an art
challenging task, considering the triangular shape of museum conceived with a site-specific program in
the land that made it even harder for Botto to execute Japan was an art project initiated by the group called
his signature symmetrical architecture. Benesse Art Site Naoshima. This was originated by
Soichiro Fujutake, the chairman of Benesse Holdings,
Inc. and the Naoshima Fukutake Art Museum
The Watari-um Museum of Contemporary Art is
Foundation. Soichiro Fujutake came up with the idea
considered another important piece of architecture of to build an art museum on Naoshima Island. His aim
the Post-Modern Era. Designed by foreign architects, was for the museum to function not only as a venue for
it is also a great example of how a small private exhibiting artworks, but also to serve as a tool that
organization can manage to operate and function as a would expand the conventional frame of art museums,
successful art museum, without having to depend on by taking the art out of the museum context. The
government support. Watari-um still organizes project offered new alternatives and directions for
interesting exhibitions of several artists and architects artistic presentations, where nature, art, and
continually.5 architecture were integrated.

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The Benesse Art project was founded in 1988, while architecture does not exactly exhibit any distinctive
the first museum of the island, the Benesse House evidence of its attempt to create specific interactions
Museum, was finished in 1992 with Tadao Ando in between the architecture and the artworks.
charge of the architectural direction. The museum has
hosted a personal collection of Soichiro Fukutake that In 1998, the Benesse Art Site, Naoshima launched The
included the works of several internationally Art House Project in Honmura district by renovating
renowned artists ranging from Gerhard Richter, several old traditional houses that were to serve as
Donald Judd, Nam June Paik, Robert Rauschenberg, exhibition venues for site-specific Installation art
David Hockney, to Andy Warhol, etc. The interior pieces. Tatsuo Miyajima was the first artist to ever join
space of the museum was specifically allocated for the the project, which was followed by many other similar
installation of each artwork, while the balance between installation art projects. The project did not only
the artworks and the architecture was creatively intend to restore and preserve the old, traditional
controlled. 6 Japanese wooded houses, but also interwove local
history with the contemporariness of the artworks.
The museum’s architectural style and the presentation Some of the works were installed next to the district’s
of exhibitions are not entirely different from those of religious place, causing the artists to reinterpret their
other museums from the Second Generation. artistic creations under an entirely new surrounding
Nonetheless, the location and the hotel facility, which context and environment, quite different from the
have been incorporated as part of the program, artistic process taking place in the conventional white
differentiate the Benesse House Museum from other cube-like space in a museum properly designed by an
art museum projects. In the meantime, Tadao Ando’s architect.

Benesse House Museum, Architect Tadao Ando (1992). Photos by Aroon Puritat.

The Art House Project, Honmura district, Naoshima (1998). Photos by Aroon Puritat.

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In 2004, Tadao Ando designed the Chichu Art is controlled by limiting the number of viewers for
Museum that hosts the works of three legendary each visiting round, while noise making is prohibited
artists: Claude Monet, James Turrell, and Walter De when entering the exhibition space. These measures
Maria. The majority of the building is located protect the art viewing atmosphere from any
underground, beneath the grass hill. The architecture disturbance. To illustrate, the museum allows only one
was designed to emphasize each space where each art viewer at a time to see James Turrell’s works.
piece is installed. For instance, the room where Claude
Monet’s Water Lilies is exhibited is laid with small Viewers who walk into the museum go through a series
white mosaic pieces that accentuate the painting, to of empty spaces in the different areas of the museum
make it even more vivaciously distinctive. before reaching the artworks. The clash between the
artworks and the architecture that takes place inside
Although concrete is the common material used in the Chichu Art Museum rigorously draws out the
most of Ando’s designs, the architect adjusted his own contemporariness of Claude Monet’s Impressionist
architectural language to suit the presence of the paintings.
artworks to the Chichu Art Museum. The circulation

Chichu Art Museum, Architect Tadao Ando (2004). Photos by Aroon Puritat.

