Yuko Mohri's innovative proposal for the Japanese Pavilion at the 2024 Venice Biennale has highlighted a shift in the Japanese government's expectations for artists. Initially seen as a conservative preference, her exhibition featuring hanging lights powered by rotting fruits has received critical acclaim.
Behind her success lies a collaborative effort among government officials, gallerists, and business leaders to create a supportive financial network for Japanese artists on the global stage. This initiative aims to restore Japan's cultural prominence in the art market, reminiscent of its peak during the 1980s.
During the 1980s, Japanese corporations made significant investments in European art, altering perceptions of art as merely a luxury to a viable investment. This era reached a climax in 1990 with the sale of van Gogh's "Portrait of Dr. Gachet" for $82.5 million, a record price at the time.
However, the following economic downturn led to the "Lost Decade," and ultimately a prolonged period of stagnation. This deeply affected local museums and collectors, dampening the art market and diminishing Japan's role on the global stage.
Despite the current economic challenges, assistance from collectors and government involvement has provided funding for Mohri's Venice exhibition. Yasuta Hayashi, a director in Japan's cultural affairs agency, has played a key role in developing initiatives to promote Japanese contemporary art since 1994.
The agency has implemented measures such as tax incentives to encourage art sales and lend artworks to museums. Recent reports show a growth of 11 percent in Japan's art market since 2019, indicating a slow recovery compared to the global market.
Gallery owners have experienced positive developments as tourism increases and international galleries enter the Japanese market. Yet, Japanese collectors remain cautious, often favoring traditional department stores for their art purchases.
Prominent collectors, including Ryutaro Takahashi, express skepticism regarding whether these initiatives will substantially improve life for Japanese artists, emphasizing the need to cultivate a broader art community rather than catering solely to wealthy individuals.
Takeo Obayashi, a key figure behind Mohri’s Venice presentation, believes that enhancing creative connections will expand art appreciation throughout Japan. Despite the logistical challenges Mohri faced while preparing her exhibition, she hopes for better conditions for artists in the future.
Throughout her career, Mohri has navigated various roles and environments, leading to her rise in international recognition. Her installations at the Biennale exemplify her creative approach and reflect Japan's evolving contemporary art scene.
Hayashi acknowledges Japan’s need to foster appreciation of its culture while encouraging support for more experimental art forms. His statements underscore a broader goal of redefining the Japanese art landscape for future generations.