NEWS - 2026.03.09

「市場之眼／評論視角——Modern Legacy 專場對談」

於匯聚日本重要單一藏家收藏之
Modern Legacy: An Important Japanese Collection of 20th & 21st Century Masters
早期重點預展期間，我們邀請藝術評論家南島興（MINAMISHIMA Ko），就如何整體閱讀此一收藏展開對談。以拍賣預展這一獨特且稍縱即逝的場域為出發點，對話從市場與評論兩種視角切入，探討作品與收藏本身的魅力。本紀錄保留兩種立場之間富有建設性的差異，期望為理解藝術作品、藝術家與展覽提供更深入的觀點。



活動概要
對談活動「市場之眼／評論視角——Modern Legacy 專場對談」
日期：2026年1月29日（星期四）18:00–19:30
地點：代官山 Hillside Forum
與談人：
南島興（藝術評論家）
加來水緒（SBI藝術拍賣 銷售企劃部副總經理／拍賣官）

與談人簡介
南島興
藝術評論家。畢業於東京藝術大學西洋美術史碩士課程，並修習美學博士課程。曾任橫濱美術館學藝員，現為獨立寫作者與講師，主持藝術寫作課程，並經營YouTube頻道「美術どうでしょう」。為日本常設展與館藏展評論計畫「Koreport」創辦人，現於共同通信社連載專欄「見聞錄」。

加來水緒
SBI藝術拍賣 銷售企劃部副總經理兼拍賣官。畢業於慶應義塾大學美學與藝術學碩士課程。2008年加入日本藝術拍賣公司，參與東京、香港與新加坡拍賣之策劃與執行，2021年起任現職。自2019年起於青山學院大學講授「從市場觀點看藝術史」。

1. 初印象：私人收藏的質地
加來：
以您曾在美術館負責收藏業務的經驗來看，對這次預展的整體印象如何？

南島：
不同於美術館在明確制度與策展方針下所形成的館藏，本次收藏似乎是經年累月透過人際關係、興趣與審美感受逐步累積而成，因而帶有某種歷史厚度。
其中亦包含不少石版畫與素描等小品，其存在感與美術館藏品不同，更讓人感受到一種長期私人投入所形塑的收藏樣貌。
從時間軸來看，核心似乎落在1950至1960年代，同時向前後延展。

2. 預展作為展覽：價值階層與「分散」前提
南島：
展場中央陳列的是藤田嗣治《艾蓮娜・法蘭克肖像》，同時也是本場價格層級最高的作品。由價格所構成的價值階層，在此十分清晰，這與美術館展覽顯然不同。

加來：
預展的目的在於讓潛在買家親眼檢視作品，最終指向取得與擁有。價格並非等同於藝術品質，但拍賣制度必須考量重要作品如何呈現與未來流向。
在展示安排上，我們重視清晰度，使觀者得以確認作品狀況；同時將同一藝術家或相關時期作品相鄰配置，並善用場地自然光線，營造觀者能想像作品置於自身生活空間中的情境。

南島：
美術館傾向強調歷史連續性與整體性；若出現斷層，展覽可能成為圍繞單一「名作」的展示。
拍賣則預設作品將透過競標而分散，並非以保存整體為前提。展覽的基本邏輯在此截然不同。
此刻所見的整體僅存在於當下。這種一次性與偶然性極為特殊。
能在如此有限的時間裡討論一位藏家的活動，本身即屬難得。
我們正在談論的整體，很快將不復存在。



3. 作為群體閱讀作品：跨時期的主題
3-1 19世紀末至20世紀初：邊緣性與「遲到」的創造潛能
南島：
走入主展間，首先映入眼簾的是孟克（Edvard MUNCH）、藤田嗣治（Léonard Tsuguharu FOUJITA）、德・基里科（Giorgio DE CHIRICO）、席勒（Egon SCHIELE）、以及塔瑪拉・德・藍碧卡（Tamara DE LEMPICKA）等藝術家的作品——這些人物都帶有某種「邊緣性」的意味。
孟克來自挪威；席勒活躍於維也納；藤田雖與巴黎畫派（École de Paris）相關，卻常被視為其中的少數者。德・基里科出生於希臘，後以義大利藝術家之姿活動，始終未歸屬於特定運動，而是持續發展其獨具一格的「形上繪畫」（Metaphysical painting）語言。
若從出生年代切入，也能看到另一層有趣的脈絡。例如，1907年畢卡索（PICASSO）以二十五、六歲之齡創作《亞維農少女》（Les Demoiselles d’Avignon）時，德・基里科年僅十九歲，席勒甚至只有十七歲。換言之，當他們尚處於青少年時期，年長約十歲的一代已經啟動了立體主義等重要運動。1909年馬里內蒂（MARINETTI）發表《未來主義宣言》，未來主義亦隨之誕生。
面對如此重大的藝術變革，實在難以想像年輕一代沒有自問：「那麼，我們還能做什麼？」
大致而言，當時可能存在三條路徑。其一，是成為追隨者——例如沿著立體主義發展，或在立體主義與較寫實的繪畫方式之間尋求折衷。其二，是回歸古典主義，某種程度上拒絕前衛立場。其三，則是開闢一條獨立道路，在相對孤立的狀態中建立自身鮮明的風格。
在我看來，德・基里科正是選擇了第三條道路。他發展出一種與前衛潮流保持距離的獨特語言。這樣的情境其實也值得延伸思考：若同樣的處境發生在今日，又會如何？或者，以1960年為參照，被視為「遲到的一代」的人，又做出了什麼樣的選擇？

加來：
若從「邊緣性」或「遲到性」的角度來看，這組在日本形成的收藏——在歷史上被歐洲視為「遠東」的地理位置——在歐美框架之中，也許也能找到某種對應的平行關係。

南島：
此次展出的德・基里科《Il grande metafisico》，看來像是紐約現代藝術博物館所藏1917年同名油畫的立體版本。觀察這種反覆出現的圖像，我有時會思考：對他而言，「形上繪畫」的成功與認可，是否也在某種程度上將他限定於這樣的期待之中？彷彿他的人生部分是與市場協商的結果。
我在大學時研究過喬治・莫蘭迪（Giorgio MORANDI）。德・基里科、卡洛・卡拉（Carlo CARRÀ）與莫蘭迪都曾於1910年代涉入形上繪畫，之後卻走向截然不同的方向。德・基里科延續了相關語彙；卡拉則轉向古典主義；莫蘭迪則進入靜物畫的領域。
若從「相對於前衛而顯得遲到的一代」來看，或許可以區分為不同類型：德・基里科型、卡拉型、莫蘭迪型。藝術家實踐如何隨時間演變，始終是評論與學術研究持續關注的議題。



3-2 戰後初期：存在主義氛圍與其他可能性
南島：
喬治・羅奧（Georges ROUAULT）與貝爾納・布菲（Bernard BUFFET）的作品，帶有一種與1950至60年代日本社會氛圍相呼應的存在主義氣質。從中可以強烈感受到那個時代的精神狀態。

加來：
這兩位藝術家長期以來在日本深受藏家青睞，其作品在拍賣市場上亦相對常見。從本次收藏中同時包含多件兩人的作品來看，可以推測藏家對他們特別關注。

南島：
確實如此，這也更進一步強化了這是一組在日本形成的收藏的印象。
若聚焦於單一作品來看，布菲的《Rue de village》創作於1946年，這一點尤其值得注意。該作完成於戰後不久，當時物資匱乏、許多作品散佚，甚至連持續創作本身都面臨困難。來自這一時期的作品本就相對稀少，而一件1946年的畫作能夠保存至今，自然更顯珍貴。
在此次展覽中，它與一件1953年的靜物畫《Nature morte aux bouteilles》並置展示。後者中我們今日所熟知的布菲成熟風格——粗重而鮮明的黑色輪廓線——已然確立。相較之下，1946年的作品則尚未完成那樣的風格定型，筆法與形式仍處於發展之中。
在這個意義上——或許也與德・基里科的軌跡不無關聯——我在其中看見一種「成為布菲之前的布菲」的可能性。
這進一步引出更宏觀的問題：藝術家如何成為今日的自己？藝術身份如何被界定？而這種身份又如何與藏家與市場產生關係？在這層意義上，這件作品成為思考上述問題的一個重要切入點。

加來：
或許布菲，如同德・基里科，也曾面對屬於他自己的挑戰。

南島：
羅奧1940至1948年間的作品，仍然強烈保留著戰爭的痕跡。
此外，我也覺得格外有趣的一點是，布菲與羅奧都在畫面中央置入「道路」這一意象。一者為空無一人的道路；另一者則是承載基督的道路。
在這兩件作品之中，都可以感受到戰後初期的祈禱意識，或某種存在層面的不安。正因如此，將這兩件作品並置於同一展場之中，顯得格外耐人尋味。



3-3 抽象／具象：重新思考二元對立
南島：
1950至1960年代常被視為「抽象藝術的時代」，由「不定形藝術」（Art Informel）與「抽象表現主義」（Abstract Expressionism）等運動所主導。然而，僅從表面區分「抽象」與「具象」，其實並沒有太大的意義。看似抽象的作品往往包含具象元素；而某些乍看之下具象的畫面，也可能因為色調關係或構圖結構而帶有抽象的感受。
以難波田龍起（NAMBATA Tatsuoki）的《Buildings in March》為例，畫面右上角那個圓形的綠色形體，讓人聯想到形上繪畫（Metaphysical painting）中的某些圖像語彙。作品之中似乎交織著多重藝術史的參照。同時，它也保留了一種手工性的質感，與更為嚴格的構成主義式抽象（Constructivist abstraction）有所不同。
如果將這一時期理解為各種形式與圖像並存的時代，那麼這組收藏所呈現出的層次與深度，便更容易被理解。

加來：
這組收藏不僅包含孟克與藤田等藝術家，同時也納入了戰後抽象藝術的脈絡。這種跨越不同藝術方向的廣度，本身就是其魅力之一。同時，它似乎也對各個時期的重要節點保持相當敏銳的關注，這一點令我印象深刻。

南島：
重要的是，不要將討論簡化為抽象與具象的二分法。
例如在山田正亮（YAMADA Masaaki）的創作中，與其將他的靜物畫與後來的《Work》系列視為截然不同的階段，不如將它們理解為一種連續發展，或是在長期創作實踐之中所展開的一系列變奏。
3-4 具體（Gutai）之後：結構實驗與再評價

南島：
這組收藏的一個核心面向，其實在於「具體（Gutai）」之後的發展，特別是與該運動相關藝術家的創作。與其說焦點在具體本身，不如說更引人注意的是那些在接觸海外藝術動向後回到日本，並開始思考如何改變繪畫本身結構的藝術家。
例如堂本尚郎（DOMOTO Hisao）的《Solution de Continuité No.19》，創作於他在1964年威尼斯雙年展獲獎約兩年之後。作品在紅色底層上覆以黑色層次，顯示出藝術家有意識地重新思考「圖像與背景」之間的關係。
自2013年古根漢美術館舉辦「Gutai」展覽以來，外界對這一運動再次產生高度關注。然而，更重要的是思考這種「再評價」究竟意味著什麼；換言之，也需要回到作品本身，檢視其內在的結構邏輯。
同時，也應注意像堂本真理（MORI Mami）這樣的藝術家——她是堂本尚郎的妻子——她的創作提醒我們，女性藝術家的貢獻同樣是這段歷史中不可或缺的一部分。
從收藏的角度來看，這位藏家似乎與這些藝術家屬於大致相同的世代。這種同時代性的關係，使整體收藏更具有某種特殊的深度。

3-5 美國：版畫作為媒介
南島：
賈斯培・瓊斯（Jasper JOHNS）的《SAVARIN》（ULAE 183）是那種在現場觀看時比照片更具衝擊力的作品之一。乍看之下，瓊斯似乎以一種類似普普藝術（Pop Art）的方式使用既有圖像；然而，他同時透過蠟畫法（encaustic）並保留筆觸痕跡，使物質性與表面肌理與圖像並存。
他的創作既不完全落入「圖像」的層面，也不只是「物質」本身，而是持續維持在兩者之間的一種張力狀態。這樣的特質在這件石版畫中也充分體現，而作品本身的尺寸亦使其在展場中具有強烈的存在感。

加來：
常有人說，美術館往往優先收藏繪畫，因此版畫較難被納入館藏。您如何看待此次展覽中繪畫與版畫並置的情況？

南島：
其實美術館也會收藏版畫。真正重要的是，版畫這種媒介在藝術家整體創作之中扮演什麼樣的角色，尤其是當藝術家本身並不是以版畫家聞名時。
例如，有些雕塑家會將版畫視為雕塑創作的延伸。他們以建構三維形式的感覺來進行版畫創作，而不是僅僅為了市場銷售而製作版畫。
在瓊斯的例子中，即使媒材改變，他所關注的核心問題依然保持一致。在繪畫中呈現的一種思考，到了版畫中會以另一種方式顯現。如果將版畫理解為創作的「變奏」，而不是次要產品，它們反而能更清楚地揭示藝術家的整體實踐。



3-6 極簡主義／藝術計畫：平面形式中的作品
南島：
接下來是一些由並非主要以平面繪畫著稱的藝術家所創作的平面作品，例如與極簡主義（Minimalism）相關的藝術家，或像 CHRISTO 這樣的人物。這一部分的內容出乎意料地引人入勝。
例如桑山忠明（KUWAYAMA Tadaaki）的《4 Red Squares》（TK1425-65），旨在呈現一種靜態而純粹的物質存在。然而，在這樣的尺度之下，細微的變形與手工痕跡便會浮現，從而帶出某種人性的氣息。這類作品可以被理解為「繪畫時代之後的繪畫」——它們試圖探究，極簡主義的感性是否還能被進一步簡化與推進。同時，也讓人看見在後極簡主義語境中評價此類創作所面臨的困難。
至於 CHRISTO 的作品，某種程度上可以被視為與大型藝術計畫相關的文獻或紀錄。然而，它們同時也具有明確的藝術性。當然，這些作品也帶有實際層面的用途——例如作為大型計畫資金籌措的一部分而被出售。即便如此，一旦轉化為平面形式，它們並不僅僅是說明性的文件，而仍然作為獨立作品而存在。

4. 來源與網絡：作品所承載的關係
加來：
在一般拍賣中，作品往往來自許多不同的委託人，因此拍品組成不可避免地帶有某種偶然性。相比之下，單一藏家收藏則反映了一位藏家的審美判斷。從這個個人的視角中，自然會浮現出某種策展性的觀點，以及隱約可見的敘事脈絡。
從市場角度來看，其中一個重要吸引力在於來源（provenance）的清晰度。了解一件作品曾經歷過哪些收藏者之手，往往與作品的真實性與保存狀況密切相關。那些長期留在同一收藏之中、未曾頻繁出現在市場上的作品——也就是所謂「新鮮」（fresh）的作品——通常會受到更高評價。
來源的重要性不僅在於最近一段時間，也在於其長期歷史。例如詹姆斯・羅森奎斯特（James ROSENQUIST）的《Untitled》，就因曾為其同時代藝術家安迪・沃荷（Andy WARHOL）所收藏而顯得格外特別。在此次展覽中，它被刻意與沃荷的作品（《Seated Cat》與《Flowers in a Vase》）相鄰展示，巧妙地暗示了來源所指涉的人際關係。
藝術家之間的連結同樣耐人尋味。例如吉原治良（YOSHIHARA Jiro）據說在受到藤田嗣治（Léonard Tsuguharu FOUJITA）的影響後，逐漸發展出自身的表現方式，最終導向「具體」（Gutai）運動。透過這樣的脈絡可以看見，一組收藏所呈現的不僅是單件作品的價值，同時也揭示了圍繞其周邊的關係網絡。

南島：
這次拍賣中的作品，是否都是藏家直接購入的？我也在想，其中是否有部分作品是透過繼承或其他方式取得的。

加來：
這批作品主要是透過購藏而來。如果能確認作品的購藏地點，我們也會在圖錄中加以註明。

5. 關於收藏
加來：
我認為收藏其實是藏家自身的一種映照。它往往可以從非常簡單的事情開始——例如辨認自己喜歡或不喜歡什麼，並以此作為起點，逐漸更深入地探索自身的審美取向。
由於拍賣屬於二級市場，它會匯集各式各樣的作品，某種程度上就像百貨公司一樣，讓藏家能夠在廣泛的範圍之中尋找真正與自己產生共鳴的作品。一旦發現自己特別喜歡的藝術家，也可以透過代理該藝術家的畫廊進一步了解其創作。每一次購藏，其實都像是一個點。當這些點逐漸累積時，人們看待整個收藏的方式也會慢慢改變。隨著時間推移，在日常生活的節奏之中，作品往往會變得像是某種陪伴。到了某個時刻，藏家或許會回過頭來想：「原來那段人生裡，我思考的就是這些事情。」

南島：
我在美術館工作時，有一次因為研究需要，將大正時代作家佐藤春夫（SATO Haruo）的名字輸入館藏資料庫。結果系統跳出了一張由木村伊兵衛（KIMURA Ihei）拍攝的肖像照片。
美術館其實並沒有刻意收藏與佐藤相關的作品。那張照片很可能只是因為與木村伊兵衛的其他作品一同入藏，之後便靜靜地留在館藏之中，長時間沒有被注意到。
然而，這樣的作品日後也可能被其他人重新發現，並因此產生全新的想法。美術館的典藏庫某種程度上就像一片不安的海洋——不同的人從不同角度接近它時，新的關聯與意義會不斷浮現。我剛開始在美術館工作時，最令我印象深刻的正是這種典藏庫所帶來的奇特感受：那是一個可能性與某種不安並存的空間。即使是最初建立收藏的人，也無法預見未來會如何被重新詮釋。正是這種不可預測性，構成了收藏真正迷人的地方。

