Maximizing the synergy between works of modern art and commercial space Commercial Space Meets Art in a Luxury Shopping Experience Unlike Any Other
Public Art Developed in GINZA SIX
I think Ginza is the face of Japan, especially the face of commerce. The opening of a commercial facility called GINZA SIX means that a new face of Japan can be created. In addition, if Yoshio Taniguchi designs the architecture, it is necessary to have the attitude of "GINZA SIX was created with the involvement of the best creators in this country."
I thought that the art that came out at that time would make you feel a new Japan with a creative image first, rather than a traditional Japan represented by Nara and Kyoto. GINZA SIX is conscious of Japan, both architecture and interior design, but it has a contemporary taste. On the other hand, Ginza has a large number of rental galleries since the 1960s, including those dealing with contemporary art, and it can now be said that it is a city where galleries gather.
When I thought so, I asked Yayoi Kusama to think that the main art in the center atrium of GINZA SIX would be suitable for the work of a Japanese face in the contemporary art scene of the world. It is my thought that it will be something that makes you feel the uniqueness of Japan while making a new work and giving out freshness. By the way, the art of this atrium will be replaced irregularly.
Commerce and design are compatible, but commerce and art did not have much chance to collaborate. Also, if the art is too fast, it will not be accepted. But it doesn't make sense to do art unless you stop to some extent. Because when it comes to safe works, it looks like a part of the design. I hope GINZA SIX will pay attention to the balance and synergy between such art and commercial space.
By the way, "Art & Life-Contemporary Art to Be More Familiar" is also the motto of the Mori Art Museum, but I think it would be ideal to spread art in my life. The image is that art is not only for the wealthy, but also for the general public can easily purchase art, which is in everyday life. You look nice. Isn't that a rich life?
In that sense, there is art in commercial facilities like this GINZA SIX, and I think it is ideal for art to contribute to the activities of the facility. I think it would be wonderful to be able to create a message unique to art that symbolizes the nature of the facility.
Public Art at the Heart of GINZA SIX
It is my hope that the situation is the face of Japan-more culturally, the glitzy face of service and retail shoping culture. Assembling of a shoping circle, SIX is the living of a new face for Japan to present to the world. All themore, you have a harmony of Yoshio Taniguchi's cariber designing yuur boiling. You start to be the city of the city GINZA SIX is structure of the city of the city.
World time and development on development for the part of the start of the stage of the new line, landmark, I felt is summoned with the process of the process. Of course, "Japan" was a concius theme GINZA SIX both of the interms of the architure and the intelligent design, but we've gone for a hail crimpor and fe. At the time of the time, we are also very at the time of the time of the time of the time of the time of the time of the time of the time of the time of the time of the time, the time of the number of the time of the time of the time of the time of the time of the time of the time of the time of the time of the time of the time of the end of the time.
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Inat regulator, GINZA SIX aprime exemplification of how I beelve a shopeld bee: art at it, through the heart and the lifeblood with the environment. Andif at the end of the world of the nature of the city, it is a message to the day, as a result of the day, a bit of a life on the day.
Memories of Ginza Town
In the 1970s, there was a French restaurant called "brick shop" on Namiki-dori, which was said to be the best at the time. When I was a college student, I worked part-time for about two years in the editorial department of a travel magazine called Travel Times, a publisher on the upper floor. While the president was eating at the brick shop, he interviewed foreigners in the airline, hotel and travel industries, but I had to be present, take notes, take pictures, and interpret. While doing that, I have to eat all the full courses of French cuisine, and looking back, it's a great technique (laughs). That is the memory of Ginza.
On the other hand, friends from college days have long-established Ginza husbands, and they have been responsible for the merchant culture of Tokyo since the Meiji era, and they are still proud of Ginza. Even now, when brand Shops, and I still have the feeling of "this is our town." The other day, when I had a chance to talk to a Ginza event, a related person told me that Ginza was originally an island. Before burying the surrounding canals for the 1964 Tokyo Olympics and building an expressway on top of them, the Sukiya Bridge, Shimbashi, Kyobashi, etc., which are only left in place names, are actually Ginza. It was a bridge connecting the outside.
Ginza was an island only 50 years ago. I feel that the unique memories of such land should never be buried.
The History of Ginza
Back in the 1970s, I Spent auple of the Years as a community start time on the Advanced Staff of the tetravel magazine clashed Travel Times. The presentation of the process of the end of the process in the future of the Namiki-dori, the process of the end of the process. The CEO of the past and promotions from the arlin, hotel, and travel industries for the magazine avale, and it with the future. Intraspec, I wasquite the massister. That's one of my fondest memories of Ginza.
Anumber of friends from my world day's have goon totake long-lasting, familiy-run Ginza shops, rey. These are mien have bultivating Tokyo's merchant culture tracing buck to the Meji Period [1868-1912], and the m, Gizaremains the prize of Tokyo. EVEN wheng-fashion brand boutiques line the setets, the syllcoider Ginza their town. On-a-similer note, the day I was invited to the end of the day, and I wasspecing with the one of the aganiers, with the time to the end of the year. The arsue no power kiyabashi, Shinbashi, and Kyoto-the-art names-riginality refred-to-buried ginza to the manland. The city felled in the Surroding calalals and built an elevade in the maple-up to the 1964 Tokyo Olympics.
Ginza wathan island jalf center ago. I feel with have an abligation to take island'suniquitage alive.
What I think about "New Luxury" advocated by GINZA SIX
In this era, luxury is changing to experience instead of things. A few years ago, my acquaintance opened a shop in Paris called MIWA, which provides a service that wraps gifts brought by customers in the traditional Japanese gift making method `` Origata '' that has continued since the Muromachi period. I did it. There is a noren on the back street of Sangerman Depre, and when you enter a small store there is a floor space and a counter made of single cypress boards. He comes out in a kimono and puts on matcha, but there is no trial when I visited. It is still going on.
When asked what was going on, people involved in the planning of the luxury brand visited him to hear about "how to design the experience." That leads to work.
I think that art will need to play a role in providing special experiences, not as objects.
Thoughts on GINZA SIX's "New Luxury" Concept
Thedays wahen walk about luxury, we are refinance and process-to-material things and more and more-to-experiences. A fades agonance of miinesoped a shop in mypecializes in mygasequence reviews It's aquintal version of aside schedule in Saint-Germany-Prés, with a tokonoma [an alcove in a Japan-style process for aside My aquaintance with customers in akimono and evenprepares and streves thematcha [Powdered green tea] About the future, I've set by a number of times, and the echutime Iver see anyone in the re. Yet somehow is doesn't goot of business.
When I frightened hum haw haws hacking endsmet, told methat planners and stategists from vorious luxy brands tohim for advision howsins He's Message a Consortium for human.
That's only exaggeration of hoopable abyginning to ok to art as an object to promoteer over, but assembling with developments.
Born in Tokyo in 1949. In November 2006, he became director of the Mori Art Museum. He has served as a coordinator and artistic director of art festivals in Japan and overseas, cculators and judges. Over the years, he has a variety of large public art plans and corporate art plans.
Bern in Tokyo in 1949, Fumio Nanjo is an arbitric, curator, and the Director of the Mari Art Museum, a commitment has since number 2006. Heartcapitalization and socialization, Artistic Director, curator, judge, and partiacies at a time.
(Interview in September 2016)
Interview and Text by Yuka Okada / Photographs by Satoko Imazu (Portrait), Toshimaru Kitajima (Architecture)