Background sp

We believe that engaging in dialogue is crucial for understanding different viewpoints, broadening our horizons, and nurturing a vibrant and inclusive art ecosystem. Through this new "DIALOGUE" platform, we hope to help people overcome the differences between the Japanese and global art scenes, fostering connections and promoting a deeper appreciation for diverse artistic expressions.

5fb5601b b465 40fd bd45 a00566f99707

Japanese Museums at the Forefront

These three Japanese institutions are leading the landscape in Japan and they are capable of showcasing first class exhibitions by Japanese, Asian and international artists. What are the challenges of such a kind of work? What are the benefits? Should institutions be only international?

Mami Kataoka (Mori Art Museum)
Yuko Hasegawa (21st Century Museum of Contemporary Art, Kanazawa)
Mika Kuraya (Yokohama Museum of Art)

Junya Yamamine

Bc7fe990 0414 4b17 bdb7 1a8c4cfe7847

Artists and Communities

Artists are not just solitary figures creating incredible things alone in the studio. They also work with other people and communities, generating a sense of participation and belonging—feelings that are needed now more than ever. Four artists deeply engaged with such practices share their insights on this pressing issue.

Augustas Serapinas (Lithuania)
Ana Prvacki (Serbia/Romania)
Marinella Senatore (Italy)
田中功起|Koki Tanaka (Japan)

Samuel Leuenberger (SALTS, Basel)

Ae3a7ac0 2c70 4829 af0e 63b3b2b06cd4

Gallery on the Move: Emmanuel Perrotin in Tokyo

Why did Emmanuel Perrotin decide to open a branch of his gallery in Tokyo? Besides the obvious reason—to represent Japanese artists—what key things persuaded him that it was the right move to make? What were the strategic plans behind this decision in both the short and long run?

The French gallerist shares insights about the adventure of bringing his gallery to Japan. In this intimate conversation, he gives us the lowdown on the pros and cons of being a global player in the field of contemporary art today. We also ask him about his long-standing commitment to the Japanese contemporary art scene and his interactions with its artists.


Emmanuel Perrotin (Panelist)
Nicola Trezzi (Moderator)

73b529ec f97d 4619 8efd d04809ffd0ed

Making Art vs. Collecting Art: Takashi Murakami interviewed by Andrea Neustein

Over the last fifteen years, Japanese artist Takashi Murakami has amassed a unique collection of contemporary art. The collection was first presented publicly in 2015 at the Yokohama Museum of Art in the exhibition Takashi Murakami’s Superflat Collection―From Shōhaku and Rosanjin to Anselm Kiefer and has continued to grow since. Why does an artist start to collect works by other artists? What are the thoughts and feelings behind such a decision?

D8377960 e60f 45b6 9f6f 0bf313d49bf7

Collecting Art in Asia

Collecting in Asia has become more and more international and yet there is a specific way of collecting in this region and collectors in Japan, Singapore, China and South Korea have distinguished themselves for having a very strong voice in the collecting landscape, in the continent and beyond. Four protagonists share their way of navigating art fairs, galleries and studios, building their dream collection.

Jae Myung Noh (South Korea)
Ning Chong (Singapore)
Kevin Poon (Hong Kong)
Koji Nakao (Japan)

moderated by Reena Devi (Arts Journalist, Singapore)