加來：
收藏一旦開始，有時確實很難停下來。不過，我也曾遇過一些客戶，只要賣出一件作品，似乎就會突然對收藏完全失去興趣。那種對於「完成感」的追求其實相當耐人尋味——當那種完成的狀態被打破時，興趣也可能隨之迅速消失。這種現象在處理單一藏家專場拍賣時，我時常會感受到其中某種奇妙之處。



6. 問答
問：
先前您提到，收藏中包含布菲（BUFFET）與羅奧（ROUAULT）這一點，在某種意義上讓人感覺「很日本」。那麼，在日本與海外之間，是否存在偏好不同藝術家或藝術傾向的情況？
答：
南島：
我所說的「日本性」，其實只是指像布菲（Bernard BUFFET）或安東尼・克拉維（Antoni CLAVÉ）這樣的藝術家，在1960年代的日本特別受到歡迎。
所謂「日本性」，是指那種帶有存在主義氣息的氛圍，以及像風景或靜物這類貼近日常生活經驗的題材，可能與當時在日本學習繪畫、或剛開始接觸藝術的人產生共鳴。這類作品往往顯得較為親近，也比較容易在情感層面引起共感。

加來：
從市場的角度來看，區域之間的差異其實相當明顯。以草間彌生（KUSAMA Yayoi）為例，歐美收藏家通常更偏好《Infinity Nets》系列，而在亞洲地區，南瓜（Pumpkin）圖像則往往特別受歡迎。
前者往往因其在藝術史上的意義與長期影響而受到重視；後者則憑藉鮮明而直接的視覺符號而具有吸引力。此外，也可以看到一些戰後日本藝術家在歐美市場受到熱烈競投。那些能夠清楚與歐美藝術史框架產生連結的作品，通常更容易吸引海外藏家的參與。

問：
如果不考慮現實條件，單純從個人喜好出發，若要從本次展覽中選擇一件作品，您會選哪一件？
答：
南島：
就個人偏好而言，我其實相當欣賞賈斯培・瓊斯（Jasper JOHNS）的那件版畫作品，雖然對我來說尺寸稍微大了一點。不過，如果真的要選擇，我大概會選難波田龍起（NAMBATA Tatsuoki）的《Buildings in March》。
正如我剛才提到的，那件作品中包含了多種不同的元素。同時，它在展場中的位置也很自然地吸引觀者的目光。

加來：
從這個角度來看，作品在展覽中的配置其實相當重要。
回到剛才提到的話題，日本收藏家確實普遍較偏好尺寸較小的作品。相較之下，歐美收藏家往往居住空間較為寬敞，因此較少對大型作品有所顧慮。同時，他們也較傾向重視作品的尺度感、紀念性，以及視覺上的衝擊力。

問：
我理解這次展覽僅呈現了整體收藏的一部分。那麼，從目前展示的內容中，是否也能想像到那些尚未展出的作品？
答：
南島：
若從時間順序來看這組收藏，確實會感覺到某些段落似乎存在空缺。例如1950年代給人的印象是具象繪畫相對較多，於是也不免令人好奇，是否還存在與立體主義、抽象藝術，甚至極簡主義相關的其他作品，只是這次沒有被展出。

加來：
原來如此。其實，同一批收藏的另一場拍賣將於五月舉行，那一場將主要聚焦於日本藝術，而藏家在這一領域也收藏了相當數量的作品。我希望屆時觀眾也能藉此更全面地理解這組收藏的多樣面貌。

南島：
不過，如果只從眼前這些作品來理解整體收藏，某種程度上也可能限制我們的想像。在美術館中，收藏的擴充往往是建立在既有收藏之上——思考還可以加入什麼，來豐富或重新詮釋既有的脈絡。任何一組收藏其實都很少是從零開始的。
即使只是將一件新的作品置入既有收藏之中，也可能改變人們理解整體收藏的方式。假如這裡出現一件莫蘭迪（MORANDI）的作品，或是方塔內西（FONTANESI）的作品，整個展覽的性格或許就會有所不同。對於收藏者而言，不同收藏之間如何彼此呼應，並不斷改變我們理解收藏的方式，或許正是其中的一部分魅力所在。

問：
是否存在某些條件，會影響藝術家或作品能否在長期之中持續被認可與留存？
答：
南島：
或許關鍵在於作品與相關論述之中，是否存在一種穩定而持續的內在結構——某種像「作業系統」一樣的東西，而不只是停留在表層的形式。
這樣說或許有點奇怪，但當面對真正有意思的藝術家時，我有時會不自覺地想到：「他們其實在說的，和三十年前說的是同一件事。」這並不意味著作品已經過時。時代不斷改變，但其核心邏輯仍然保持完整，即使置於全新的環境之中，也仍然能以同樣的邏輯解釋周圍的一切。
如果要用當代的語言來說，我或許會用「AI」作為比喻。即使藝術家改變創作媒材，只要核心理念與思考仍然存在，總會在某個時刻被人重新解讀出來。

加來：
從市場角度來看，決定性的因素往往在於周邊利害關係人的力量——也就是由同時代藝術家、學者、美術館、畫廊與評論家所構成的網絡密度，而且這個網絡既包括日本，也包括海外。
同樣重要的是這些網絡彼此如何連結。這些關係的深度，以及它們在藝術世界中所佔據的位置，都會強烈影響藝術家是否能夠在長期之中持續被看見。
正如您剛才提到的，古根漢美術館舉辦「具體（Gutai）」展覽後所帶來的重新評價，確實對市場產生了明顯影響。隨著關注度的提升，像白髮一雄（SHIRAGA Kazuo）這樣的藝術家，其作品很快便成為激烈競標的焦點。這並非偶然，而是整個藝術世界中多個重要角色同時將注意力集中到某位藝術家與某個運動上的結果。
最終而言，藝術家在藝術世界中所處的位置，以及他們與多少重要節點建立連結，都會在很大程度上影響其能否長久被記住。

南島：
我們對這個問題給出的不同回答，或許正好說明了這場對談的意義所在。這種差異其實是富有生產性的。
我也同意，人與人之間的網絡確實非常重要。是否有人持續觀看作品、關心作品，不僅在思想層面上重要，在實際的保存與維護上同樣關鍵。
無論我們是否收藏藝術品，在某種程度上，我們在場的每一個人其實都屬於這個網絡的一部分。也正因如此，也許我們都需要帶著某種責任感來面對它。

NEWS - 2026.02.27

Event Transcript: “A Dialogue Between Market and Critique”

At the Early Highlight Viewing of Modern Legacy: An Important Japanese Collection of 20th & 21st Century Masters, which brings together works from an important Japanese single-owner collection, we welcomed critic MINAMISHIMA Ko for a dialogue on how to read the collection as a whole. Using the unique setting of the auction preview —a singular occasion—as a point of departure, the conversation explored the appeal of the works and the collection from both market and critical perspectives. This transcript captures the exchange, including the productive differences between the two viewpoints, offering insights to deepen our understanding of artworks, artists, and exhibitions.



Event Overview
Dialogue Event “A Dialogue Between Market and Critique”
Date: Thursday, January 29, 2026 | 18:00-19:30
Venue: Daikanyama Hillside Forum
Speakers: MINAMISHIMA Ko (Art Critic) and KAKU Mio (Deputy General Manager, Sales Planning Department, SBI Art Auction)

Speakers Profiles
MINAMISHIMA Ko
Art Critic. Completed a Master’s degree in Western Art History at the Tokyo University of the Arts and pursued doctorial studies in aesthetics. Former curator at the Yokohama Museum of Art. Currently active as an independent writer and lecturer, organizing art writing coursed and producing the YouTube channel Bijutsu Dōdeshō. Founder of Koreport, a project reviewing permananent and collection exhibitions across Japan. Currently contributing to the “Kenbunroku” column in Kyodo News.

KAKU Mio
Deputy General Manager, Sales Planning Department, and Auctioneer, SBI Art Auction. Completed a Master’s degree in Aesthetics and Art History at Keio University. Joined a domestic art auction house in 2008; involved in the planning and management of auctions in Tokyo, Hong Kong, and Singapore. In current position since 2021. Since 2019, Lecturer in “Art History from the Perspective of the Market” at Aoyama Gakuin University.

1. First Impressions: The Texture of a Personal Collection
KAKU Mio:
Mr. MINAMISHIMA, drawing on your experience overseeing acquisitions at a museum, how did you find this preview?

MINAMISHIMA Ko:
Rather than being assembled under a clearly defined institutional policy, as in a museum collection, this collection appears to have emerged from the gradual accumulation of relationships, interests, and aesthetic sensibilities over time, giving it a certain historical depth. There were also a number of smaller works, such as lithographs and drawings, that conveyed a tangible presence distinct from museum holdings, suggesting a collection shaped by long years of personal engagement.

Chronologically, the core of the collection appears to lie in the 1950s and 1960s, while also extending outward toward their peripheries.

2. The Preview as Exhibition: Hierarchies of Value and the Premise of “Dispersion”
MINAMISHIMA:
At the center of the exhibition space stands Léonard Tsuguharu FOUJITA’s Portrait d'Hélène Franck, which also occupies the highest price tier in the sale. The clarity of this hierarchy of value, shaped by price, marks a clear distinction from a museum exhibition.

KAKU:
A preview provides prospective bidders with the opportunity to examine works in person before making a decision, with the ultimate goal being acquisition and ownership. While a higher price does not necessarily equate to greater quality, the structure of an auction makes it essential to consider how major works are presented and how they may ultimately be placed.

In terms of display, we prioritize clarity so that conditions can be properly assessed. Works by the same artist, or those from the same period or related movements, are installed in close proximity. We also make use of the venue’s natural light, aiming to create a setting in which visitors can imagine living with the works in their own spaces.

MINAMISHIMA:
In general, museums tend to emphasize comprehensiveness, or a sense of historical continuity. When gaps appear, an exhibition can easily take on the character of a display built around a single “treasure.” An auction, by contrast, proceeds with the understanding that the works will be dispersed through bidding. The exhibition is not premised on preserving the collection as a permanent whole. In that sentence, the underlying logic of exhibition-making is fundamentally different.

The totality before us exists only at this moment. Its singularity is unusual. To be able to discuss something as elusive as a collector’s activity in this limited window of the time is itself a rare experience. In other words, what we are speaking about now is something that will soon cease to exist in this form.



3. Reading the Works as a Group: Themes Across Periods
3-1. The Late 19th to Early 20th Century: Peripherality and the Creative Potential of Belatedness
MINAMISHIMA:
Looking at the main exhibition room, what first strikes me is the presence of artists such as Edvard MUNCH, Léonard Tsuguharu FOUJITA, Giorgio DE CHIRICO, Egon SCHIELE, and Tamara DE LEMPICKA —figures who suggest a certain sense of peripherality.

MUNCH was Norweigian; SCHIELE worked in Vienna; and FOUJITA, though associated with the École de Paris, was often regarded as a minority within it. DE CHIRICO, born in Greece and later active as an Italian artist, did not align himself with any particular movement, sustaining instead his own distinctive mode of Metaphysical painting.

Another interesting angle emerges when we look at their birth years. For example, when PICASSO painted Les Demoiselles d’Avignon in 1907 at the age of twenty-five or twenty-six, DE CHIRICO was nineteen and SCHIELE was only seventeen. In other words, while they were still in their teens, artists roughly ten years their senior were already inaugurating movements such as Cubism. Futurism also was launched shortly thereafter with MARINETTI’s Futurist Manifesto in 1909. Confronted with such major developments, it is so hard to imagine that the younger generation did not ask themselves: what, then, was left for us to do?

Broadly speaking, there were three possible paths. One was to become a follower: in the case of Cubism, for instance, to pursue a Cubist manner or to survive through a compromise between Cubism and a more realist mode of painting. Another was a return to classism, a position that in effect rejected the avant-garde. The third was to carve out an independent path, establishing one’s own distinctive style, often in relative isolation. From my perspective, DE CHIRICO followed precisely this third path, developing a singular language that moved in a direction separate from the avant-garde. It is interesting consider in other contexts as well: what if the same situation were unfolding today? Or, taking 1960 as a reference point, what did those regarded as “belated” choose to do?

KAKU:
From the perspective of “peripherality” or “belatedness,” one might say that the collection itself—formed in Japan, in what has historically been considered the Far East—also finds a parallel when viewed within a Euro-American framework.

MINAMISHIMA:
DE CHIRICO’s Il grande metafisico in this exhibition appears to be a three-dimensional iteration of the oil painting of the same title from 1917 in the collection of the Museum of Modern Art, New York City. Observing such repetitions, I sometimes feel that the recognition of his Metaphysical painting may have confined him to the expectation that this was what he was meant to produce. It may have been a life shaped, in part, by negotiation with the market.

I studied Giorgio MORANDI during my university years, and it is interesting to consider that DE CHIRICO, Carlo CARRÀ and MORANDI all engaged with Metaphysical painting in the 1910s before moving in markedly different directions. DE CHIRICO continued in a related approach, while CARRÀ moved toward to return to classicism and MORANDI is said to have advanced into still life painting.

In that sense, one might think in terms of different paths among those regarded as a generation “belated” in relation to the avant-garde: a DE CHIRICO type, a CARRÀ type, a MORANDI type. Tracing how artist’s practice evolves over time remains a subject of interest, both for critical and for academic study.



3-2. The Early Postwar Years: An Existential Mood and Other Possibilities
MINAMISHIMA:
The works of Georges ROUAULT and Bernard BUFFET seems to carry the existential mood aligned with that of Japan in the 1950s and 1960. There is a strong sense of the atmosphere of that period.

KAKU:
Both artists have long attracted collectors in Japan, and their works appear relatively often at auction. It seems that the owner of this collection was also drawn to them, as multiple works by each are included in the collection.

MINAMISHIMA:
Yes, and that further reinforces the sense that this is a collection formed in Japan.

If we focus on a specific work, the fact that Bernard BUFFET’s Rue de village dates to 1946 is particularly significant. It was painted immediately after the war, at a time marked by material shortages, the loss of many works, and circumstances in which painting itself was not easily pursued. Works from this period are relatively scarce, and the survival of a painting from 1946 carries a certain rarity.

In this exhibition, it is installed alongside a still life from 1953 (Nature morte aux bouteilles), where the bold black outline characteristic of what we now recognize as BUFFET’s mature style are already firmly established. The 1946 work, by contrast, precedes that consolidation. The style has not yet fully settled. In that sense, and perhaps not unrelated to DE CHIRICO’s trajectory, I see in it the possibility of “BUFFET before he became BUFFET.”

It opens onto broader questions: how an artist becomes who they are, what defines an artistic identity, and how that identity relates to collectors and the market. In that respect, it serve as an entry point for reflection on these issues.

KAKU:
Maybe that BUFFET, like DE CHIRICO, faced his own challenges.

MINAMISHIMA:
ROUAULT’s work, dated between 1940 and 1948, still strongly bears the marks of the war. What I also found particularly interesting is that both BUFFET and ROUAULT place a “road” at the center of their compositions. In one case, it is an empty road; in the other, it is a road occupied by Christ.

In both works, one can sense reflections of the prayerfulness, or perhaps existential anxieties of the immediate postwar period. The juxtaposition of these two pieces in this exhibition is therefore especially compelling.



3-3. Abstraction / Figuration: Rethinking the Binary
MINAMISHIMA:
The 1950s and 1960s are often described as the period of abstraction, led by movements such as Art Informel and Abstract Expressionism. The surface distinction between abstraction and figuration, however, is not especially meaningful. Works that appear abstract often contain figurative motifs, while others that seem representational can feel abstract depending on tonal balance and compositional structure.

In NAMBATA Tatsuoki’s Buildings in March, for example, the rounded green form in the upper right recalls a motif that might belong to Metaphysical painting. Several art-historical references appear to intersect with the work. At the same time, it retains a handcrafted quality that differs from a more strictly Constructivist conception of abstraction. When the period is viewed as one in which diverse forms and motifs coexist, the depth of the collection becomes easier to understand.

KAKU:
While the collection includes figures such as MUNCH and FOUJITA, it also embraces postwar abstraction of this kind. That breadth is part of its appeal, yet at the same time it feels attentive to key moments within each period, which I find particularly compelling.

MINAMISHIMA:
What matters here is not to reduce the discussion to a simple division between abstraction and figuration. For example, in the case of YAMADA Masaaki, it is more productive to see the development from his still life paintings to the Work series as a continuum, or as a set of variations within a sustained practice.

3-4. After GUTAI: Experiments in Structure and Reassessment
MINAMISHIMA:
One of the core aspects of this collection lies in what came after Gutai, particularly in the work of artists associated with the movement. Rather than Gutai itself, what stands out are works by artists who, after encountering developments abroad, returned to Japan and confronted the question of how to alter the very structure of painting. For example, DOMOTO Hisao’s Solution de Continuité No.19, produced about two years after his award at the 1964 Venice Biennale. By layering black over a red ground, the work reveals a conscious effort to reconsider the relationship between figure and ground.

Since the 2013 Guggenheim Museum exhibition “Gutai,” there has been a renewed interest in the movement. It is important, however, to consider what that reassessment actually entails, and, quite simply, to examine the structural logic of the works themselves. Attention must also be given to artists such as MORI Mami, DOMOTO’s wife, whose practice reminds us that the contributions of women artists remain an essential part of this history.

In terms of the collection, the collector appears to belong to roughly the same generation as these artists. That shared contemporaneity lends a particular depth to the overall grouping.