In 2008, the Inujima Art Project Seirensho made its The Art Museum Seirensho is another successful
debut on the island of Inujima (Okayama Prefecture) example of how the renovation of a deserted building
with the Art Museum Seirensho as the first phase to can result in an impressive architectural creation of
open for operation in April. The museum was great aesthetic values and environmentally friendly
renovated from the old copper refinery closed down in functionalities. Installed in the building are Yukinori
1929 after only 10 years of operation. The renovation Yanagi’s artworks, in which the artist brings in doors,
of the old factory, which was a testament to Japan’s windows, and plug sockets from the house of the
industrial modernization, was creatively undertaken famous Japanese writer Yukio Mishima and reinstalls
by the environmentalist architect, Hiroshi Sambuichi. them within the space of the museum. Yukio Mishima
is one of the most significant Japanese writers who
The specialty of this museum was the way the architect critiqued the changes that transpired in Japanese
designed the building to embrace the sea breeze, so as society during the modernization period.
to cool down the museum during summer. On the Art Museum Seirensho interweaves the
other hand, natural sunlight was incorporated into the contemporariness of the present to the days of Japan’s
building to generate warmth during winter. Both ends industrial modernization by bringing back the old
were achieved without use of any electrical power. factory and the deceased writer to life, thereby
Wastewater in the museum, meanwhile, is put through allowing people of the later generations to appreciate
treatment and later used to water plants. and understand the presence of the past.

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The Art Museum Seirensho, architect Hiroshi Sambuichi, artist Yukinori Yanagi (2008). Photos by Aroon Puritat.

Teshima Art Museum, architect Ryue Nishizawa (2010). Photos by Aroon Puritat

Not long after, in 2010, to be exact, the Naoshima Once at the museum, the viewers are guided to walk
Fukutake Art Museum Foundation opened the through the designated path before entering the
Teshima Art Museum. The museum that covers 2,334 exhibition space where Rei Naito’s works are installed.
square meters is situated on the hill overlooking a The exhibition area is filled with water droplets that
panoramic sea view. This small museum only exhibits move around in different directions as a result of the
the works of the female artist Rei Naito, a natural specially coated floor. When rainwater comes down,
observer who picks up on natural phenomena what the viewers are able to see the natural, real-time
most people tend to overlook, and visualizes them into movements of water and wind, Massive openings
intriguing artworks, among them her delicate, barely architecturally and artistically enhance the building to
visible sculpture that transforms the “wind” into an embrace every natural presence—from the wind, the
intriguing visual perception. rain, sunshine, and snow, to the birds and insects.

The Teshima Art Museum is a collaboration of Rei Several projects initiated by the Naoshima Fukutaka
Naito and the architect Ryue Nishizawa. The artist’s Art Museum foundation manifest the attempts to
decision to present water and different natural create new programs in the art museums of the early
phenomena involving water has resulted in the liquid- 21st century. Such attempts include the dispersion of
like shaped architecture. Reinforced concrete is not museums from the high-density urban fabric to
used to create a normal beam structure, but to form a different venues in the rural areas surrounded by
concrete shell structure. The construction process is beautiful nature. They also include the design and
begun by piling up the earth to create massive curvy construction of architecture that accommodate only
hill masses onto which the concrete is poured, covering one specific artistic creation. This has resulted in a
entire earth hills. After the concrete is set, the earth is more collaborative process between architecture and
dug out, creating massive voids, which become the art, not to mention consideration for creating
interior spaces of the museum. environmentally friendly architecture. Art museums

