Make, Show, and Taste Collections

-Mr. Takeuchi, you are hosting a collection exhibition at WHAT MUSEUM. What were your thoughts during the preparation period?

I had about two years to prepare for the exhibition after the museum approached me. I reflected on my collection, considered which pieces would be best to exhibit, and had extensive discussions with the museum staff. It became clear that I have a strong affinity for abstract works. The museum had its preferences for the selection, but in the end, the exhibition primarily featured abstract paintings or at least works that weren't highly figurative.


-Have you received any feedback from visitors?

Yes, many visitors have reached out after seeing the exhibition. Quite a few have expressed appreciation for the text I wrote for the exhibit.

Excerpts from the TAKEUCHI COLLECTION 'Lens of the Mind' exhibition collector's notes can be found on the WHAT MUSEUM website below.
(https://what.warehouseofart.org/en/exhibitions/takeuchi-collection_en/)

I wrote this text in the hope that visitors will resonate with what comes to their mind when they see the work and will delve into the lens through which the artist viewed the world. As a collector, I believe that everyone should savor art in their unique way, which is particularly true for abstract works that offer vast interpretive possibilities.

This diversity in perception, I feel, is the allure of abstract art that captivates me.

-What was your intention behind displaying artworks alongside furniture at this exhibition?

For this exhibition, I had the opportunity to pair Charlotte Perriand's benches and chairs with the artworks. Large pieces dominate the white walls of galleries and museums and can strongly convey the artist's intent, often stimulating the market and becoming a talking point.

However, I also have a fondness for smaller works. I aimed to adopt a different approach from just hanging large works on expansive walls, partly as a counter to market-driven practices. Large pieces are impactful, but they aren't the sole measure of value.

Japanese homes typically don't have the spacious walls seen in museums or art fairs, and size isn't a prerequisite for the quality of an artwork. Consequently, many opt for smaller pieces. The challenge then becomes how to present these in a museum setting. By integrating chairs and tables, we discovered a novel way to exhibit. We created a unique exhibition where smaller works are displayed on large walls, accompanied by furniture to craft a space.


-You acquire works of various sizes from both Japanese and international artists. How do you decide on your purchases?

I prefer to see the artwork in person. However, my busy schedule in Tokyo prevents me from visiting many galleries, so I often resort to buying at art fairs.

As I browse, certain pieces stand out to me. I'll walk around, see other works, then return to the ones that resonate with me. I inquire about the artist's background and the work's provenance from the gallery, and then make a purchase decision, factoring in the price.

At an overseas art fair, I found a small but costly piece by an artist I admired. Upon research, I understood the price when I learned he had exhibited at the Venice Biennale. Such discoveries are frequent; I value the initial encounter with the artwork over extensive prior research.

-Are there any Art Fairs you're paying attention to?

This year, I attended Frieze London and Paris Plus; the latter was particularly vibrant and impressive. The vibrancy of a fair reflects the galleries' commitment to presenting their most recommended artists' latest works with enthusiasm. I experienced a similar vibe in Seoul. While the art market is ever-changing, I plan to concentrate on these fairs in the upcoming years.

Ofcourse, I'll also be visiting Art Fair Tokyo (laughs). It's a unique fair that offers everything from antiques to contemporary art. I am especially intrigued by antiques, which are rare to find elsewhere.

I don't generally engage closely with artists, except for a few with whom I have a good rapport. I prefer to view their works independently. My approach is work-driven, and I take pleasure in displaying the pieces in my shop, office, and home.