3-5. America: The Print as a Medium
MINAMISHIMA:
Jasper JOHNS’s SAVARIN (ULAE 183) was one of the works that made a stronger impression in person than in photographs. At first glance, JOHNS appears to employ preexisting imagery in a Pop Art manner. At the same time, by incorporating encaustic and preserving the trace of the brush, he allows materiality and surface texture to coexist with the image. His work does not settle entirely into either image or substance, but remains in a state of tension between the two. The quality is fully present in this lithograph, and its scale gives it a strong presence within the exhibition.

KAKU:
It is often said that museums tend to prioritize paintings, making prints more difficult to include. How do you see the coexistence of paintings and prints here?

MINAMISHIMA:
Museums do collect prints. The important question is how the medium of print functions within an artist’s practice, especially when the artist is not primarily known as a printmaker.

For example, some sculptors approach printmaking as an extension of their sculptural work. They engage with it with the same sensibility as constructing three-dimensional forms, rather than producing prints merely for sale.

In the case of JOHNS, his underlying concerns remain consistent even when the medium changes. What appears one way in painting emerges differently in print. If prints are understand as variations rather than secondary products, they can illuminate the artist’s practice more clearly.



3-6. Minimalism / Projects: The Work in Planar Form
MINAMISHIMA:
Next are planar works by artists who are not primarily associated with painting in that format, such as those related to Minimalism or figures like CHRISTO. I found this section unexpectedly enagaging.

For instance, KUWAYAMA Tadaaki’s 4 Red Squares (TK1425-65) aims for a static material presence. At this scale, however, slight distortions and traces of the hand become visible, and a certain human quality emerges. These works belong to what might be described as painting after the so-called “age of painting,” exploring how a Minimalist sensibility might be pared down even further. They also reveal the difficulty of evaluating such pracices in the post-Minimalist context.

In the case of CHRISTO’s work, it can be understood as documents related to larger art projects. At the same time, they possess a clear artistic quality. There was, of course, a practical dimension as well, in that such works were sold to support the funding of larger projects. Even so, once translated into planar form, they do not merely as explanatory documents.

4. Provenance and Networks: The Relationships Carries by Works
KAKU:
In a typical auction, works are consigned by numerous sellers, which inevitably introduces an element of chance into the lineup. A single-owner collection, by contrast, reflects the aesthetic judgement of one collector. A curatorial perspective emerges from that individual eye, and with it, a sense of narrative.

From a market standpoint, one of the major attractions is the clarity of provenance. Knowing whose hands a work has passed through is directly connected to questions of authenticity and condition. Works that have remained in a single collection for many years without appearing on the market —so-called “fresh” works—tend to be highly valued.

Provenance is significant not only in its most recent form but also in its history over time. For example, James ROSENQUIST’s Untitled is distinctive in that it was once owned by his contemporary, Andy WARHOL. In the exhibition, it is intentionally placed alongside WARHOL’s works (Seated Cat and Flowers in a Vase), subtly suggesting the relationships indicated by its provenance.

Connections among artists are equally fascinating. YOSHIHARA Jiro, for instance, is said to have pursued his own expression style following Léonard Tsuguharu FOUJITA, eventually leading to Gutai. In this way, a collection reveals not only the individual value of each work but also the network of relationships that surrounds them.

MINAMISHIMA:
Were all the works in this sale acquired directly by the collector? I wondered whether any might have been inherited or received in some other way.

KAKU:
The works were primarily acquired through purchase. Where the place of acquisition is known, it is noted in the catalogue.

5. On Collecting
KAKU:
I consider collecting as a reflection of the collector. It can begin with something as simple as identifying what you like or dislike and using that as a starting point to explore your own preferences more deeply. Because auctions operate on the secondary market, they bring together a wide range of works, almost like a department store, allowing collectors to search broadly for what resonates with them. Once you discover an artist you like, it can be meaningful to learn more through galleries that represent that artist.

Each acquisition begins as a single point. As those points accumulate, the way the collection is perceived gradually shifts. Over time, and within the rhythms of daily life, the works can come to feel like companions. Eventually, a collector may look back and think, “This is what I was contemplating during that period of my life.”

MINAMISHIMA:
During I was working at the museum, I once entered the name of the Taishō-era writer SATO Haruo into the collection database as part of a research inquiry, and a portrait photograph by KIMURA Ihei appeared. The museum had not intentionally collected works related to SATO; it had most likely been accepted as part of a group of works connected to KIMURA and had simply remained there, unnoticed.

Such works may later be rediscovered by someone else, giving rise to entirely new ideas. A museum storage facility can feel like a restless sea, where connections—approached from different angles by different people—continue to surface without end.

What struck me most when I first began working at a museum was this strange presence of the collection storage: a space where possibility and a certain sense of  unfathomable coexist. Even those who assembled the collection cannot foresee how it will be reinterpreted in the future. That unpredictability is precisely where its fascination lies.

KAKU:
Collecting can sometimes become difficult to stop once it begins. At the same time, I have also encountered clients who seem to lose interest entirely after parting with even a single artwork. There is something intriguing about that impulse toward completion —and about how, once that sense of completeness is disrupted, interest can suddenly fade. It is a certain strangeness I have often felt when handing single-owner collection sales.



6. Q&A
Q: Earlier, you mentioned that having BUFFET and ROUAULT as part of the collection feel “Japanese” in some sense. Are there artists or tendencies that tend to be favored differently in Japan or overseas?
A:
MINAMISHIMA:
What I meant was simply that artist such as BUFFET and Antoni CLAVÉ were particularly popular in Japan around the 1960s. By “Japanese,” I was referring to the way an existential mood, along with approachable subjects such as landscapes and still life paintings grounded in everyday experience, may have resonated with people in Japan resonated with people in Japan who were studying painting or just beginning to engage with art. Such works may have felt relatively accessible and emotionally relatable.

KAKU:
From a market perspective, regional differences are quite visible. Taking KUSAMA Yayoi as an example, collectors in Europe and the United States often favor the Infinity Nets series, while in Asia the pumpkin motifs tend to be especially popular. The former are frequently valued for their art-historical significance and long-term influence, whereas the latter appeal through their immediate visual iconography. In addition, there are cases in which postwar Japanese artists attract strong bidding from Europe and the United States. Works that align clearly with Euro-American art-historical frameworks tend to draw greater participation from overseas collectors.

Q: If you were to choose one work from the exhibition—setting aside practical considerations—which, would it be?
A:
MINAMISHIMA:
As my personal preference, I admire the Jasper JOHNS print, though it is slightly large for my taste. I would probably choose NAMBATA Tatsuoki’s Buildings in March. As I mentioned earlier, it contains a range of different elements. It also occupies a position with the exhibition that naturally draws the eye.

KAKU:
In that sense, the placement of works within the exhibition is quite important.

Returning to the earlier question, there does tend to be a preference among Japanese collectors for smaller works. Collectors in Europe and the United Sates often have more spacious homes and can accommodate larger works without hesitation. There is also a tendency to value scale, monumentality, and visual impact.

Q: I think that this exhibition represents only part of the collection. Does it allow you to imagine works that have not been shown here?
A:
MINAMISHIMA:
When I see the collection chronologically, there do appear to be certain gaps. The 1950s, for instance, give the impression of containing a relatively strong presence of figurative works. It makes one wonder whether there might be additional examples related to Cubism, abstraction, or even Minimalism that are not included here.

KAKU:
I see. In fact, another sale from the same collection will be held in May. That sale will focus on primarily on Japanese art, and the collector holds a considerable number of works in that field. I hope that, on that occasion as well, viewers may gain a broader sense of the diversity of the collection.

MINAMISHIMA:
At the same time, it may limit thinking of the collection only seeing the works currently at hand. In museums, acquisitions are often conceived in relation to what is already there—what might be added to enrich or complicate the existing holdings. Any collections rarely begins from zero.

Placing even a single artwork outside one’s existing collections can alter the way the collection as a whole is perceived. If a work by MORANDI were present here, or a FONTANESI’s work, the exhibition might take on a different character. For those who collect, perhaps part of the fascination lies in how different collections resonate with each other, continually altering the way the collection is understood.

Q: Are there any conditions that determine whether artists or works will endure over the long term?
A:
MINAMISHIMA:
Perhaps it has to do with the presence of a consistent underlying structure—something like an operating system—within the work and discourse, rather than merely at the surface level. This may sound unusual, but with truly interesting artists, I sometime finds my thinking, “They are saying essentially the same thing that they said thirty years ago.” That does not mean they are outdated. The times change, but their core logic remains intact and can explain everything with the same logic even if they are surrounded by different and new circumstances. If it is about today, I might speak in terms of AI. Even artists change mediums for works, if they maintain their core or fundamental ideas, someone will be able to decipher them at some point.

KAKU:
From a market perspective, the decisive factor is the strength of the surrounding stakeholders―the density of the network formed by contemporaneous artists, scholars, museums, galleries, and critics, both in Japan and abroad. Equally crucial is where that network connects. The depth of those ties, and the positions they occupy within the art world, strongly affect the likelihood of long-term recognition.

As you mentioned earlier, the reassessments prompted by the Guggenheim Museum’s Gutai exhibition had a visible impact on the market. Following that renewed attention, works by artitsts such as SHIRAGA Kazuo quickly became the focus of intense competition. This was not accidental; it reflected a broader movement within the art world, in which key stakeholders chose to direct their attention toward the artist and the movement. Ultimately, where an artist is positioned within the art world—and how many meaningful points of connection they have—plays a significant role in determining whether they endure.

MINAMISHIMA:
The difference in how we have answered this question may, in fact, speak to the very purpose of this dialogue. It is a productive difference.

I agree that human networks are essential. Whether there are people who continue to look at work and care for them is crucial, not only intellectually but also in terms of their physical preservation.

Regardless of whether we collect or not, all of us here are, in some way, part of the network. For that reason, a certain sense of responsibility may be important.

NEWS - 2026.01.08

Beware of Suspicious Emails or Messages Impersonating Our Officers, Employees, or Affiliates

Beware of Suspicious Emails or Messages Impersonating Our Officers, Employees, or Affiliates

We have confirmed incidents in which individuals impersonating our officers or employees have contacted customers—under the pretense of “business promotion”—by email and requested the creation of LINE or similar messaging app groups and/or the sharing of invitation QR codes or links.
Please note that we will never make such requests unless they are made through legitimate procedures in accordance with our contracts, terms and conditions, or other applicable agreements.
As you may be at risk of fraud, please do not respond to any suspicious communications, and do not open any links or scan any QR codes.

NEWS - 2025.12.22

The Uplifting Power of Art in Medical Spaces — “Art × Well-being,” a Collaboration Exhibition by SBI Medic and SBI Art Auction

Art has increasingly been recognized as a quiet yet powerful presence that can soothe the mind and inspire a sense of optimism in everyday life. Within medical environments, the presence of artworks is expected to ease tension and impart a sense of calm throughout the space.

SBI Wellness Bank Co., Ltd. (“SBI Wellness Bank”) and SBI Art Auction Co., Ltd. (“SBI Art Auction”) are launching a collaborative exhibition, “Art × Well-being”, aimed at enhancing well-being through art. For visitors to SBI Medic, we have selected works that offer visual brightness, familiarity, and a sense of reassurance. These are pieces that naturally draw the eye and uplift one’s mood, bringing comfort through their presence.

1．The Role of Art in Medical Environments


<Special Consultation Room / SBI Medic>

Medical spaces often heighten feelings of nervousness or anxiety. Waiting for an appointment or undergoing tests—moments in which emotions are easily unsettled—are influenced greatly by the surrounding environment. In such contexts, art serves not merely as decoration but as a visual anchor that quietly supports the emotional state of visitors.
Colors, motifs, and composition work directly on the mind in ways that words cannot. Encountering bright hues or gentle rhythmic lines may naturally help visitors regulate their breath and gradually release tension. These subtle shifts, often occurring without conscious awareness, can contribute meaningfully to the quality of the medical experience.

Research on these effects has progressed globally. In 2019, the World Health Organization (WHO) published a report noting the potential of the arts to support both mental and physical health:
“The findings demonstrated that the arts can potentially impact both mental and physical health.”
— WHO, 2019, What is the evidence on the role of the arts in improving health and well-being? A scoping review, Summary p. vii
The report further highlights the potential of the arts to encourage positive behavioral change:
“There is promising preliminary evidence from individual observational studies that people who engage with the arts are more likely to lead healthier lives, including eating healthily and staying physically active, irrespective of their socioeconomic status and social capital.”
— WHO, 2019, What is the evidence on the role of the arts in improving health and well-being? A scoping review, p.16

These insights—pointing to the ways in which vivid colors and approachable visual motifs can promote a positive shift in mood—are aligned with the intentions behind this exhibition.

2．About the “Art × Well-being” Initiative


<Endoscopy Waiting Room / SBI Medic>

In preparation for this exhibition, SBI Art Auction conducted a visitor survey themed “Art That Gives You Energy” during the 72nd SBI Art Auction: Modern and Contemporary Art held in May 2024.
The survey was conducted over four days, from May 21 (Wed.) to 24 (Sat.), 2025. Visitors participated by scanning a QR code at the venue and accessing a Microsoft Forms questionnaire, resulting in 109 valid responses.
Participants voted freely for one artwork from six preselected pieces or “Other,” allowing us to collect intuitive, unfiltered impressions. The aggregated artist-based voting ratios (Please refer Chart 1: Vote Share by Artist) revealed several consistent tendencies, regardless of vote share.




Graph 1 “Vote Share by Artist”

Key tendencies extracted from both the voting results and free-form responses include:
• Colorful and clearly defined use of color
• Approachable motifs and character-like features
• Light, positive compositional qualities

Artists such as Ayako Rokkaku, Yayoi Kusama, and KAWS ranked highly. However, for this exhibition, the selection process emphasized not only the vote count but also the visual tendencies observed throughout the responses. Based on this analysis, we focused on works that “naturally draw the eye and convey a bright impression.”
Accordingly, the exhibition features not only artists with strong survey results but also works by Yoshitomo Nara—whose imagery evokes familiarity and quiet emotional depth—and Takashi Murakami, known for his lively color palettes and dynamic compositions. Collectively, these works aim to create an environment in which visitors can engage with the art comfortably and intuitively.
In parallel with the exhibition, an additional survey will be conducted for clinic visitors to assess changes in mood before and after viewing the artworks, as well as the types of works that leave a lasting impression. These insights will inform future exhibitions and the ongoing development of art-integrated medical spaces.

3．Featured Artists & Works

◆ Yayoi Kusama

<Endoscopy Lounge / SBI Medic>

Born in 1929 in Nagano, Japan. Yayoi Kusama is renowned for her immersive visual language rooted in hallucinatory experiences from childhood. Her signature use of repetitive polka dots and net patterns unfolds across vivid fields of red, yellow, and green, embodying universal themes such as “infinity” and “the cycle of life.” These motifs draw viewers into a pulsating, expansive world. Her mirrored installations further amplify this immersive quality, surrounding audiences in a uniquely experiential dimension.
This exhibition features works that depict everyday motifs as well as compositions filled with expressive human figures. Their vibrant colors and rhythmic structures capture the essence of Kusama’s art, offering visitors a dynamic and life-affirming visual experience.

◆ Takashi Murakami

<Waiting Room / SBI Medic>

Takashi Murakami introduced the “Superflat” theory, which bridges the flattened aesthetics of traditional Japanese art with the visual idioms of anime and manga. His works combine bright color fields, refined decoration, and non-perspectival compositions, forming a distinctive aesthetic that engages both contemporary culture and art historical discourse.
Active across painting, sculpture, fashion, and media art, Murakami moves freely between scales and modes of expression. For this exhibition, we present his iconic flower-themed works—compositions that balance exuberance and precision, leaving a strong and uplifting impression on viewers.

◆ Rokkaku Ayako

<Endoscopy Waiting Room / SBI Medic>

Born in 1982 in Chiba, Japan. Ayako Rokkaku is known for her unique technique of painting directly with her fingers and palms rather than brushes. This improvisational approach generates a vivid sense of rhythm and movement. Her canvases feature dreamlike young girls, flowers, and animals rendered with vibrant colors and energetic strokes, leaving behind the palpable traces of hand movement.
Her process itself becomes part of the artwork, carrying an immediacy that conveys the artist’s raw energy. The works included here highlight her emblematic girl motifs and present the expansive, spirited world that defines Rokkaku’s practice.

◆ Yoshitomo Nara

<Endoscopy Waiting Room / SBI Medic>

Born in 1959 in Aomori, Japan. Yoshitomo Nara is celebrated for his depictions of children and animals with distinctive eyes and subtle emotional expressions. Behind their innocence lies strength, solitude, and quiet introspection. As viewers encounter these works, their own emotions rise to the surface, fostering an intimate dialogue between artwork and observer.
The pieces featured in this exhibition capture the calm yet familiar presence characteristic of Nara’s style, guiding viewers into a gentle, contemplative state. The simplicity of the compositions belies the depth of feeling embedded within them—one of Nara’s defining strengths.

◆ KAWS / Brian Donnelly

<Endoscopy Lounge / SBI Medic>

Born in 1974 in New Jersey, USA. KAWS is a contemporary artist who began in street art and has expanded into painting, sculpture, and large-scale installations. His works feature iconic character forms, smooth lines, vivid color blocks, and bold contours—situating him within the lineage of pop art while retaining an unmistakable emotional resonance.
After gaining attention for interventions on advertising billboards, KAWS achieved global recognition and continues to explore new directions in his practice. The works on display present his striking visual language through bold compositions, intense color contrasts, and meticulous finish.