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have become tourist attractions that aim for viewers to general art museum plans in 1997. Another Citizens
spend more time visiting them. That artworks are Forum was held in July-August 1997. In 1999 Kazuyo
located in different parts of the island explains the Sejima and Associates + SANAA was selected as the
presence of additional facilities such as the Benesse project’s architectural designer.
House hotel, thereat.
In 2000, the museum began its artwork collecting and,
Community wise, the arrival of artworks, architecture, not long after, in May of the same year, the name “21st
and tourists on Naoshima Island enlivens the small Century Museum of Contemporary Art, Kanazawa”
island village and rejuvenates the spirits of its 3,307 was proposed to the General Standing Committee.
residents, who are mostly senior citizens. In the The first official meeting of the 21st Century Museum
meantime, young people have increasingly begun to of Contemporary Art, the Kanazawa Steering
settle on the island, starting tourism businesses that Committee, and the Preparatory Committee was held
range from restaurants and hotels, to cafés. Statistics in 2002. In 2003, the citizen’s observations of the 21st
also show how the number of tourists visiting the Century Museum of Contemporary Art, Kanazawa
island has grown continually since 2005. construction site took place 10 times. In July 2004, the
design of museum staff uniforms by Miyake Design
While all sorts of activities and projects that Studio was made public. The 21st Century Museum of
incorporate the involvement of the local community Contemporary Art, Kanazawa finally opened for
have helped stimulate collective contributions and the operation in October 2004.
participation of community members, the Foundation
has revived the activities that the islanders used to The 21st Century Museum of Contemporary Art,
undertake by making them part of people’s everyday Kanazawa is situated in the center of Kanazawa City.
lives once more. For instance, starting 2006, the Through its transparent glass walls, one can see the
ongoing Naoshima Rice-Growing Project resuscitated activities going on inside the building, as well as the
the rice-growing activity, which had been absent from linkage between the museum’s interior and exterior
the local community since the 70s. Another interesting spaces. The circular plan of the building creates a sense
project was the Honmura Noren Project initiated in of connectedness between the architecture and the
2001 by the artist Yuko Kano. The project city, for it embraces the cityscape from all directions,
reintroduced the use of noren (short cloth curtains surrounded by the city’s three main roads.7
hung in the entrance to Japanese shops) after Kano,
the dyeing expert, made noren for the 14 houses in Under the collaboration of the architects, artists, and
Honmura district, thus leading to the birth of the curators, the exhibition area is divided into 14 galleries,
Honmura Noren Project committee advocated by resulting in the more flexible adjustment of space that
Benesse. can accommodate various forms of artworks, with the
main corridor connecting all the galleries to each
other. This particular planning allows the viewers to
21st Century Museum of Contemporary Art, step out of the galleries if they want to rest their eyes,
Kanazawa
or to easily leave the exhibition areas should they wish
to, for any reason whatsoever.
From 2004 to August 2011, the 21st Century Museum
of Contemporary Art Kanazawa proved its Here, the flow that museum visitors follow is different
overwhelming success, attracting over 10 million from that in other museums, in general, for it allows
tourists to the museum and the city of Kanazawa. viewers to choose their own, without having to follow
Before it reached this glorious stage, the museum had particular sequences, the way it is done in most art
been the subject of comprehensive planning, a process museums. Visitors can also walk around the museum
that took over nine years to accomplish. In 1995, the without having to enter the exhibition areas if they do
project was initiated with the establishment of the not want to. The architects came up with this
Urban Core District Preparation Scheme Committee, alternative to expose viewers to new art-viewing
a joint committee consisting of the Ishikawa experiences whenever they come over. Even after
Prefecture and Kanazawa City. In 1996, the Citizens visiting hours when the exhibition area is closed, the
Forum was held to discuss the art museum scheme people may use the exterior space of the museum until
before the board of special advisors (17 members) and 22.00, as this is accessible via the four entrances located
general advisors (4 members), appointed to draft along the museum’s different ends.8

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As for the administration, the museum has been look at a private museum like the Benesse Art
advocating several educational programs that would Site Naoshima: the project receives financial
urge museumgoers to have more interactive artistic support from the Naoshima Fukutaka Art
experiences. This has resulted in the birth of many Museum Foundation. On the other hand, the
projects, such as an art project with a one-year 21st Century Museum has the city of Kanazawa
exhibition duration, that sees qualified candidates as its main supporter.
helping artists in the work and installation processes.
By allowing viewers to be part of the artistic creation Akimoto discusses the issue concerning the general
process, the project enhances the viewer’s interactive public’s understanding and attitude towards
experience with the artists. “contemporary art”, and the common perception that
contemporary art is “too incomprehensible”,
Akimoto Yuji, the former director of the Chichu Art
Museum and the current director of the 21st Century To understand contemporary art takes time. But
Museum of Contemporary Art, shares some of his it is not that hard. What we are trying to do is
thoughts on the budget issue pertaining to the create educational programs that focus mainly
museum, on students. We work closely with several
Despite having over one million visitors every elementary schools in Kanazawa that have over
year, our budget has been cut down by 10% every 5,000 students under their responsibility; we
year, as well. The ticket sales of our museum do offer them the chance to come to our museum.
not generate that much income compared to the These kids learn to be familiar with the very
Naoshima Fukutaka Art Museum Foundation foundation of contemporary art and when they
that can generate six to seven times more grow up, they will become the people who have a
revenue from their ticket sales. Having said that, basic understanding of contemporary art. It is
both museums cannot depend entirely on they who will become the viewers and important
entrance fees to pay for all their expenses. Take a supporters of our museum in the future.9

