I am nervous about Takahiro Kaneshima, the art world luminary at the helm of this year’s Art Beijing. But as it turns out, he is nervous about meeting me.
Naturally shy, Kaneshima welcomes me into his office with a quick bow and small smile. He then sits with his hands clasped squarely on the table in front of him for the duration of our interview, peering at me meekly from behind large, thick-rimmed glasses.
Kaneshima is slight and quiet. But his soft-spoken demeanor belies a brilliance that has escalated him to the top of the Asian art world. After working in companies and galleries around the world, Kaneshima directed the colossal Art Fair Tokyo in his home city for seven years. Today, he is a widely cited voice on Asian art and the increasingly noisy world of international art fairs, and he’s bringing this experience to Art Beijing.
His tenure will bring a number of changes to the 11th fair. This means more international artists. More collaborations with galleries both in China and abroad. More big-ass statues outside the Agricultural Exhibition Center.
But Kaneshima is especially eager for a few updates in particular: a pavilion dedicated to emerging East Asian artists, a partnership with London’s prestigious V&A Museum and an exhibition featuring the superstars of Japan’s photography scene. (At the mention of this last one, That’s Beijing’s own photographer Holly perks up. “Can you give us some names?” she asks. Kaneshima flashes another shy smile before rattling a few off. Based on Holly’s gleeful reaction, I understand they're a big deal.)
All of these initiatives aim to highlight Asian artists’ works and propel them to the international stage – a goal that, according to Kaneshima, other China-based fairs have largely failed to achieve.
“Shanghai, Hong Kong… they’ve tried to follow the Western system,” he explains. “Most fairs now try to follow the Western model, but we’re focusing on the kinds of things we can only do in Beijing.”
When asked what he means by ‘the Western system,’ Kaneshima becomes visibly excited.
“Ah!” he exclaims, momentarily breaking his staid posture to show enthusiasm for the topic. “In the art industry there is this huge hierarchy. Most of the art scene is controlled by Western people, and Asian people feel we have to follow their way.
“But in Asia we have our own aesthetics, and also a unique market. So we are going to listen to the audience in China and introduce Asian artists to the world.”
Art Beijing’s 2016 theme itself rejects the Western model: “locally based, Asia-oriented.”
Part of being “locally based,” Kaneshima explains, is gearing Art Beijing’s pavilions toward the interests of local collectors – a growing force within China, whose median age is getting lower. Kaneshima sees increased fervor for art collecting among upper-middle class professionals who “are interested in art, but have had no chance to learn or study it.”
As such, Art Beijing’s offerings are broad. Pavilions are divided into four areas: contemporary art, classic art, public art and design. Whereas other fairs of this scale in Shanghai and Hong Kong have mainly focused on one kind of art – say, photography or sculpture – Art Beijing offers, as Kaneshima simply puts it: “Diversity.”
“This kind of variety is important for attracting them,” he says of the new wave of Chinese collectors. “We try to create something which other cities cannot.”
This month’s Art Beijing will be Kaneshima’s first as director. But while he gained the majority of his art experience in Japan, he isn’t new to China.
“I was in Beijing from 2004 to 2008, working in a gallery in 798 called Tokyo Gallery + BTAP,” he says. It was in pre-Olympics Beijing that Kaneshima met his predecessor Dong Mengyang, who later recruited him to work for Art Beijing, and helped develop his interest in the mainland art scene. When asked about the differences between the Chinese and Japanese art worlds, Kaneshima chuckles.
“The art world itself is quite global, so there are not big differences. But the way of working is different,” he says, smiling. “Japanese people do everything ahead of time. For instance, half a year before the fair we would have decided almost all the participants galleries and some programs. So the Chinese way of working, for me, is tough.”
Tough, yes, but worth it – Kaneshima views his career in Asian art fairs as not only enriching, but vital.
“I think the 20th century was the century of the West, but the 21st century will be the century of Asia. In 10 or 20 years an Asian-driven art market will appear. Our economy is growing, and there are many more interesting artists coming up. So I think the systems will start to change.”
“I want to challenge the Western system. We have to create something by ourselves in China.”
And with this, we wrap up our interview and Kaneshima turns back into the quiet man I’d initially met, bashful when posing for his portrait. It’s clear he’d rather be the person looking at the picture than the one in it. As he waits for his photo to be taken, I ask him one final question: Which exhibitions are you most excited for at this year’s fair?
“In my position, it’s a little bit difficult to say,” he says diplomatically. “So I just hope visitors enjoy our fair and find something they like.”
Art Beijing takes place from May1-3. See event listing for more information.
Get Discounted Tickets to Art Beijing!
Art Beijing returns for its 11th installment at the end of this month and readers of That’s Beijing can get a massive 40% off tickets for any of the fair’s three days, May 1-3. All you have to do is scan the QR code below before April 25 to get discounted entrance (usual ticket price: RMB100).
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