◆ Mr Doodle

<Special Consultation Room / SBI Medic>

Born in 1994 in Kent, UK. Mr Doodle is known for his spontaneous, continuous-line drawings that fill entire surfaces without preliminary sketches. His playful “doodle world,” overflowing with characters and symbols, creates a lively visual rhythm he describes as “graffiti spaghetti.”
The works shown here capture the energy and humor of his style, with motifs interweaving in colorful, free-flowing harmony. Each shift of the viewer’s gaze reveals new forms, making his work widely appealing across age groups.

◆ Kaii Higashiyama

<Lounge / SBI Medic>

Born in 1908 in Yokohama, Japan. Kaii Higashiyama is a leading figure in postwar Japanese painting, celebrated for the serene blue and green tones often referred to as “Higashiyama Blue.” His landscapes—deeply contemplative in nature—include major commissions such as the murals for the Tōgū Palace and the Miei-dō Hall of Tōshōdaiji Temple.

Shunchō (Signs of Spring) (1988), featured in this exhibition, is a woodblock print capturing the quiet transition from winter to spring. Its delicate, translucent colors convey a gentle breath of seasonal change. The harmony of subtle brushwork and clear tonality reflects the profound spiritual sensibility that Higashiyama pursued throughout his career.

4．Reference & Notes

【Note 1：WHO 2019 Report “What is the evidence on the role of the arts in improving health and well-being?”】
PDF：https://iris.who.int/server/api/core/bitstreams/e1cc8536-773d-446f-9822-8ae376f41415/content　
Quoted excerpts：
• “The findings demonstrated that the arts can potentially impact both mental and physical health.”（Summary p. vii）
• “There is promising preliminary evidence from individual observational studies that people who engage with the arts are more likely to lead healthier lives, including eating healthily and staying physically active, irrespective of their socioeconomic status and social capital.”（p.16）

【Note 2：WHO × Jameel Arts & Health Lab — The Lancet Global Series on the Health Benefits of the Arts (2023)】
https://www.who.int/news/item/25-09-2023-ground-breaking-research-series-on-health-benefits-of-the-arts
https://www.who.int/initiatives/arts-and-health
Topics include potential impacts on NCDs, social prescribing, and cross-sector collaboration across education, health care, and cultural policy.

NEWS - 2025.12.19

Year-End and New Year Holiday Closure

We will be closed for the year-end and New Year holidays during the following period:

Holiday Closure Period:
December 27, 2025 – January 4, 2026

We will respond to all inquiries received during the holiday period from January 5, 2026, in the order they are received.
 
We sincerely appreciate your continued support throughout the past year and wish you a happy and prosperous New Year.
We look forward to welcoming you again in 2026.

NEWS - 2025.11.25

Revision of our Privacy Policy

SBI Art Auction and SBI Art Port’s Privacy Policy has been revised as of November 25, 2025.

Privacy Policy
GDPR/UK GDPR Privacy Policy

NEWS - 2025.09.02

INTERVIEW "Unlocking Contemporary Art through Art Toys: Cbrick Market’s Vision for a New Marketplace" Part 2

Unlocking Contemporary Art through Art Toys:
Cbrick Market’s Vision for a New Marketplace

A fresh current is forming where art and toys intersect. Once dismissed as a niche pastime, art toys are now gaining recognition as a discrete and fast-growing market. Celebrity collectors, collaborations with global brands, and dedicated auction categories have propelled these works into the spotlight for both their artistic merit and investment value.
Standing at the forefront of this shift is Mr. CHOI Won-Seok, founder of Seoul-based specialty store Cbrick Market. In the increasingly diverse art-toy sphere—now drawing global attention, with SBI Art Auction among its leading showcases—Mr. CHOI positions himself between collectors and the market, advancing both the appreciation of these works’ artistic value and the development of the marketplace.
In this interview he discusses the allure and potential of art toys, the skills needed to judge authenticity and artistic quality, and the principles behind making sound collecting decisions. As the category secures an international foothold, how should we evaluate each piece? Cbrick Market’s approach offers valuable clues.

아트토이로 이어지는 현대미술의 가능성
- Cbrick Market이 그리는 새로운 시장의 모습

아트와 토이가 만나는 경계에서, 지금 새로운 흐름이 형성되고 있습니다. 한때 단순한 취미로 여겨졌던 아트토이는 이제 ‘수집’의 차원을 넘어 하나의 독립된 시장으로 자리 잡고 있습니다. 셀럽들의 소장 열풍, 글로벌 브랜드와의 협업, 그리고 전문 경매의 등장까지—아트토이는 예술성과 자산 가치를 동시에 인정받는 새로운 문화 콘텐츠로 주목받고 있습니다. 이 변화의 중심에는 서울을 거점으로 활동하는 아트토이 전문 스토어, Cbrick Market(씨브릭 마켓)의 대표 최원석 씨가 있습니다.
그는 아트토이라는 장르가 가진 가능성에 주목하며, 오프라인 매장 운영과 커뮤니티 구축을 통해 컬렉터와 시장을 유기적으로 연결해왔습니다. 최근에는 SBI 아트옥션을 비롯한 미술 시장에서도 아트토이가 하나의 정식 카테고리로 인정받기 시작하면서, 그의 행보는 더욱 주목받고 있습니다.
이번 인터뷰에서는 최 대표님이 직접 경험한 아트토이의 현재와 미래, 시장을 바라보는 시각, 그리고 ‘좋은 작품’을 선택하기 위한 기준에 대해 깊이 있는 이야기를 나누었습니다. 예술과 제품, 취향과 투자, 온라인과 오프라인이 교차하는 이 장르 속에서, 우리는 무엇을 기준 삼아 작품과 마주해야 할까요. 이번 인터뷰가 그 선택의 기준에 대해 다시 한 번 생각해보는 기회가 되기를 바랍니다.

한국에서 '최브릭마켓'으로 알려진, 오프라인 아트토이 전문 매장「Cbrick Market」을 운영하는 최원석 씨와 이야기를 나눴습니다.

>>>>>Part 1

4. The Impact of Celebrity Collections on Art Toys
▷Art toys have recently been drawing attention on social media, and many celebrities, especially K-pop idols, collect them. How do you see this?
I feel celebrity collecting exerts a very large influence on the art-toy market. In fact, this is not new; we saw it before. There was a time when actor Jang Keun-suk, known for his fondness for BE@RBRICK, and it triggered a major boom in Korea. I think many people in Korea might learn about BE@RBRICK for the first time then. Later, idols such as SE7EN and BIGBANG’s G-DRAGON and T.O.P frequently featured BE@RBRICKs and KAWS works on their own social media and in music videos, naturally heightening mainstream interest—a trend that continues to this day.
Most recently, a BLACKPINK member used a Labubu key ring and posted it on social media, drawing global attention. A single post spread instantly, and as Labubu’s brand recognition and demand surged, the entire market saw a big lift. It is no exaggeration to say that such organic exposure now has influence beyond conventional “marketing.” I believe this phenomenon will continue, with celebrity tastes serving as an important catalyst that sparks broader public interest.

4. 셀럽 컬렉션이 아트토이 인기와 시장에 미치는 영향
▷최근 아트토이가 SNS에서 큰 주목을 받고 있으며, 특히 K-POP 아이돌 등 유명인들이 아트토이를 수집하는 모습도 많이 보입니다. 이 점에 대해 어떻게 느끼고 계신가요?
셀럽들의 컬렉션 활동이 아트토이 시장에 미치는 영향은 매우 크다고 실감하고 있습니다. 사실 이런 움직임은 최근에 갑자기 시작된 것이 아니라, 이전부터 꾸준히 이어져 왔습니다. 예를 들어, 배우 장근석 씨가 BE@RBRICK을 애용하면서 한국 내에서 큰 붐이 일었던 시기가 있었습니다. 그때 처음으로 BE@RBRICK이라는 존재를 알게 된 사람들도 많았을 것입니다. 이후에도 세븐이나 빅뱅의 G-DRAGON, T.O.P와 같은 아이돌들이 자신의 SNS나 뮤직비디오 등에서 BE@RBRICK이나 KAWS의 작품을 자주 소개하면서, 일반 대중의 관심이 자연스럽게 높아졌고, 그 영향력은 지금도 계속되고 있습니다.
최근에는 블랙핑크 멤버가 Labubu 키링을 사용하고, 그 모습을 SNS에 올린 일이 세계적으로 주목을 받았습니다. 단 한 번의 게시물이 순식간에 퍼지면서 Labubu의 브랜드 인지도와 수요가 폭발적으로 증가했고, 시장 전반에도 큰 활기를 불어넣었습니다. 이런 자연스러운 노출은 단순한 마케팅을 넘어서는 영향력을 지니고 있다고 생각합니다.
앞으로도 이러한 현상은 계속될 것이며, 셀럽들의 취향이 일반 대중의 관심을 자극하는 중요한 기폭제 역할을 할 것이라고 보고 있습니다.



▷More broadly, how do social-media diffusion and celebrity collections affect the art-toy market?
They play a very significant role in invigorating the market. The Labubu case is the prime example: when a group with the massive reach typical of top K-pop idols introduced it, the topic spread so widely that domestic and international media covered it. As a result, people who had had no interest in art toys naturally came to recognize the name, apparel makers producing related items appeared, and communities for trading and information-sharing formed. We have witnessed the market expand in real time.
In this way, celebrity collecting is not merely consumption by a single individual; it has positive ripple effects on industry and culture as well. Its influence cannot be ignored. I do not think this phenomenon is limited to Labubu; it has the potential to extend to other brands and artists. I expect this kind of change to broaden the base of the art-toy market and create opportunities for a wider range of brands and creators to gain attention.

▷SNS에서의 확산이나 유명인들의 컬렉션 활동이 아트토이 시장에 어떤 영향을 주고 있다고 보시나요?
SNS 확산과 셀럽들의 컬렉션 활동은 아트토이 시장을 활성화하는 데 있어 매우 중요한 역할을 하고 있다고 생각합니다. 앞서 언급한 Labubu 사례는 그 대표적인 예입니다. K-POP 아이돌을 대표하는 그룹이 소개한 덕분에 국내외 미디어에서도 다뤄질 만큼 큰 화제가 되었고, 그 결과 아트토이에 관심이 없던 사람들조차 자연스럽게 그 이름을 알게 되었습니다. 관련 의류를 제작하는 회사가 등장하고, 거래와 정보 공유를 위한 커뮤니티가 형성되는 등, 시장의 확산을 실질적으로 체감하고 있습니다.
이처럼 셀럽의 컬렉션 활동은 단순한 소비를 넘어서 산업과 문화에까지 영향을 미치는 긍정적인 효과를 만들어내고 있습니다. 그 영향력은 절대 가볍게 볼 수 없는 수준이며, 이런 현상은 Labubu에만 국한된 이야기가 아니라고 봅니다. 앞으로는 다른 브랜드나 아티스트에게도 이런 움직임이 확대될 가능성이 크다고 생각합니다. 이러한 변화는 아트토이 시장의 기반을 넓히는 계기가 되어, 더 다양한 브랜드와 작가들이 새롭게 주목받을 수 있는 출발점이 될 것이라 기대하고 있습니다.

▷Do the spread on social media and idol posts influence production processes or marketing strategies? If you have a concrete example, please share it.
Yes, I think so. Posts by influencers and artists on social media clearly affect both production and marketing in art toys. When a celebrity’s tastes are made public, manufacturers producing related apparel or accessories may emerge organically; this, in turn, becomes the seed for communities, and spontaneous trade and information exchange grow more active. I feel daily how a single influencer’s post can ripple through the entire market, and the speed and reach are greater than many imagine thanks to social media’s amplifying effect. Brands and artists now, I think, have little choice but to plan from the earliest stages with influencers and social media in mind.
I also devote considerable time not only to running the physical store but to communicating on social media. Items that once required an in-person visit can now be introduced on Instagram or X in real time, and we can immediately gauge customer reactions. Offline communication remains important, but to connect with wider audiences and reach new customer segments, online communication—including social media—will become ever more indispensable. I believe we have entered an era in which artists and toy brands must design projects on the assumption of social media and influencer marketing.

▷SNS를 통한 확산이나 아이돌들의 발신이 아트토이의 제작 과정이나 마케팅 전략에 영향을 미치고 있다고 생각하시나요? 구체적인 사례가 있다면 함께 알려주세요.
확실히 SNS상에서의 인플루언서나 아티스트들의 발신은 아트토이의 제작이나 마케팅에도 분명한 영향을 주고 있다고 느끼고 있습니다. 예를 들어 어떤 유명인의 취향이나 성향이 공개되면, 그것과 관련된 의류나 소품을 제작하는 업체가 자연스럽게 나타나고, 그것을 중심으로 커뮤니티가 형성되어 자발적인 거래나 정보 교류가 활발해지는 흐름이 생겨납니다. 인플루언서 한 사람의 게시물이 시장 전체에 영향을 미칠 수 있는 시대가 되었다는 것을 날마다 체감하고 있습니다.
특히 SNS의 확산력이 더해지면 그 영향력의 속도와 범위는 상상을 초월할 정도입니다. 이제는 브랜드나 아티스트들도 기획 초기 단계부터 인플루언서와 SNS를 전제로 한 전략을 세우지 않으면 안 되는 시대가 되었다고 생각합니다.
저 역시 매장을 운영하는 것에 그치지 않고, SNS 홍보에도 많은 시간을 투자하고 있습니다. 예전 같으면 매장에 직접 방문해야만 볼 수 있었던 상품들도, 지금은 인스타그램이나 X(구 트위터)를 통해 실시간으로 소개할 수 있고, 고객 반응도 즉시 확인할 수 있기 때문입니다.
오프라인에서의 커뮤니케이션도 여전히 중요하지만, 더 많은 사람들과 연결되고 새로운 고객층을 확보하기 위해서는 온라인 발신, 특히 SNS는 이제 빼놓을 수 없는 도구가 되었다고 느낍니다. 앞으로는 아티스트와 아트토이 브랜드 모두, SNS와 인플루언서 마케팅을 전제로 한 기획 설계가 필수적인 시대에 들어섰다고 생각합니다.

5. Market Trends and Future Outlook
▷Have you observed changes in market size or price ranges in Japan and abroad?
In Korea, the art-toy market is still small and public interest remains limited, but I feel it is growing steadily. Japan, by contrast, has a long history and a solid cultural foundation; in the number of specialty shops, market depth, and the thickness of its collector base, the difference is clear. I truly admire the maturity of the Japanese market, where collecting culture has naturally blended into daily life. Major cities like Tokyo and Osaka host clusters of specialty stores, with artists and brands actively engaged, and the energy of the market feels quite different from Korea’s.
In Korea, art toys tend to be viewed less as objects of artistic value and more through an “investment” lens. When economic conditions become unstable and the economy slows, the market responds sensitively and trading volume drops sharply. In fact, with the recent global downturn and cooling consumer sentiment, I sense some stagnation in Korea’s art-toy market.
International conditions, trade barriers, and political factors also have a large impact. For example, when tariffs are raised or logistics restrictions are imposed on exports from Hong Kong to the United States, market activity as a whole slows. Unless these external factors are resolved, it will be difficult to revitalize international transactions, and I believe recovery will take time.
Even so, interest in art toys is clearly rising among younger generations, and opportunities for artists and consumers to connect directly via social media are increasing. As a result, I feel the domestic market foundation in Korea is gradually strengthening. If this trend continues, I expect Korea will eventually develop into a mature, stable art-toy market like Japan’s.

5. 시장 동향과 앞으로의 전망
– 일본 국내외 시장의 규모나 가격대 변화에 어떤 경향이 있다고 보시나요?
한국의 아트토이 시장은 현재까지는 아직 규모가 작고 대중적인 관심도 제한적인 단계이지만, 조금씩 꾸준히 성장하고 있다는 느낌을 받고 있습니다. 반면, 일본은 긴 역사와 문화적 기반이 확실히 구축되어 있고, 아트토이숍의 수나 시장의 깊이, 컬렉터 층의 두터움에 있어서도 뚜렷한 차이가 있습니다. 컬렉션 문화가 생활 속에 자연스럽게 녹아 있는 일본 시장의 성숙도는 개인적으로도 매우 부럽게 느껴집니다. 특히 도쿄나 오사카 같은 대도시에는 전문점이 모여 있고, 다양한 아티스트와 브랜드가 활발하게 활동하고 있어 시장의 활기 자체가 한국과는 다른 차원이란 걸 실감하고 있습니다.
한국에서는 아트토이를 예술적 가치의 대상으로 보기보다는 투자적 관점에서 접근하는 경향이 강하게 나타납니다. 그렇기 때문에 경제 상황이 불안정해지고 경기 침체가 닥치면, 시장도 이에 민감하게 반응하여 거래량이 급감하는 경향이 있습니다. 실제로 최근의 글로벌 경기 침체와 소비 심리 위축의 영향을 받아, 한국의 아트토이 시장도 다소 정체된 분위기를 보이고 있습니다.
게다가 국제 정세, 무역 장벽, 정치적 요인들도 시장에 큰 영향을 미치고 있습니다. 예를 들어 홍콩에서 미국으로의 수출 시 관세가 인상되거나 물류 제한이 가해지면 시장 전체의 움직임이 둔화되는 일이 발생합니다. 이러한 외부 요인이 해소되지 않으면 국제 거래의 활성화는 어려우며, 시장 회복까지는 시간이 걸릴 것으로 보고 있습니다.
그럼에도 불구하고 젊은 층을 중심으로 아트토이에 대한 관심은 확실히 높아지고 있으며, SNS를 통해 아티스트와 소비자가 직접 연결되는 기회도 점점 많아지고 있습니다. 그 결과, 한국 내 시장 기반도 점차 단단해지고 있다는 실감이 있습니다. 앞으로 이 흐름이 계속된다면, 한국 역시 일본처럼 성숙하고 안정된 아트토이 시장으로 발전할 수 있을 것이라 기대하고 있습니다.