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The 21st Century Museum of Contemporary Art, Kanazawa, architect Kazuyo Sejima and Associates + SANAA (2004). Photos by Aroon
Puritat.

Contemporary Art and Art Museums of the Early manifesting a gap in understanding among the general
21st Century in Japan: The Overall Picture public regarding the way “art” is still perceived in such
a limited manner. Further, they are sometimes limited
Within the overlapping period from the late 20th to only one specific artist or era. In the meantime, the
century to the early 21st century, several art museums way the museums, as governmental organizations, have
emerged in the different cities of Japan, while some the duty to serve the public and the majority of the
museums incorporated the term “contemporary” into population reflects the political structure of the
their names. Nonetheless, the understanding and country’s liberal democracy. As a result, recorded
appreciation of contemporary art remain limited to a statistics regarding the number of viewers remain the
small group of people. Based on recorded statistics, the key indicator of the museum’s performance
exhibitions with the highest number of viewers are estimation.
often those of famous Impressionist artists and other
artistic legends such as Picasso and Van Gogh. For Conclusion
instance, Claude Monet’s exhibition held at the
National Art Centre, Tokyo from April to July of Following the establishment of nation states in the
2007 had viewers totaling 704,420, while other 19th century, various political and social institutions
contemporary art exhibitions held in the same were formed. One of the early forms of nation-state
museum averaged only 30,000. This was so despite the outputs was the art museum, a place used to store art
fact that the durations of both were the same: three and cultural history for the citizens to learn about the
months. Such phenomenon is evident in almost every roots of the nation, consolidate the history of various
principal art museum in every big city of Japan. ethnic groups, and thread them together into a
completely new story. The intentions of these art
In a 2010 interview, Minami Yusuke (2010), the Chief
museums were to educate people about the history of
Curator of the National Art Centre, shared her the new nation and foster a shared ideal, political
opinions on the matter, philosophy. Thereafter, the new nations attempted to
Massive media corporations in Japan have a great gather every social element and citizen together as part
deal of influence on big art museums. They of the state, hence, founding a political
choose popular artworks and promote the decentralization system.
exhibitions through the media they have in their
hands, which explains the overwhelming Japanese art museums were no exception to this new
number of viewers. The media-sponsored political structure. A perusal of art museums founded
exhibitions often feature works from the Classic era by era since World War II reveals that the early
or Impressionist era, mostly because they are museums took to collecting both Japanese and foreign
easier to understand compared to works from art pieces along with historical evidences, displayed
the contemporary art genre, which require a them in a coherent manner, and sought to explain the
considerable amount of interpretation and artistic influence that the outside world brought to
comprehension from the viewers. In addition, Japan, and Japan to the outside world. Most art
the administration system for the organization museums in Japan were founded by the government;
of this type of exhibition usually demands a great therefore, the main art museums of the state were
deal of preparation and investment, which located in major cities such as Tokyo, Kyoto, and
consequentially costs a lot of money. These Osaka, where the country’s masterpiece collections of
exhibitions bear a resemblance to concert each era were stored.
touring with a showing scheduled in big name
museums around the country, while they realize Given Japan’s decentralized political system, the
profits from ticket sales”. 10 prefectural museums of art within each city received a
locally allocated budget to maintain their sites. During
The exhibitions of artworks from the pre-Modernism the 1980s and 1990s, a large number of these museums
era such as Impressionism in contemporary or modern were founded in each city. They focused on
art museums in Japan create a sense of obscurity, while constructing hardware or buildings, and purchasing

