Wed, Aug 10, 2011 - Page 15 News List

A guy with an eye for art

Invisibleness is Visibleness, currently on view at MOCA, Taipei, proves the thesis that single-collector exhibits are worthy of museum shows — though with some caveats

By Noah Buchan  /  Staff Reporter

Yayoi Kusama, Infinity Net (1965).

Photo Courtesy of Ota Fine Arts, Tokyo

You don’t have to be rich to collect art. All that’s required is a lot of passion and a willingness to work a second job to earn some extra money. This is the central premise of Invisibleness is Visibleness: International Contemporary Art Collection of a Salaryman — Daisuke Miyatsu, currently on view at the Museum of Contemporary Art, Taipei (MOCA, Taipei).

Miyatsu, born in 1963, has become the stuff of legend in Japan’s art circles since the first exhibit of his collection, Why Not Live for Art?, was showcased at Tokyo Opera City Art Gallery in 2004. Known for his keen collector’s eye and compulsive research when deciding which works to buy, the salaryman is so obsessed with art (which MOCA, Taipei calls an “addiction”) that he’s had artists ink tattoos onto his body.

He commissioned 2002 Marcel Duchamp Prize winner Dominique Gonzalez-Foerster to design his “dream house,” a “work in progress” modernist structure located in a Tokyo suburb. It features a bathroom and wallpaper by Shimabuku, sliding screen doors by Yoshitomo Nara and a full-length mirror by Yayoi Kusama, among other objects, fixtures and designs by high-profile artists. The exhibit devotes a section to this house, complete with a model.

“He’s a good student of art. He studied English for the express purpose of talking to artists overseas. During the weekends he goes to several exhibits and art openings because this is the time that you can meet artists and establish relationships with them — understand who they are and if they are in it for the long haul,” said Natasha Lo (羅健毓), the exhibit’s curator.

Lo added that Miyatsu “doesn’t go to art fairs — like Art Basel or the Venice Biennale — because his thinking is, ‘Why spend money on a plane ticket when the money can be used to buy a work of art?’” It should be noted that Miyatsu does go to international art fairs, but only when he’s invited to give a speech (as he will at the forthcoming Art Taipei, on Aug. 27 from 2:30pm to 4:30pm).

Exhibition Notes

What: Invisibleness is Visibleness: International Contemporary Art Collection of a Salaryman — Daisuke Miyatsu

When: Until Sept. 4. Open Tuesdays to Sundays from 10am to 6pm

Where: Museum of Contemporary Art, Taipei (MOCA, Taipei), 39 Changan W Rd, Taipei City (台北市長安西路39號), tel: (02) 2552-3720

Admission: NT$50

On the Net: www.mocataipei.org.tw


The MOCA, Taipei exhibit comprises 61 works by 51 artists from the 300-plus pieces in the collection amassed by Miyatsu, who started buying artwork in 1994 when he was 30 years old. Over the past 17 years, he’s spent NT$10 million (US$350,000) on art.

While Miyatsu’s collecting habits may deserve an entry in the weighty Diagnostic and Statistical Manual of Mental Disorders (“compulsive art collecting disorder,” say), there is no doubt that he is a boon to galleries and artists.

So, before going any further, let’s address the tricky business of a public art museum hosting an exhibit for a private collector — an enterprise that will probably boost the collection’s value.

As a March article in the New York Times by Judith H. Dobrzynski pointed out, single-collector exhibits raise several issues that pose a threat to their legitimacy.

“When the collectors are trustees or provide financing for an exhibition, it looks as if the museum is selling out to vanity shows or renting its galleries. If museums show a collection without the promise of a gift, they are seen as endorsing the art and elevating its value. If museums display art that comes with a gift, they seem — unless it is the entire collection — to be using a questionable fund-raising tool at best, or exacting a quid pro quo at worst. The question always arises as to who is making the curatorial decisions, museum or collector? And when collectors sell art after the exhibition, the museum looks as if it has been used.”

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