▷Do you see potential in the digital realm—online-only items or NFT tie-ins?
Personally, I take a somewhat negative stance on linking art toys with NFTs. The essence of an art toy lies in the sensory experience of holding and seeing and touching the object itself. The texture and presence of the physical piece—and the feeling of owning it—are the real pleasures of collecting, and a form in which you merely hold a digital title, like an NFT, cannot substitute for them.
In Korea there were projects combining NFTs and art toys for a time, but that trend did not take hold and naturally faded from the market. The underlying reason is that art-toy collectors prioritise physical completeness and real-world existence above all. A “collection you cannot touch,” like an NFT, does not, in my view, offer essential appeal. Of course, technological advances may yield new forms of collecting. But for me, the value of art toys remains firmly “grounded in the physical.”
That said, NFTs may have some use as tools that supplement the traditional collecting market—for example, as digital certificates tied to the physical piece, or as a mechanism that ensures provenance traceability to substantiate value. Even so, I find it hard to imagine NFTs becoming the core of collecting or the centre of the market.

▷디지털 영역(온라인 한정 아이템, NFT 연계)에 대한 가능성은 어떻게 보시나요?
개인적으로는 NFT 연계에 대해 다소 부정적인 입장을 가지고 있습니다. 아트토이라는 존재는 실제로 손에 쥐고, 눈으로 보고, 만져보는 감각적 경험이야말로 가장 큰 매력이라고 생각합니다. 실물이 주는 질감이나 존재감, 그리고 '소유하고 있다'는 감각은 컬렉션의 핵심이며, NFT처럼 디지털 상의 소유권만으로는 이를 대체할 수 없다고 봅니다.
한국에서도 한때 NFT와 아트토이를 결합한 프로젝트들이 있었지만, 결국 그 흐름은 시장에 정착하지 못한 채 자연스럽게 사라졌습니다. 그 배경에는 아트토이 컬렉터들이 물리적인 완성도와 실재성을 무엇보다 중시한다는 점이 있다고 생각합니다. 역시 NFT처럼 ‘손에 잡히지 않는 컬렉션’은 본질적인 매력이 부족하다고 느끼고 있습니다. 물론 기술의 진보에 따라 새로운 형태의 컬렉션이 등장할 가능성은 있지만, 개인적으로는 아트토이의 가치는 어디까지나 실물이 있어야 한다는 입장을 유지하고 있습니다.
다만, NFT가 전통적인 컬렉션 시장을 보완하는 도구로 기능할 수 있다는 점은 인정합니다. 예를 들어 실물 아트토이에 연결된 디지털 증명서나 소유 이력의 추적 가능성을 확보해주는 수단으로 활용된다면, 그것은 일정한 의미를 가진다고 생각합니다. 그러나 그것이 컬렉션의 본질이나 시장의 중심이 되는 것은 쉽지 않다고 보고 있습니다.

▷What do you think collecting culture will look like ten years from now?
Over the next decade, I expect collecting culture to diversify and become more segmented, evolving in ways that reflect individual preferences. In the past, iconic figures like KAWS or BE@RBRICK led the market, but going forward I think we will move away from such concentration, with individual artists establishing their own positions based on unique aesthetics and philosophies. Younger collectors in particular value their own tastes and identity; rather than fixating on famous names, they find work that matters to them via social media and online platforms. As a result, we will likely see more cases where unknown emerging artists suddenly attract major attention.
Collecting will also advance to the next stage—not just “what you gather,” but “how you display it,” “with whom you share it,” and “how you integrate it into your lifestyle.” As connections with interior design, fashion, music, and technology deepen, more open and creative ways of enjoying collections will spread.
On the technology side, an era may arrive in which people exhibit and share their collections in digital spaces through AR and VR. I personally want to continue valuing the physical, but as generations change I can imagine the boundary between the physical and the digital becoming more blurred.
Ultimately, I hope that over the next ten years art toys will not only carry artistic value but also establish themselves as a medium for expressing personal tastes and lifestyle, growing into a rich ecosystem where multiple price points and genres coexist. I myself would like to contribute to this culture in my own way and help create new trends as those changes unfold.

▷10년 뒤의 컬렉션 문화는 어떻게 변화해 있을 것이라고 보시나요?
앞으로 10년 동안 컬렉션 문화는 더 다양하고 세분화된 방향으로 진화할 것이라고 예상합니다. 과거에는 KAWS나 BE@RBRICK 같은 상징적인 아이콘이 시장을 이끌었다면, 앞으로는 그런 일극 체제에서 벗어나 개별 아티스트들이 자신만의 미학과 철학을 바탕으로 입지를 다지는 흐름이 주류가 될 것이라 봅니다.
특히 젊은 세대는 자신의 취향이나 정체성을 중시하는 경향이 강하기 때문에, 유명 작가 위주의 컬렉션보다는 SNS나 온라인 플랫폼을 통해 자신에게 진정한 가치를 느끼는 작품을 찾는 경향이 뚜렷합니다. 그 결과, 지금은 무명의 신진 작가가 단숨에 주목을 받는 현상도 점점 더 늘어나게 될 것입니다.
또한 컬렉션 문화는 단순히 ‘모은다’는 개념을 넘어서, ‘어떻게 전시할 것인가’, ‘누구와 공유할 것인가’, 나아가 ‘어떻게 라이프스타일 속에 녹여낼 것인가’라는 다음 단계로 발전해갈 것이라 생각합니다. 인테리어와의 조화, 패션·음악·테크놀로지와의 융합 등 다각적인 문화적 연결이 이루어지면서, 더 개방적이고 창의적인 즐기는 방식이 확산될 것입니다.
기술 측면에서도 AR이나 VR 등을 통해 자신의 컬렉션을 디지털 공간에서 전시하고 공유하는 시대가 올 수 있다고 봅니다. 저 자신은 앞으로도 실물의 매력을 소중히 하고 싶지만, 세대가 바뀌면서 실물과 디지털의 경계가 더욱 흐릿해질 가능성도 함께 느끼고 있습니다.
결국 앞으로의 10년은 아트토이가 단순한 예술적 가치에 머무는 것이 아니라, 개인의 취향과 라이프스타일을 표현하는 매개체로 자리매김하고, 다양한 가격대와 장르가 공존하는 풍요로운 생태계로 성장해 가는 시간이 될 것이라고 기대하고 있습니다. 이런 변화 속에서 저만의 방식으로 계속 컬렉션 문화에 기여하고, 새로운 트렌드를 함께 만들어가고 싶습니다.

▷Looking ahead, what initiatives or ideas do you think are needed to introduce art toys to a broader audience?
I believe the most important thing is to increase approachable touchpoints where people can easily encounter—and relate to—the appeal of art toys. As a first step, we should share new-release information on social media on an ongoing basis while also introducing the backgrounds of various artists and brands. Rather than merely announcing product launches, content should carefully convey the artist’s philosophy and background, as well as the fun and joy one feels when actually holding the toy. Approached this way, art toys can be recognized not as simple playthings but as a medium for artistic value and for expressing personal tastes.
Communication with collectors is also crucial. By showcasing real collections and sharing the emotions and day-to-day changes collectors experience through art toys, even people who previously had no interest can naturally become engaged. I see this kind of storytelling as an effective means of communicating the broader appeal of art toys.
We should not overlook the importance of offline events either. Exhibitions, flea markets, meet-and-greets with artists, and live painting sessions—places where people can see, touch, and experience art toys firsthand—provide powerful entry points for deeper interest. In Korea this culture has yet to take firm root, so I would like to work on revitalising community-building with an offline foundation.
In addition, as art toys connect with diverse cultural content such as fashion, music, and film, they will naturally permeate a wider public. For example, collaboration editions with well-known fashion brands, appearances in music videos, or use as film props create multiple points of contact, helping art toys be accepted as part of a broader culture. Ultimately, I believe it is precisely these steady efforts and the creation of diverse touchpoints that hold the key to expanding the market.

▷앞으로 아트토이를 더 많은 사람들에게 알리기 위해 어떤 노력이나 시도가 필요하다고 생각하시나요?
아트토이의 매력을 누구나 편하게 접하고 공감할 수 있는 접점을 얼마나 많이 만들 수 있을지가 무엇보다 중요하다고 생각합니다. 그 첫걸음은 SNS를 통해 지속적으로 신작 정보를 발신하고, 다양한 작가와 브랜드의 배경을 소개하는 데 있다고 봅니다. 단순히 제품 출시 소식을 전하는 데 그치지 않고, 작품에 담긴 작가의 철학과 배경, 그리고 실물을 손에 쥐었을 때 느낄 수 있는 즐거움이나 감동까지도 세심하게 전달하는 콘텐츠가 필요합니다. 그런 접근을 통해 아트토이는 단순한 장난감이 아니라 예술적 가치와 개인 취향을 표현하는 미디어라는 인식이 널리 퍼질 수 있다고 생각합니다.
또한 수집가들과의 소통 역시 큰 역할을 한다고 생각합니다. 실제 컬렉션을 소개하거나, 수집가들이 아트토이를 통해 느끼는 감정이나 일상의 변화를 공유함으로써, 그동안 아트토이에 관심이 없던 사람들도 자연스럽게 흥미를 가질 수 있습니다. 이런 스토리텔링은 아트토이의 매력을 널리 전하는 데 효과적인 수단이 된다고 봅니다.
여기에 오프라인 이벤트의 중요성도 간과할 수 없습니다. 전시회, 플리마켓, 작가와의 교류회, 라이브 페인팅 등, 직접 보고 만지고 체험할 수 있는 공간을 제공하는 것은 관심을 깊게 만드는 중요한 계기가 됩니다. 한국에서는 아직 이런 문화가 활발하지 않기 때문에, 저도 기회가 되면 꼭 이런 오프라인 기반의 커뮤니티를 좀 더 활성화해보고 싶은 마음이 있습니다.
더불어 아트토이가 패션, 음악, 영화 같은 다양한 문화 콘텐츠와 연결되면 더 많은 사람들에게 자연스럽게 스며들 수 있을 것입니다. 예를 들어 유명 패션 브랜드와의 협업 에디션, 뮤직비디오 등장, 영화 속 소품 활용 등 다양한 접점이 생기면, 아트토이는 보다 넓은 문화의 일부로 받아들여지게 될 것이라고 생각합니다. 결국, 꾸준한 시도와 다양한 접점이 시장을 키우는 열쇠가 아닐까 싶습니다.

▷Finally, what message would you like to share with readers of this interview?
I always tell customers: please keep collecting within your means, without stress, and enjoy the process. A hobby should not burden your life; moving at your own pace matters most. This interview has been a good chance for me to return to basics. I will continue working to share the fun of collecting and the appeal of art toys with even more people.

▷부탁드립니다.
평소 고객분들께 자주 드리는 말씀인데요, 무리하지 않는 선에서, 스트레스 없이, 즐기면마지막으로, 이 인터뷰 기사를 읽고 계신 여러분께 전하고 싶은 말씀이 있다면서 컬렉션을 이어가셨으면 좋겠습니다. 취미인 만큼 생활에 부담을 주면서까지 수집할 필요는 없고, 자신의 페이스에 맞춰 즐기는 것이 가장 중요하다고 생각합니다.
이번 인터뷰를 통해 저 자신도 초심으로 돌아갈 수 있는 좋은 계기가 되었습니다.
앞으로도 계속해서, 컬렉션의 즐거움과 아트토이의 매력을 더 많은 분들께 전할 수 있도록 힘쓰겠습니다.

About the Interviewee
Mr. CHOI Won-Seok, representative of Cbrick Market, a Seoul-based specialty store for art toys. For the latest sales information and guidance on a range of art toys from Cbrick Market, updates are posted regularly on Instagram at “CBRICK___MARKET.”

Cbrick Market소개
저희 Cbrick Market의 최신 판매 소식과 다양한 아트토이 관련 정보는 인스타그램 계정 「CBRICK___MARKET」에서 만나보실 수 있습니다.

NEWS - 2025.09.01

INTERVIEW "Unlocking Contemporary Art through Art Toys: Cbrick Market’s Vision for a New Marketplace" Part 1

Unlocking Contemporary Art through Art Toys:
Cbrick Market’s Vision for a New Marketplace

A fresh current is forming where art and toys intersect. Once dismissed as a niche pastime, art toys are now gaining recognition as a discrete and fast-growing market. Celebrity collectors, collaborations with global brands, and dedicated auction categories have propelled these works into the spotlight for both their artistic merit and investment value.
Standing at the forefront of this shift is Mr. CHOI Won-Seok, founder of Seoul-based specialty store Cbrick Market. In the increasingly diverse art-toy sphere—now drawing global attention, with SBI Art Auction among its leading showcases—Mr. CHOI positions himself between collectors and the market, advancing both the appreciation of these works’ artistic value and the development of the marketplace.
In this interview he discusses the allure and potential of art toys, the skills needed to judge authenticity and artistic quality, and the principles behind making sound collecting decisions. As the category secures an international foothold, how should we evaluate each piece? Cbrick Market’s approach offers valuable clues.

아트토이로 이어지는 현대미술의 가능성
- Cbrick Market이 그리는 새로운 시장의 모습

아트와 토이가 만나는 경계에서, 지금 새로운 흐름이 형성되고 있습니다. 한때 단순한 취미로 여겨졌던 아트토이는 이제 ‘수집’의 차원을 넘어 하나의 독립된 시장으로 자리 잡고 있습니다. 셀럽들의 소장 열풍, 글로벌 브랜드와의 협업, 그리고 전문 경매의 등장까지—아트토이는 예술성과 자산 가치를 동시에 인정받는 새로운 문화 콘텐츠로 주목받고 있습니다. 이 변화의 중심에는 서울을 거점으로 활동하는 아트토이 전문 스토어, Cbrick Market(씨브릭 마켓)의 대표 최원석 씨가 있습니다.
그는 아트토이라는 장르가 가진 가능성에 주목하며, 오프라인 매장 운영과 커뮤니티 구축을 통해 컬렉터와 시장을 유기적으로 연결해왔습니다. 최근에는 SBI 아트옥션을 비롯한 미술 시장에서도 아트토이가 하나의 정식 카테고리로 인정받기 시작하면서, 그의 행보는 더욱 주목받고 있습니다.
이번 인터뷰에서는 최 대표님이 직접 경험한 아트토이의 현재와 미래, 시장을 바라보는 시각, 그리고 ‘좋은 작품’을 선택하기 위한 기준에 대해 깊이 있는 이야기를 나누었습니다. 예술과 제품, 취향과 투자, 온라인과 오프라인이 교차하는 이 장르 속에서, 우리는 무엇을 기준 삼아 작품과 마주해야 할까요. 이번 인터뷰가 그 선택의 기준에 대해 다시 한 번 생각해보는 기회가 되기를 바랍니다.

한국에서 '최브릭마켓'으로 알려진, 오프라인 아트토이 전문 매장「Cbrick Market」을 운영하는 최원석 씨와 이야기를 나눴습니다.

1. About Mr. CHOI and Cbrick Market
▷Could you introduce Cbrick Market for our readers?
We carry a wide range of art toys—from mainstream lines such as BE@RBRICK, KAWS, and POP MART to limited pieces by artists around the globe. Eleven years have passed since we opened. Our goal has always been more than simple retail; we want an open community where collectors naturally gather, share information, and enjoy their hobby together. While brick-and-mortar stores are disappearing, we operate with a sense of duty, hoping to remain one of the pillars supporting Korea’s art-toy culture. Even in today’s digital age, I believe nothing replaces the value of holding a piece in your hands and speaking face to face.
Many Korean collectors tell me the domestic art-toy market still lacks depth—fewer collectors, fewer sellers, limited public interest, and therefore slower growth. International auctions highlight the gap. In Japan, Hong Kong, and the United States, rare and high-quality art toys appear regularly, and it reminds us how far we have to go.

1. 최원석 대표님(Cbrick Market)에 대해
▷우선, Cbrick Market에 대해 소개 부탁드립니다.
Cbrick Market(씨브릭마켓)에서는 BE@RBRICK, KAWS, POP MART 등 브랜드 토이는 물론, 전 세계 여러 아티스트의 작품을 폭넓게 소개하고 판매하고 있습니다. 어느덧 이 일을 시작한 지 11년째가 되었습니다. 저희는 단순한 판매 공간을 넘어, 취미와 정보를 공유하고 컬렉터들이 자연스럽게 모여 교류할 수 있는 커뮤니티 같은 공간을 지향해 왔습니다. 최근 오프라인 매장이 하나둘씩 사라져가는 가운데, 저희 매장이 한국에서 아트토이 문화를 지탱하는 거점 중 하나가 될 수 있기를 바라는 마음으로, 매일 책임감을 가지고 운영하고 있습니다. SNS나 온라인이 발달한 시대이긴 하지만, 역시 실물을 직접 보고 손에 들어보며, 직접 대화하고 교류할 수 있는 공간의 가치는 여전히 크다고 믿고 있습니다.
매장을 방문해 주시는 한국의 아트토이 컬렉터분들과 시장에 대해 이야기 나눌 기회도 많은데, 대부분 공통적으로 한국의 아트토이 시장은 아직 기반이 충분히 마련되어 있지 않다고 말씀하십니다. 컬렉터나 판매자의 수, 시장의 깊이와 규모 등 모든 측면에서 아직 미흡하고, 일반 대중의 관심도 제한적이다 보니 전반적인 성장 속도가 느린 것이 현실입니다.
해외 경매에서 소개되는 아트토이 작품들을 보면 그 차이를 더 크게 실감하게 됩니다. 특히 일본, 홍콩, 미국의 경매에서는 한국에서는 좀처럼 보기 힘든, 희소성과 예술성을 모두 갖춘 아트토이 작품들이 꾸준히 출품되고 있습니다.