The Work of the 2010/2011 API Fellows

 MULTIPLE IDENTITIES VIA SPIRITUALITY, HISTORIES AND CULTURAL RE-PRESENTATIONS 163

modern and contemporary art collections from the architectural design and remarkable exhibition
western world. Building these unique art collections in programs, aside from reflecting transparency in the
each museum required a huge investment, while art work process. This was in keeping with the liberal
pieces created by Japanese artists were largely ignored democracy nature of Japan. Still, the funding used to
or disregarded by the museum. Moreover, Japanese art maintain the museums continues to be sourced from
collectors did not pay much attention to modern and local government bodies. The negative affect of this
contemporary Japanese art. As a result, many of these arrangement will be palpable and inevitable once the
works were purchased and possessed by foreign art economy falls.
collectors and museums. Once these Japanese artists
became famous, their works’ value appreciated Many private art museums in Japan have established a
considerably in the global market. fund to help in the long-term sustainable management
of the sites. But the limitations of this set-up remain
But then in 1900s, Japan faced a tough financial crisis. evident. For example, the museums housing them are
After the bubble economy burst, the financial small scale and lack collection variety. To build a good
capabilities of many Japanese art museums diminished collection takes time and consistency, along with the
such that they could no longer afford to possess or vision to see which collections will be of great
acquire Japanese art pieces, whose prices were going historical value in the future. To achieve this status
beyond levels that the museum’s budgets allowed. again requires time and effort on the part of curators,
historians, and critics who design and plan collections
In addition, unlike their contemporaries in the that reveal powerful histories.
western world, Japanese art museums do not have large
funds that can support long-term activities. Moreover, Art museums are often connected to politics in many
the government does not give any special incentive to ways – through policy, the economy, society, and
donors or art and cultural organizations – a scheme culture. It is therefore important to maintain a good
put in place in the US and the UK, where a donated proportion of each element and fit them together with
amount is tax-deductible or entitles the donor to have the budget.
the collection named after him or her. Western
countries likewise hold various systematic fundraising Currently, Japanese art museums are facing difficulties
programs and engage the private sector in the arts, to from a tight budget, while experiencing the need to
promote their organizations. review their role in presenting contemporary art in a
very competitive global arena, and to simultaneously
This comparison clearly shows that Japan has not provide more knowledge to society. These
established systematic funding support, even as responsibilities add up to a huge burden in the face of
capitalism and the art market are observed to have limited manpower. We have yet to see how these art
become inseparable in many parts of the world. It is museums will adjust themselves and survive the tough
evident, as well, that art galleries, artists, art collectors, current in the future.
and media in art museums have come to be regarded as
benefits that the government must provide its citizens
as these are all funded by tax. But, in Japan, the
government has not established a system that can NOTES
sustain the business of these art museums, an oversight
1 Yamauchi, Maiko (Curator of The Museum of Modern Art,
that has consequently crippled other sectors in the
Japanese contemporary art industry. It has been Kamakura). 2011. Interview by author, July 21.
evident how some art museums have gone out of 2
Murakami, Hiroya. 2010. Interview by author. Tokyo.
business because they did not have adequate funds to October 12.
manage and maintain their sites.
3
Suzuki, Hiroyuki. 2010. Interview by author, October 29
st
Several Japanese art museums founded in the early 21 4
Nakata, Koichi. 2011. Interview by author, June 26
century have started to engage the general public,
curators, architects, and specialists from different areas 5 Watari, Koichi. 2010. Interview by author. August 29
somehow involved in the process—from planning,
6
designing and constructing the museums, to sourcing Akimoto, Yuji. 2011. Interview by author, June 7.
art collections which resulted in outstanding

The Work of the 2010/2011 API Fellows

164 Panel 4

7
Fudo, Misato. 2011. Interview by author, June 7.
8
Hirayabashi, Megumi. 2011. Interview by author, June 7.
9 Akimoto, Yuji. 2011. Interview by author, June 7.
10 Minami, Yusuke. 2010. Interview by author, September 17.

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WEBSITES

21st Century Museum of Contemporary Art, Kanazawa,

Museum Timeline http://www.kanazawa21.jp/data_list.php?
g=50&d=1&lng=e

Benesse Art Site Naoshima, History

http://www.benesse-artsite.jp/en/about/history.html

The Work of the 2010/2011 API Fellows