▷We have heard that you often look over the art-toy lots offered through SBI Art Auction. Would you mind sharing your candid impressions with us?
I always make a point of reviewing the art-toy offerings at SBI Art Auction, and I’m consistently struck by the sheer rarity of works that seldom surface in Korea. Every catalogue underscores the gap between our domestic scene and the international standard—both a humbling lesson and a powerful motivator for me.
I also want visitors to our shop to encounter these pieces so they can sense the depth and global scope of the market. SBI Art Auction presents each lot with impeccably organised information and visuals, making the catalogue itself both enjoyable to browse and highly educational. My sincere wish is to see platforms of this calibre gain greater traction in Korea.

▷그동안 저희 경매에서 출품된 아트토이도 많이 보셨을 텐데요. 솔직한 인상이나 감상을 들려주실 수 있을까요?
SBI 아트옥션에 출품되는 아트토이는 매번 빠짐없이 보고 있습니다. 한국에서는 쉽게 접하기 어려운 희소성 높은 작품들이 많아, 매번 감탄하게 됩니다. 출품작들을 통해 한국 시장과의 수준 차이를 느끼는 일도 많고, 제게도 큰 자극이 됩니다.
또한 저희 매장을 찾아주시는 고객분들께도 이런 작품들을 통해 세계 시장의 흐름과 그 깊이를 느끼실 수 있었으면 하는 마음이 큽니다. SBI 아트옥션은 출품작에 대한 정보나 이미지가 매우 정돈되어 있어, 보기만 해도 재미있고 동시에 많은 공부가 됩니다.
이런 플랫폼이 한국에도 더 활성화되면 좋겠다는 바람도 있습니다.

2. The Appeal of Art Toys
▷Could you tell us how you first encountered an art toy and what struck you at that moment?
It all goes back to my second year of high school. I was working part-time at a clothing shop, and three KWAS BE@RBRICK Dissected 1000% figures were lined up on the counter. At the time I had never even heard of KAWS, nor did I know what a BE@RBRICK was, yet their sheer presence was electrifying. I remember staring at them and thinking, “What on earth are these? They look incredible!”
That single moment flung the door wide open. Overseas information was hard to come by online in those days, so I spent late nights combing Yahoo! Auctions Japan, gradually picking up smaller pieces. Each payday became a personal mission—"Which toy should I hunt for next?”—and before long every inch of my room was covered with art toys.
The excitement and freshness of that discovery are still vivid today. Honestly, had I not met those BE@RBRICKs, my life might have taken an entirely different path. That encounter changed my direction more than I can say.

2. 아트토이의 매력
▷처음 아트토이를 접하게 된 계기는 무엇이었나요? 당시 어떤 인상이 남았는지도 들려주세요.
제가 처음 아트토이를 접한 건 고등학교 2학년 때였습니다. 당시 아르바이트를 하고 있던 의류 매장의 카운터에 KAWS의 BE@RBRICK Dissected 1000% 세 점이 진열돼 있었어요. 그때는 KAWS라는 이름도, BE@RBRICK이라는 브랜드도 전혀 몰랐습니다. 다만 카운터 한가운데 놓인 그 비주얼이 너무도 압도적이어서 “이건 도대체 뭐지? 엄청 멋있다”는 감정이 직감적으로 들었습니다.
그 순간 받은 충격이 워낙 강렬해서, 자연스럽게 아트토이에 대한 관심이 생겼고, 거기서부터 본격적으로 이 세계에 빠져들게 되었습니다. 당시만 해도 지금처럼 인터넷을 통해 해외 정보를 쉽게 얻을 수 없었기 때문에, 일본 야후옥션 사이트를 뒤지며 작은 사이즈의 토이부터 하나둘씩 모으기 시작했어요.
월급을 받을 때마다 “이번엔 어떤 토이를 사볼까” 생각에 늘 즐거웠고, 그렇게 하나하나 모아가다 보니 어느새 방 안 전체가 아트토이로 가득 차게 되었습니다. 그때의 설렘이나 신선한 충격은 지금도 뚜렷이 기억에 남아 있습니다. 만약 그때 그 BE@RBRICK을 만나지 않았다면, 지금의 저는 존재하지 않았을지도 모릅니다. 그만큼 제 인생의 방향을 바꿔 놓은 특별한 만남이었다고 생각합니다.

▷What prompted you to turn your personal hobby into a business?
The shift was almost accidental. Collecting art toys was purely personal—something that eased my daily stress.
After getting married and preparing for a child, my wife naturally asked when I would clear the room overflowing with toys. I promised to empty it, but when the time came, I could not bear to part with them. Then I wondered: “What if I shared this passion with others?” From there, things moved organically toward a business.
What began as simple downsizing soon attracted customers. Introducing pieces I had chosen with my own eye gradually shaped a real enterprise. Instead of clearing space, I found a bigger venue, filled it with even more toys, and that became the foundation of Cbrick Market. Turning my hobby into work was pure luck; it is why my attachment to this field remains deep, and why every new art-toy discovery still thrills me.

▷아트토이를 다루는 사업을 시작하게 된 계기가 있었나요?
아트토이를 본격적으로 일로 삼게 된 계기는, 정말 우연에 가까운 일이었습니다. 원래는 철저히 개인적인 취미였고, 아트토이 수집은 일상 속 스트레스를 해소하는 수단이기도 했습니다.
그런데 결혼을 하고, 아이를 맞이할 준비를 하면서 집 안에 점점 쌓여가는 아트토이에 대해 아내와 “이 방은 언제 비울 거냐”는 이야기가 자연스럽게 오고갔고, 결국 “전부 정리해서 방을 비우겠다”고 약속하게 됐죠. 하지만 막상 정리를 하려고 보니, 그동안 모아온 아트토이들을 도저히 손에서 놓을 수가 없었습니다. 그러던 중에 문득 “내가 좋아하는 이 취미를 다른 사람과도 공유할 수 있다면 재밌지 않을까” 하는 생각이 떠올랐고, 그게 자연스럽게 사업으로 이어지게 되었습니다.
처음에는 순전히 수집품을 정리하는 감각으로 시작했지만, 점차 손님들과의 교류가 생기고, 저만의 취향과 안목으로 고른 아트토이를 소개하다 보니 어느새 사업의 형태가 갖춰졌습니다. 결국 방을 정리하기는커녕, 더 넓은 공간에서 더 많은 아트토이를 모아 소개하게 되었고, 그게 지금의 Cbrick Market의 시작점이 되었습니다. 취미가 곧 일로 연결되었다는 점에서 정말 운이 좋았다고 생각하고, 그렇기 때문에 지금도 이 분야에 대한 애정이 깊습니다. 매장 운영을 하면서도 매일매일 즐겁고, 새로운 아트토이를 만날 때의 설렘은 지금도 변함이 없습니다.

▷What draws people—including you—to art toys?
Many collectors agree that art toys are more than “toys.” They often describe them as healing objects that erase the fatigue of daily life—just gazing at the display after work resets the mind.
I feel exactly the same. Sitting on the shop sofa and quietly viewing the toys I have arranged is the calmest, happiest moment of my day. Each piece evokes the artist’s story, its own sensibility, and my personal memories.
Everyone has a different source of comfort—music, sneakers, a drink. For me they are art toys. They are not only fun to collect but also symbols of my tastes and a gentle reward to myself. That emotional bond is what makes them special.

▷아트토이에 끌리는 이유는 무엇이라고 생각하시나요? 최대표님 본인의 생각뿐 아니라, 컬렉터 분들의 의견도 포함해 말씀해 주세요.
많은 분들이 공감하실 거라고 생각하는데, 아트토이는 단순히 장난감 그 이상의 존재라고 생각합니다. 특히 컬렉터 분들께서 공통적으로 말씀하시는 건, 아트토이는 일상의 피로를 달래주는 힐링 아이템이라는 점입니다. 퇴근 후 집에 돌아와, 수집해 진열해 둔 아트토이를 그저 바라보는 것만으로도 마음이 차분해지고, 자연스럽게 정신이 정리된다고들 하세요. 그 순간은 일상의 번잡함에서 벗어나 자신만의 세계에 몰입할 수 있는 특별한 시간이 된다고 하십니다.
저 역시 마찬가지입니다. 매장 한쪽에 제 취향대로 진열한 아트토이들을 소파에 앉아 멍하니 바라보는 시간이 하루 중 가장 평온하고 행복한 시간입니다. 그냥 바라보는 것만으로도 각각의 아트토이가 가진 감성, 거기에 담긴 작가의 이야기, 개인적인 추억들이 자연스럽게 떠오르면서 마음이 정화되는 느낌이 듭니다.
사람마다 힐링의 대상은 다르겠지만, 어떤 사람에게는 음악이나 스니커즈, 술이 그런 존재일 수 있고, 제게는 그게 아트토이인 셈입니다. 그래서 아트토이의 매력은 단순한 수집의 즐거움을 넘어서, 자신만의 공간에서 자신을 위로해주고, 취향과 세계관을 상징해주는 오브제로서의 가치가 있다고 생각합니다. 바로 이런 정서적인 연결성이 아트토이를 특별한 존재로 만들어주는 가장 큰 이유라고 생각합니다.

▷When you look at art toys, what do you focus on?
The single most important thing for me is the “first impression.” At the very first glance, I ask whether the piece’s visual impact—feelings like “cute” or “cool”—rises up instinctively. No matter how famous the artist is, if that first impression doesn’t move me, I simply do not feel a natural desire to acquire it.
Only when that instinctive reaction occurs do questions arise: “Who created this art toy?”, “What kind of background do they have?”, “What sort of worldview does it embody?” From there my interest gradually extends to the philosophy embedded in the work, the methods used to make it, and the artist’s message.
When I ultimately decide whether to purchase or collect a piece, the key is how well these elements are in balance: its visual appeal, the artist’s background, and the narrative or worldview expressed in the work. Only when these three are all present do I judge that it has the value of something I want to keep close at hand. For that reason, I try to look beyond appearance and examine the story and philosophy behind the piece as well.　　

▷아트토이를 볼 때 주목하는 요소가 있다면 무엇인가요?
저는 아트토이를 볼 때 무엇보다 '첫인상'을 가장 중요하게 생각합니다. 처음 눈에 들어왔을 때 그 아트토이가 주는 비주얼적인 임팩트, 즉 “귀엽다” “멋지다” 같은 감정이 직감적으로 솟아오르는지가 가장 큰 판단 기준입니다. 아무리 유명한 작가의 작품이라도 첫인상에서 감흥이 없으면 자연스럽게 손이 가지 않더라고요.
이런 직감적인 반응이 있어야만 비로소 “이 아트토이는 누가 만들었을까”, “어떤 배경을 가진 작가일까”, “어떤 세계관이 담겨 있을까”라는 궁금증이 생기고, 점점 더 그 아트토이에 담긴 철학이나 제작 방식, 작가의 메시지에까지 관심이 확장됩니다.
결국 제가 구매나 수집을 결정할 때에는 이런 비주얼의 매력, 작가의 배경, 그리고 작품에 담긴 이야기와 세계관이 얼마나 균형 있게 어우러져 있는지가 핵심이 됩니다. 이 세 가지 요소가 조화를 이루었을 때 비로소 “곁에 두고 싶다”고 느끼게 됩니다. 그래서 저는 단순히 겉모습만 보는 것이 아니라, 그 이면에 담긴 이야기나 철학까지 포함해 깊이 있게 작품을 보려 노력하고 있습니다.

▷How do you gather the latest information on art toys?
These days, I gather most of the latest information from social media. In particular, Instagram and X (formerly Twitter) are the fastest and most efficient tools for catching new release news in real time. On Instagram, by following artists themselves and official brand accounts, I can quickly grasp release schedules, limited items, and collaboration announcements, so I make a habit of checking them as part of my daily routine.
In addition, I look almost every day at artists’ official websites and communities or forums dedicated to art toys. Overseas sites such as “Vinyl Pulse” and “Clutter Magazine” dig deeply into market trends, reviews, and new-release information, and are extremely helpful.
Because new toys are announced around the world every day, if you do not follow them even a little you can be left behind by the trends in no time. I make a point of searching continuously, taking notes whenever something catches my eye, and keeping those notes organised. Without updating information daily in this way, I find it difficult to keep up with the market both as a collector and as a shop operator.
In the end, keeping pace with the latest trends in the art-toy market is essentially a contest of speed in information. With the spread of social media and digital platforms, we now live in a time when we can immediately learn about new releases and trends worldwide, beyond regional boundaries. That is why a faster and more proactive approach to gathering information is required now more than ever.

▷아트토이 관련 최신 정보는 어떻게 수집하시나요?
현재 아트토이 관련 최신 정보의 대부분은 SNS를 통해 얻고 있습니다. 특히 인스타그램과 X(구 트위터)는 신작 정보를 실시간으로 파악하기에 가장 빠르고 효율적인 도구라고 느끼고 있습니다. 인스타그램에서는 아티스트 본인이나 브랜드의 공식 계정을 팔로우하고 있으면, 신작 출시 예정이나 한정 아이템, 콜라보레이션 관련 뉴스를 빠르게 확인할 수 있어, 일상적으로 체크하고 있습니다.
더불어 아티스트의 공식 웹사이트나 아트토이에 특화된 커뮤니티, 포럼 등도 매일같이 들여다보고 있습니다. 예를 들어 Vinyl Pulse나 Clutter Magazine 같은 해외 정보 사이트에서는 시장 트렌드나 리뷰, 신작 정보 등이 심도 있게 다뤄져 있어 매우 참고가 됩니다.
전 세계적으로 매일같이 새로운 아트토이가 발표되고 있기 때문에, 조금이라도 방심하면 금세 트렌드에서 뒤처지게 됩니다. 저 스스로도 항상 검색을 게을리하지 않고, 눈에 띄는 정보는 메모하고 정리하는 습관이 몸에 배어 있습니다. 이렇게 매일 정보를 업데이트하지 않으면, 컬렉터로서도, 매장 운영자로서도 시장 흐름을 따라가기 어렵다는 걸 실감하고 있습니다.
결국 아트토이 시장에서 최신 트렌드를 따라가기 위해서는 말 그대로 정보의 속도전이라고 생각합니다. SNS나 디지털 플랫폼의 발달로 이제는 지역의 장벽을 넘어서 세계 어디에서든 새로운 작품이나 유행을 바로 알 수 있는 시대입니다. 그렇기 때문에 이전보다 더 빠르고 적극적으로 정보를 수집하려는 태도가 요구된다고 느끼고 있습니다.



3. Perspectives When Purchasing and on Authenticity
▷When building your collection, what points are decisive?
As I mentioned earlier, when deciding to purchase I weigh not only intuitive appeal but also more concrete and substantive criteria. I place particular emphasis on the artist’s track record and market reputation to date, as well as exhibitions and collaboration history. Taken together, these factors help me gauge a work’s scarcity and its potential for future appreciation to some extent.
Another crucial point is price fairness. No matter how compelling a piece may be, I always check whether the price is appropriate by referring to prevailing market ranges and past transaction records. Art toys are an emotional purchase, but they are also an ongoing hobby and, in a sense, have an investment aspect. That is why I approach pieces carrying excessive premiums or bubble-like price levels with caution.
Ultimately, my collecting decisions rest on three pillars: intuition, information, and a rational value judgment within the market. Only when all three align do I feel I have made a choice I can stand by. Maintaining this balance is, I believe, the key to owning a piece for a long time without regret and with lasting affection.

3. 아트토이 구매 시의 시각과 진위 판별
▷컬렉션할 때 결정적인 판단 기준이 되는 요소가 있다면 무엇인가요?
앞서 말씀드린 대로, 구매를 결정할 때에는 직관적인 매력뿐 아니라 보다 구체적이고 실질적인 기준도 신중하게 고려합니다. 특히 중요하게 여기는 것은 작가의 활동 이력, 시장에서의 평가, 전시나 콜라보레이션 경력 등입니다. 이런 정보들을 통해 작품의 희소성이나 향후 가치 상승 가능성을 어느 정도 가늠할 수 있습니다.
또 하나 중요하게 생각하는 것은 가격의 타당성입니다. 아무리 매력적인 작품이라 해도, 시장에서 형성된 시세나 과거 거래 사례를 참고하여 가격이 적절한지 반드시 확인합니다. 아트토이는 감성적인 소비이기도 하지만, 꾸준한 취미 활동이자 일정 부분에서는 투자적 성격도 있기 때문에, 시세에 비해 과도한 프리미엄이 붙은 작품이나 버블 가격대에 있는 작품에 대해서는 신중하게 접근할 필요가 있습니다.
결국 저에게 있어 컬렉션의 판단 기준은 직관, 정보, 시장에서의 합리적 가치 판단. 이 세 가지가 모두 갖춰져야 만족스러운 선택이 될 수 있다고 생각합니다. 이 균형을 지키는 것이야말로 후회 없이 오랜 기간 애정을 가지고 소장할 수 있는 비결이라고 느낍니다.

▷Which items, artists, or brands are seeing heightened demand lately? Do you see differences by country?
We could almost call this the “Labubu era”—Labubu’s popularity is overwhelming in today’s market. Thanks in part to K-pop artists and other celebrities, brand awareness has expanded rapidly. In Hong Kong, Japan, and Southeast Asia in particular, it is hard to find a shop that does not carry Labubu. Derivative Labubu items are also in demand, and the brand has secured a firm position as something people “want to have in hand.”
POP MART’s momentum likewise remains intact. Its diverse characters, limited series, and accessible price points have earned strong, steady support among younger buyers and entry-level collectors.
Personally, I am watching the artist VERDY. Grounded in street culture and graphic design, he continues to roll out wide-ranging collaborations and projects. His potential calls to mind early KAWS. I am eager to see how his world and the brand’s expand from here.
Regional tendencies vary. Across Asia—especially in Thailand and the Philippines—collectors show very strong purchasing intent and will actively buy desired art toys regardless of price, which makes those markets highly dynamic. Vietnam is extremely sensitive to trends, so demand can swing sharply as popularity shifts.
In the United States and Europe, the number of collectors is comparatively small, but standards for artistry and rarity are very high, creating depth in those markets. In Hong Kong there are many collectors and sellers, and local circulation is extremely active, yet surprisingly little seems to flow overseas.
Given these differences in consumer preference and market character by country or region, I believe artists and toy brands need to understand each market’s traits and set appropriate strategies. Carefully reading regional trends and consumer behavior—and responding flexibly—will be a major factor in competitiveness in the global market.

▷최근 수요가 높은 아이템이나 작가·브랜드는 무엇인가요? 국가별 특징이나 차이가 있다면 함께 말씀 부탁드립니다.
지금의 시장은 “Labubu의 시대”라고 해도 과언이 아닐 정도로 Labubu의 인기가 압도적입니다. K-POP 아티스트나 셀럽들의 영향도 작용하면서 브랜드 인지도가 급속도로 확산되었고, 특히 홍콩, 일본, 동남아시아 지역에서는 Labubu를 취급하지 않는 매장을 찾는 것이 더 어려울 정도입니다. 그에 따라 Labubu 관련 파생 상품도 인기를 얻으며, ‘소장하고 싶은 브랜드’로서 확고한 위치를 다지고 있습니다.
POP MART의 기세도 여전히 유효합니다. 다양한 캐릭터와 한정 시리즈, 접근하기 쉬운 가격대 덕분에 특히 젊은 층과 입문자 컬렉터들 사이에서 견고한 지지를 받고 있습니다. POP MART는 대중성을 기반으로 하면서도 꾸준히 신제품 시리즈를 선보이며 시장의 관심을 계속 끌어내고 있습니다.
개인적으로 주목하고 있는 작가는 VERDY입니다. 스트리트 컬처와 그래픽 디자인을 기반으로 다양한 협업과 프로젝트를 전개하고 있으며, 그 가능성은 초기의 KAWS를 떠올리게 합니다. 그의 작품 세계와 브랜드로서의 확장성이 앞으로 어떻게 전개될지 매우 기대하고 있습니다.
지역별 경향으로는, 아시아권, 특히 태국과 필리핀의 컬렉터들은 구매 의욕이 매우 강해, 원하는 아트토이라면 가격을 크게 개의치 않고 적극적으로 구매하는 경향이 있습니다. 시장도 그만큼 활발합니다. 반면 베트남은 트렌드에 대한 반응이 매우 민감해서, 인기 변화에 따라 수요가 급격히 달라지는 특징이 있습니다.
미국이나 유럽에서는 컬렉터 수는 상대적으로 적지만, 작품성이나 희소성에 대한 기준이 매우 높아 깊이 있는 시장이 형성되어 있습니다. 홍콩은 컬렉터와 판매자가 많고 현지 유통이 매우 활발하지만, 의외로 해외 유통과는 크게 연결되지 않는 인상입니다.
이처럼 국가나 지역에 따라 소비자 성향이나 시장 특성이 다르기 때문에, 작가나 아트토이 브랜드는 각 시장의 특성을 정확히 이해하고 그에 맞는 전략을 세우는 것이 중요하다고 생각합니다. 앞으로도 지역별 트렌드나 소비자 동향을 세밀하게 읽고 유연하게 대응해 나가는 것이 글로벌 시장에서의 경쟁력을 좌우하는 핵심 요소가 될 것이라 생각합니다.





▷Choosing a trustworthy source is critical when buying art toys. Which channels do you recommend? If possible, please also tell us about how to make use of Cbrick Market and auctions.
I agree completely: choosing a reliable purchase source is essential. Counterfeits have become more common in recent years, so extra caution is required. To be frank, there still are not many specialty shops in Korea where you can trade with full confidence. That is one reason many customers visit Cbrick Market. We personally verify and manage every art toy we handle, so people can buy from us with relative peace of mind—this is one of our strengths.
Auctions are also a highly effective route. Global auction houses such as SBI Art Auction, Sotheby’s, and Christie’s conduct rigorous authenticity checks before consignments are accepted, and it makes for highly trustworthy transactions. Of course, the auction format tends to result in somewhat higher prices, but in exchange you have robust vetting and transparency, which makes these platforms reassuring places to bid.
Auctions also provide frequent encounters with rare art toys that scarcely appear in the broader market, which is very attractive for collectors. The very process of winning through competitive bidding is thrilling and a special experience. That said, when buying at auction it is important to review the listed information and the object’s condition in detail. In my view, the best approach is to use both: a trusted offline store and an auction house with a solid verification system. We at Cbrick Market keep working to meet those standards.

▷아트토이를 구입할 때, 신뢰할 수 있는 판매 경로를 선택하는 것이 중요하다고 생각합니다. 어떤 구매 루트를 추천하시나요? (Cbrick Market이나 경매 활용에 대한 이야기도 함께 부탁드립니다.)
말씀하신 것처럼, 신뢰할 수 있는 구매처를 선택하는 일은 매우 중요합니다. 특히 최근에는 가품이 많이 유통되고 있어 그에 대한 보다 신중한 대응이 요구됩니다. 솔직히 말씀드리면, 한국에서는 아직 안심하고 거래할 수 있는 전문 매장이 많지 않습니다. 그래서 저희 Cbrick Market을 찾아주시는 고객이 많은 이유도 거기에 있다고 생각합니다. 저희는 취급하는 아트토이 전부를 직접 검증하고 관리하고 있으며, 상대적으로 안심하고 구매하실 수 있는 점이 강점입니다.
또한 경매를 활용하는 것도 매우 유효한 방법이라고 생각합니다. 특히 SBI 아트옥션, 소더비스, 크리스티스 같은 글로벌 경매사는 출품 전 엄격한 진위 확인 절차가 이루어지기 때문에, 신뢰도 높은 거래가 가능합니다. 물론 경매라는 특성상 가격이 다소 높게 형성되는 경향이 있긴 하지만, 그만큼 철저한 출품 심사와 투명성이 보장되어 있어 안심하고 참여할 수 있는 플랫폼이라고 생각합니다.
경매에서는 일반 시장에서는 좀처럼 보기 어려운 희소한 아트토이를 만날 수 있는 기회도 많아, 컬렉터에게는 매우 매력적인 구매 채널입니다. 경쟁 입찰을 통해 낙찰하는 과정 자체도 짜릿한 경험이 되며, 그 자체가 특별한 즐거움입니다. 다만 경매 이용 시에는, 게시된 정보나 실물 상태를 꼼꼼히 확인하는 것이 중요합니다. 믿을 수 있는 오프라인 매장과 검증 체계가 갖춰진 경매사를 함께 활용하는 것이, 안전하고 만족도 높은 구매 방법이라고 생각합니다. 저희 Cbrick Market도 그런 기준을 충족하는 곳으로 남기 위해, 매일 꾸준히 노력하고 있습니다.

▷What do you see as the merits of purchasing art toys through auction?
For me, the greatest appeal is the exhilaration when you secure a highly scarce piece on better terms than you expected. Auctions often feature works that rarely appear in ordinary transactions, and the excitement of finally finding a long-sought item or one you have had your eye on is hard to put into words. Live auctions add the thrill of real-time strategy against other bidders. The tension as the price rises in front of you, and the joy and excitement when a final push clinches the lot, are experiences you cannot get from typical online shopping or in-store purchases.
That said, the number of art toys consigned to auctions in Korea is still limited, which I personally find a bit unsatisfying. In Japan and Hong Kong, diverse art toys appear on a continuing basis, and auctions feel more culturally rooted. By contrast, Korea’s market scale and demand still seem underdeveloped.
I hope opportunities for art-toy auctions increase in Korea so more collectors can experience their appeal. As this culture takes root, I believe the market will not only become more enjoyable for collecting but also gain greater diversity and depth.

▷경매를 통해 아트토이를 구매하는 것의 매력은 무엇이라고 느끼시나요?
경매로 아트토이를 구매할 때 가장 큰 매력은, 역시 “희소성 높은 아이템을 생각보다 좋은 조건으로 낙찰받았을 때의 짜릿한 쾌감”에 있다고 생각합니다. 평소 거래에서는 좀처럼 만나기 힘든 작품이 출품되는 경우도 많고, 오랫동안 찾아왔던 아이템이나 예전부터 눈여겨보던 아트토이를 마침내 마주했을 때의 설렘은 말로 표현하기 어려운 특별한 감정입니다.
특히 라이브 경매에서는 입찰 상황이 실시간으로 바뀌는 가운데 다른 입찰자들과의 심리전도 즐거움 중 하나입니다. 눈앞에서 가격이 오르내리는 긴장감, 마지막 순간에 낙찰이 결정되었을 때의 기쁨과 흥분은 일반적인 온라인 쇼핑이나 매장에서의 구매로는 느낄 수 없는 경험입니다.
다만 한국에서는 아직 아트토이의 경매 출품 수가 제한적이어서, 그 점은 개인적으로 아쉬움이 큽니다. 일본이나 홍콩에서는 다양한 아트토이가 꾸준히 출품되며, 하나의 문화로 자리 잡고 있다는 인상이 강한 반면, 한국은 아직 시장 규모나 수요 측면에서 충분히 발전하지 못한 것이 현실입니다.
앞으로 한국에서도 아트토이 경매 기회가 더욱 확대되어 더 많은 컬렉터들이 이 매력을 직접 체험할 수 있게 되기를 바랍니다. 이 같은 문화가 자리잡는다면 단순히 수집의 즐거움을 넘어, 시장의 다양성과 깊이도 한층 넓어질 것이라 믿습니다.

▷From a collector’s perspective, what do you check when bidding—what should people look for?
When buying art toys at auction, conditions are paramount. These are not mere decorative goods; they are objects with collectible value. Even very minor scratches or deterioration can affect long-term satisfaction and future value; over time, the difference becomes significant.
My first check is whether there has been any repainting. Without the right knowledge, one can mistake a repaint for the original color or texture. It is an easy point to overlook, but repainting compromises the work’s intrinsic value and is rated very poorly among collectors, so I always check for it.
Next, I look for discoloration. Whites and light colors can naturally yellow over time, and the degree can greatly change the impression. I also watch for gaps at joints, cracks, and hairline fractures. Extended display or unstable storage environments can damage structurally weak areas. In addition, small scuffs on the soles and minute paint losses serve as indicators of how the piece was handled and stored.
Because you often must judge from photographs rather than inspecting the work in person, I check that images from multiple angles are provided and how thoroughly the condition is described. If possible, I contact the auction specialist directly to request additional photos or more specific information.
In the end, just like with other art, “the details are everything” with art toys. By confirming details carefully and judging prudently, you not only enhance future collectible value but also increase your satisfaction and confidence when you finally hold the piece.

▷실제로 경매에서 아트토이를 입찰·구매할 때 주의하는 점이나, 컬렉터의 시선에서 ‘꼭 확인해야 할 포인트’가 있다면 말씀 부탁드립니다.
경매에서 아트토이를 구매할 때, 제가 가장 중시하는 것은 작품의 컨디션(보존 상태)입니다. 아트토이는 단순한 장식용 잡화가 아니라, 컬렉션으로서의 가치를 가진 오브제입니다. 그래서 아주 작은 흠집이나 손상이라도 장기적으로 소장했을 때의 만족감이나 향후 가치에 영향을 줍니다.
가장 먼저 확인하는 것은 “재도색 여부”입니다. 정보가 부족하면 재도색된 작품을 원래의 색감이나 질감이라고 착각할 수 있습니다. 이는 특히 놓치기 쉬운 부분이지만, 재도색된 아트토이는 원작의 가치가 크게 떨어지고, 컬렉터들 사이에서도 평가가 현저히 낮아지므로 반드시 확인해야 할 사항입니다.
다음으로는 변색 여부를 살펴 봅니다. 특히 흰색이나 밝은 색의 아트토이는 시간이 지나면 자연스럽게 누렇게 변색되는 경우가 있는데, 그 정도에 따라 인상이 많이 달라집니다. 그 외에도 이음새의 틈이나 실금, 미세한 균열 같은 것도 주의 깊게 살펴야 할 포인트입니다. 장기 전시나 불안정한 환경에서 보관된 경우 구조적으로 약한 부위에 손상이 생기기 쉽습니다. 또한, 밑면의 긁힘이나 도장의 미세한 벗겨짐 등도 작품이 어떻게 다뤄졌는지를 판단하는 지표가 됩니다.
경매에서는 실물을 직접 확인할 수 없고 사진으로만 판단해야 하는 경우가 많기 때문에, 다양한 각도의 사진이 충분히 게시되어 있는지, 작품 상태에 대한 설명이 얼마나 상세하게 나와 있는지를 꼼꼼히 확인합니다. 가능하다면 경매 담당자에게 직접 연락해 추가 사진이나 보다 구체적인 정보를 요청하는 것도 효과적인 방법입니다.
결국 아트토이도 아트 작품과 마찬가지로 “디테일이 생명”이라고 생각합니다. 세세한 부분까지 확인하고 신중하게 판단함으로써, 장기적으로는 컬렉션으로서의 가치가 높아질 뿐만 아니라 손에 넣었을 때의 만족감과 확신도 훨씬 커진다고 느낍니다.

▷We often hear about counterfeits circulating in art toys. Do you have a memorable episode related to fakes?
There are many, but one case in Thailand left a strong impression. I set an appointment with a seller to meet and transact in person, and three out of the five pieces prepared turned out to be counterfeit. In photos the quality looked high; to be honest, you could not tell genuine from fake from images alone. But by handling the pieces, weighing and measuring them, and comparing the results with KAWS specification notes I had compiled for myself, I became certain they were fake. If I had skipped those checks, I might have been deceived. Recent fakes are vastly more sophisticated than before, with very meticulous paintwork and finishing. Through experiences like this, I have built my own screening criteria and database.
On Korean flea-market sites, the line “Purchased at Cbrick Market” is often treated almost like an authenticity guarantee. I think this reflects just how widespread counterfeits are. Each time I hear such stories I feel a strong sense of responsibility, and I also feel the market as a whole needs ever more robust authentication and verification systems. I intend to keep accumulating know-how for distinguishing genuine pieces and to work daily to offer customers even greater peace of mind.

▷아트토이에는 가품 유통 사례도 있다고 들었습니다. 지금까지 겪으신 가품 관련 사례 중 인상 깊었던 일이 있다면 들려주세요.
가품 관련 에피소드는 정말 많지만, 특히 인상에 남아 있는 건 태국에서 겪은 일입니다. 현지에서 판매자와 사전 약속을 잡고 직접 만나 거래하기로 했는데, 준비되어 있던 다섯 점 중 무려 세 점이 가짜였습니다. 사진으로만 보면 퀄리티가 높아 솔직히 이미지상으로는 진위를 구별하기 어려웠습니다. 하지만 실제로 손에 쥐고 무게나 사이즈를 재보며 제가 개인적으로 정리해둔 KAWS 사양 자료와 대조해본 결과 가품임을 확신할 수 있었습니다. 그때 확인을 소홀히 했다면 저도 속을 뻔했습니다. 최근 가품은 예전과는 비교도 안 될 만큼 정교하게 제작되어, 도장이나 마감도 굉장히 정밀합니다.
이런 경험을 반복하면서 저도 나름의 진위 판별 기준과 데이터베이스를 구축하게 되었습니다. 실제로 한국의 중고 거래 사이트에서는 “Cbrick Market에서 구매한 제품입니다”라는 문장이 일종의 정품 보증처럼 받아들여지는 경우도 많습니다. 그만큼 가품이 많이 유통되고 있다는 현실의 반영이라고 생각합니다. 이런 이야기를 들을 때마다 책임감을 느끼는 동시에, 시장 전반에서도 신뢰할 수 있는 진위 판별 체계가 앞으로 더 중요해질 것이라 생각합니다. 저 역시 앞으로도 진위 감별 노하우를 꾸준히 쌓아가며, 고객에게 더 큰 신뢰를 제공할 수 있도록 노력하겠습니다.

▷Do you have any advice for collectors on storage and display?
Environmental control is paramount in art-toy collecting. For storage, UV protection is essential. Prolonged exposure to direct sunlight accelerates fading and discoloration, so I recommend storing pieces where sunlight does not reach. Keeping temperature and humidity stable is also important. Since mold or material degradation can occur in humid seasons depending on the material, desiccants are effective.
For display, ideally use cases with UV-cut functionality. Regular dusting prevents micro-dust buildup that can degrade paint surfaces. Such care is especially necessary for pieces with delicate paintwork. Art toys are a form of art. By managing them carefully, you can preserve their value over time and greatly enhance the satisfaction of handling them. I hope collectors will cultivate solid habits for basic storage and care.

▷아트토이를 수집하시는 분들께 보관·전시 시 유의할 점이나 조언이 있다면 부탁드립니다.
아트토이를 수집할 때 가장 중요한 것은 보관·전시 환경 관리입니다. 먼저 보관 시에는 자외선 차단이 필수입니다. 직사광선에 오래 노출되면 색이 바래거나 변색이 일어나기 때문에, 햇빛이 닿지 않는 장소에서 보관하는 것을 추천합니다. 또한 온도와 습도를 일정하게 유지하는 것도 중요합니다. 특히 습한 계절에는 소재에 따라 곰팡이나 손상의 원인이 될 수 있어 제습제 사용이 효과적입니다.
전시 시에는 가능하다면 자외선 차단 기능이 있는 케이스에 넣는 것이 이상적입니다. 또한 주기적으로 먼지를 닦아주는 것만으로도, 미세한 먼지가 도장면에 쌓여 생기는 손상을 예방할 수 있습니다. 도장이 섬세한 아트토이일수록 이러한 관리가 반드시 필요합니다.
아트토이는 일종의 예술 작품입니다. 정성스럽게 관리하며 소장함으로써 그 가치를 오래 유지할 수 있고, 손에 쥐었을 때의 만족감도 훨씬 높아집니다. 컬렉터 여러분께서는 기본적인 보관과 관리 습관을 꼭 익히셔서, 더 오래 그리고 더 깊이 아트토이와 함께하시기를 바랍니다.





>>>>>Part 2

About the Interviewee
Mr. CHOI Won-Seok, representative of Cbrick Market, a Seoul-based specialty store for art toys. For the latest sales information and guidance on a range of art toys from Cbrick Market, updates are posted regularly on Instagram at “CBRICK___MARKET.”

Cbrick Market소개
저희 Cbrick Market의 최신 판매 소식과 다양한 아트토이 관련 정보는 인스타그램 계정 「CBRICK___MARKET」에서 만나보실 수 있습니다.

NEWS - 2025.08.13

INTERVIEW ART AT WORK：“Oshi-katsu” as Conceptual Practice -Interview with Mr. ADACHI Shigeki, President of e-Spirit Inc.-

Today, an increasing number of companies are incorporating art into their offices. Their motivations vary, from encouraging creative thinking and embracing diversity, to improving workplace environments, boosting employee motivation, strengthening corporate culture, and communicating brand values. At the same time, because artworks possess multifaceted value, some companies may find it difficult to determine how best to select and exhibit artworks within a corporate setting.
We spoke with Mr. ADACHI Shigeki, Representative Director of the advertising agency e-Spirit Inc., about his distinctive initiative themed around “Oshi-katsu,” a term that refers support for one’s favorite people or things. His approach links the company’s mission of discovering and promoting emerging talent through the collection and display of art. In the interview, he shared with us the story behind their office exhibition, how the project was developed, and what values are most important to him in this endeavor.


Office entrance view: KANAZAWA Shoko’s calligraphy Soar on the right-hand wall, a sculptural work by Javier CALLEJA on the counter, KUSAMA Yayoi’s sculpture at the rear center, and a painting by MITOBE Nanae at the rear left. 

“What matters most is that our company’s spirit comes through the art.”
▷What first inspired you to start collecting art?
I have always had a strong interest in interior design. At this point, home renovation could even be considered one of my hobbies. My career in advertising also began from a place of passion. I joined an ad agency straight out of university and eventually went independent. Over the 25 years since I founded my company, and as I have grown older, I started to feel that the enthusiasm I once had was fading. In that somewhat reflective stage of life, art unexpectedly helped fill a void within me.
My first encounter with contemporary art happened by chance, during a visit to a department store with my family. I saw a red glitter print of KUSAMA Yayoi’s pumpkin. As I stood there looking at it, I became completely absorbed. For the first time in my life, I felt something like the folds of my brain shifting. I could not quite explain it, but it was deeply pleasant. I thought, “This is amazing. I would love to own it.” When I asked the price, I was told it was 15 million yen. I had worked hard over the years, so I figured I deserved to treat myself. I was ready to take the leap—until the staff mentioned, “You will earn a lot of points with this purchase!”　That brought me back to my senses. I thought, “If I am getting that many points, maybe I can find it cheaper elsewhere.” My business instincts kicked in, and I began looking for alternatives.
I made an appointment and, two weeks later, stepped into a gallery for the first time. It was a mix of excitement and anxiety. To my surprise, they were hesitant to share the price, and when they finally did, they raised it halfway through our conversation. It was draining, and in the end, I left without buying anything.
As I continued my search for a better option, I eventually discovered SBI Art Auction. It was fascinating to see so many works appear one after another, like a showcase of sweets. At the time, my daughter was very young, and I saw something of her in the works of ROKKAKU Ayako. I placed a bid and won. That was my first auction experience, and I was so excited that I kept bidding far beyond the estimated upper limit. The thrill of the hammer falling was unforgettable, and I soon found myself participating regularly. Bidding online on weekends became a welcome distraction during the pandemic, and I gradually got hooked. I eventually let go of the ROKKAKU piece when my daughter started elementary school, but it sold for more than the original purchase price. That experience taught me that timing matters when selling artworks at auction.


In-office exhibition view featuring a painting by ROKKAKU Ayako. 

▷Was SBI Art Auction your first experience participating in an art auction, which then led to your growing interest in art?
Yes, that is right. Until then, I had never considered buying art, let alone as an asset. I am not the type to do extensive research before taking action. I tend to think while in motion, so I simply purchased pieces I liked.

▷How did you come to start displaying art in your office?
I have always had a sense that a collection gains deeper meaning when built around a coherent concept. We relocated our office last year with the aim of creating a space that was both stimulating and comfortable. Around that same time, the UESHIMA MUSEUM opened nearby in Shibuya. While we are on a completely different level, I thought it would be interesting to create our own version—a small museum focused on portraiture.

▷So, the decision to curate and install the exhibition was led by you and aligned with the timing of the office move?
Exactly. We decided on the new location in December and moved in March. At the time of the move, we did not yet have all the furniture or artwork in place, and it took about six months to complete the space. I have experienced multiple office moves in the past, so I was familiar with the process of shaping a theme into a physical space. Still, this project was particularly challenging since I have never formally studied art. The one thing I have always loved is advertising, which I also studied at university. Professionally, I often review profiles and keep close track of talent trends, to the point that I sometimes feel overwhelmed by it.
When incorporating art into the office, I started by defining a clear concept and storyline. I considered how to integrate the works I already owned into that narrative. Just as the project was taking shape, a pair of blue Shisa (Okinawa Lion) sculpture by Okinawan ceramicist OHMINE Jissei arrived—five years after I first commissioned it. I also happened to own two blue works by KYNE. Since our corporate color is blue, I decided to use it as the base, paired with white, which serves well as a neutral backdrop for artworks. We installed blue carpeting throughout the office and brought in new white sofas to emphasize the blue-and-white color scheme.
I deeply admire Mr. OHMINE and wanted to maintain a connection to Okinawa, which I love. We shaped the entrance carpet like ocean waves to represent the sea. In Okinawan folklore, there is a myth of “Nirai Kanai,” a utopian land that lies across the sea.
I wanted our office to serve as a symbolic gateway to Nirai Kanai —a place where visitors can sense the start of something hopeful.


Portrait artwork by KYNE

A blue-toned portrait by KYNE at center, with blue shisa sculptures by ceramic artist OHMINE Jissei on either side of the sofa.

▷Displaying art in an office not only requires a clear concept and story, but also involves technical planning and installation. How did you handle that part of the process?
I first consulted Mr. HAYASHIDA at SBI Art Auction about the direction for the exhibition. We also worked with professionals who specialize in art installation, which allowed us to execute everything with centimeter-level precision. Even as a novice, I had no issues.
As for the interior renovations, I already had a long-standing relationship with a kitchen remodeling company. Originally, they helped renovate my home kitchen, but I found their work to be meticulous, so I began to request more and more. Because I continued to place orders without interruption, we developed a relationship that allowed for open and detailed communication.

▷Having a reliable partner who you can communicate closely with seems essential. Based on your experience installing artworks in both your home and your office, what were some of the key things you kept in mind throughout each process?
At home, you can simply decorate with what you love, but even that comes with its own challenges. Each room serves a different function, so attention to detail is essential. Portraits may work well in the living room, but they can feel unsettling in the bedroom, so I opted for landscapes or abstracts instead. Choosing artworks for the home might seem like a matter of personal taste, but it was not that simple. I always consulted my family and approached it with care. (laughs)
In the office, however, I was more conscious of the purpose behind the display. In recent years, it has become increasingly important to communicate effectively with all stakeholders. This includes not only our valued external clients, but also our employees and others both inside and outside the company. As part of our stakeholder relations (SR) strategy, I believe that spaces such as the office entrance, reception area, and meeting rooms play a vital role in expressing our company’s purpose and identity.
Spaces such as the office entrance, reception area, and meeting rooms receive many visitors and offer an ideal opportunity to convey the company’s values and identity. In one of our meeting rooms, we have a work by BANKSY that I acquired at an auction for a relatively affordable price. Personally, I am not particularly fond of BANKSY. His work often appears to me as a vehicle for political expression, whereas what I seek in art is not a question of right or wrong, nor of rationale, but rather something that stirs the heart. Still, Banksy is widely recognized and makes for a good conversation starter during recruitment interviews, which is why I’ve chosen to display the piece. When I share this story, people often laugh and say I am being strategic by weighing benefits and making the most of both sides. But in truth, that is exactly how I think about office art. For me, it has to be "twice as rewarding." The first reward lies in branding and PR value. The second comes from its potential as an investment. If it does not offer both, then I do not see the point.


Meeting-room display featuring a work by BANKSY.

"Oshi-katsu” as a Purpose-Driven Message for Stakeholders
▷What does displaying art in the office mean to you?
In the advertising world, it is not uncommon to collaborate with well-known illustrators. These collaborations often come with substantial costs, but the expected PR impact more than justifies the expense. In a similar way, art has investment potential. However, if the objective is purely investment, I feel it misses the point. That would be a waste of what art can truly offer, and it likely would not yield meaningful returns either. Even if the market value of a piece declines somewhat, I weigh that against the PR and branding value it generates. If the overall effect is positive, I consider it worthwhile.
At the same time, some of the artwork in our reception area is worth enough to buy a luxury car. If its value were to drop significantly, I would feel I had let down the employees who work hard every day. Of course, having a stylish office environment can be a source of pride and motivation. But without carefully assessing the overall cost-benefit balance, the whole initiative could end up being seen merely as the president’s personal hobby. When making purchasing decisions, I consider the collection as a whole. I tend to select individual works that seem unlikely to lose significant value. In the future, I think it might be interesting—and even a bit sobering—to disclose both the purchase prices and current valuations of our artworks. It could create a sense of healthy tension and accountability.

▷Your company links the concept of “Oshi-katsu” with your business activities and the collection and the display of artworks. Was that theme or narrative in place from the beginning?
I would not say that I had the term "Oshi-katsu" in mind from the outset, but the connection between advertising and art has always felt natural to me, and I believed from the beginning that incorporating art into the office would be beneficial for the company. Since our work centers around casting, I have always had a strong interest in people. As a result, I found myself collecting mainly portrait-based works without initially realizing it. That said, I could not leave out KUSAMA Yayoi’s pieces. Looking back, my collecting was not particularly strategic. I simply responded to what I liked and what I happened to encounter. Still, even amid that organic process, I began to see my collection as a form of storytelling. I adjusted my acquisitions with the same kind of structure I consider when writing: introduction, development, twist, and conclusion.
Over time, a rough outline of a personal concept began to take shape. When I aligned that with the idea of stakeholder relations, the term "Oshi-katsu" naturally came to mind. In all honesty, it was not a result of reverse engineering toward a specific goal.

▷What kind of reactions have you received to the exhibition?
The response has been overwhelmingly positive. The three most common reactions are: "It is beautiful," "It is impressive," and "Your company must be doing well." I think that last comment sometimes carries a touch of sarcasm, but I decided that standing out matters more. I also feel that framing everything under the broader purpose of "Oshi-katsu" has helped soften any potential negative impressions.

▷Were there any reactions that surprised you?
Feedback from an outside perspective can be incredibly insightful. For example, we display a calligraphy work titled Hishou ("Soar") by KANAZAWA Shoko in our office entrance. The piece is meant to express our hope that young talent will take flight into the world. However, one visitor interpreted it as a company slogan, saying, "So this is about e-Spirit soaring." To clarify the intention, we created a small flyer explaining the background. This experience reminded me how important it is to communicate the meaning behind each work clearly and consistently. That responsibility applies not only to visitors but to all stakeholders, including our employees.


Sculptural work by Javier CALLEJA.


Flyer outlining the objectives and contextual background of the art display.

▷Have you made any changes to the artworks since the initial installation?
While we have switched out a few pieces, we have not made any major changes to the overall layout. I do see value in refreshing the display to keep things engaging, but ultimately, the purpose isn’t the exhibition itself. It’s part of our stakeholder relations strategy. Since our company’s purpose remains the same, future updates will likely center around showcasing emerging talent, almost like tracking the "next break" in real time.

▷As the founder and owner of the company, you are in a position to make these decisions freely. For someone tasked with handling art initiatives at another company, however, determining what to purchase or display might feel like a significant challenge. What are your thoughts on art as an asset? Have you received advice in this area?
I agree that building assets through art comes with challenges. Art is expensive, and its market value can fluctuate. When companies purchase art, it becomes a fixed asset, which can weigh heavily on the balance sheet.
In my case, I consulted a tax accountant. While they could not speak to the artistic value, they offered sound financial guidance. I also spoke with Mr. HAYASHIDA at SBI Art Auction, who provided insights into the art market and valuation.
As some may know, certain artworks are classified as depreciable assets for tax purposes, while others are not. Under the Japanese tax system, most pieces fall into the latter category, meaning they cannot be depreciated and do not produce recurring revenue. This makes it all the more important to approach purchases with financial prudence. On the other hand, unique works by emerging artists are often more affordable and, in some cases, qualify as depreciable assets, which makes them easier to recommend.
From an investment standpoint, it is not that every work by a popular artist increases in value. It is often specific series by popular artists that appreciate over time. To gain this kind of understanding, I believe the first step is to choose works that truly resonate with you and use that to develop a personal axis. Once you understand the gap between your own preferences and market trends, you can identify your collecting tendencies and begin to make more objective assessments. This is a skill I developed through casting work, and it translates surprisingly well to collecting art.
Print editions, in my experience, are more prone to volatility. Personally, I try to acquire them when I can buy works by popular artists at the lower end of the estimate range.
My portfolio is divided into three categories. When it comes to auctions, I strongly prefer participating online. While I attend previews to gather information, I rarely go to auctions in person. Being there in the room can feel distracting and tiring. Instead, I stream auctions on my smartphone while on the go, listening through earphones. I think it is a good way to get a feel for the market, even if you only listen to the audio. I also use a paid app that allows me to view global auction results.
When it comes to discovering the "next break," I actively try to purchase directly. I keep an eye on upcoming events and attend as early as possible, expressing my interest in person. Ultimately, I think it comes down to enthusiasm and determination. But when I realize that this approach mirrors my work life, I cannot help but laugh.
In conclusion, I think building wealth through art is quite difficult. The main reason is that I tend to become emotionally attached to the pieces I purchase, which makes it hard to part with them. From a financial standpoint, I think the ability to let go is essential. The only way to build that skill is through repeated buying and selling, gaining experience until you become more professional and objective. Still, I sometimes worry that the more I approach it like a job, the further I drift from the pure enjoyment of art.

▷It seems that the collection as a whole reflects your company’s values and identity, which is exactly where the true value of incorporating art into the office lies.
Exactly. When a company embraces the idea of supporting the next generation, that message can resonate across industries and generate a strong PR impact. Combined with its potential for asset growth and value as a form of patronage for emerging talent, I see office art as offering　what I call "threefold value."
At our company, the integration of art and "Oshi-katsu" seems to be working well. Art complements our corporate purpose, with the keyword "Oshi-katsu" serves as a bridge between the two. As long as the story holds together, even works by artists not yet established in the market can become meaningful parts of the collection. I believe investing in the next generation is incredibly important.


In-office exhibition view with a work by MITOBE Nanae in the foreground and an artwork by TOMOZAWA Kotao in the background. 

▷Finally, where do you hope to take your "Oshi-katsu" initiative in the future?
I want to continue supporting younger generations. The world is becoming more complex, and climate change is accelerating. It is no wonder that many young people feel uncertain about what lies ahead.
Thanks to advances in public health, medical care, and preventative medicine, we are entering an era of 100-year lifespans. That means life will be longer, and retirement will be longer too. More than ever, we need realistic and thoughtful life planning.
Our work in casting is often seen as the act of "selecting" people, but I have come to believe that it is about discovering each individual’s strengths. No matter who the other person is, the key is to listen carefully and stay close. One of the unexpected benefits of casting has been the ability to help nurture people. I want to make it my life’s work to think alongside younger generations about how to live—or in today’s terms, how to shape their life and career paths.
Art has become something irreplaceable for me. I have deep respect for all the artists who pour their hearts and souls into their work. I am also sincerely grateful to everyone at SBI Art Auction who introduced me to this extraordinary world of art.

About the Interviewee

Mr. ADACHI Shigeki with KANAZWA Shoko’s calligraphy Soar.

ADACHI Shigeki (b. 1968) studied marketing at Portland State University after graduating from high school in Japan and studying abroad in the United States. He began his career at Hakuhodo Inc. and founded e-Spirit Inc. in 2000. He is known for introducing a systematic casting model based on U.S. practices, building e-Spirit into Japan’s largest independent casting agency. In 2024, his book Casting drives business success was published and reached No. 1 in the business category at Kinokuniya Bookstore. Outside of advertising, he served for many years as publicist for the author WATANABE Junichi. www.e-spirit.jp