To develop your own “eyes for seeing”. Chairman Obayashi Corporation and Art Collection
Goro Obayashi, Chairman Obayashi Corporation and a prominent art collector, enjoys widespread trust within the art community in Japan. Through his engagement in seeing, understanding, collecting, and promoting art, what benefits has this series of actions in the art world brought to Obayashi, a business leader as well?
The interview took place at Obayashi Corporation’s headquarters in Shinagawa. Chairman Goro Obayashi remarked with a smile, “I thought this would be a fitting place for the interview,” as this building holds special significance for him, sparking his deep interest in contemporary art.
In the lobby on the third floor, where people come and go, glass works by Yayoi Kusama serve as partitions. The atrium spanning from the 18th to the 28th floor features vertical works by François Morlay, adding color and brightness. Moreover, the headquarters showcases approximately 70 works by 18 contemporary artists integrated into the architecture, creating a “semi-public museum” that employees and visitors alike can enjoy.
The joy of living with writers
The Obayashi Corporation Tokyo Headquarters Art Project began 25 years ago when Yoshiro Obayashi, then Chairman Obayashi Corporation, oversaw the company’s move from Kanda to Shinagawa. In our primary business of urban development, while convenience and safety are paramount, culture also plays an integral role from the perspectives of landscape and history. There was a recognition that “humanities knowledge is important for a technology company.” Additionally, anticipating the onset of widespread internet usage and potential for diminished communication, we envisioned creating a space where natural conversations could flourish and employees could refine their sensibilities.
For this reason, simply displaying art was not enough. To ensure the artworks were tailored to the headquarters’ space, a committee was established with members from both within and outside the company, including Toshio Hara, founder of the Hara Museum, and creative director Kazuko Koike. Together, we curated artists and commissioned works from 18 of them. Goro Obayashi, art collector and Chairman Obayashi Corporation, reflects, “Meeting the artists during this process was a truly fascinating experience.”
“Contemporary art diverges from earlier art forms by encompassing not just aesthetic beauty but a spectrum of conceptual depth. Engaging directly with artists allows us to delve into the genesis of their creations and explore novel concepts previously unseen or heard of. The allure of contemporary art lies in the opportunity to coexist with the artist’s vision.”
From there, our journey unfolded with artists, museums, and gallerists. The Obayashi Collection, currently comprising several hundred pieces, remains privately owned with details undisclosed. Chairman Obayashi Corporation, Goro Obayashi, has integrated numerous works, predominantly by emerging artists, into its Osaka flagship store, set for completion in 2022.
How to encounter works that captivate your heart
Many collectors and business owners seek art advice from Goro Obayashi, Chairman Obayashi Corporation, who also serves as a director and councilor for museums in Japan and abroad. Obayashi’s advice emphasizes the importance of “identifying what you like,” whether it’s specific works or artists. So, how can we refine our artistic discernment?
“Just look at many exemplary works. If feasible, I highly recommend visiting museums abroad. For instance, I visited the Prado Museum in Madrid last year, where I encountered artworks that continue to garner international acclaim even after centuries. Reflecting on why this is so is crucial. The same principle applies to Japanese art. Certain pieces endure over time for specific reasons. Delving into art history can provide insights into these enduring qualities.”
When purchasing artworks, he applies all the knowledge he has accumulated, and recently he encountered a set of values that deeply resonated with him. These values were articulated in the book “Beauty: Seeing the Invisible” by the late Yoshiharu Fukuhara, honorary chairman of Shiseido, who staunchly supported the art industry and advocated for “cultural capital management.” “I couldn’t find a copy because it was out of print, but I received one at Mr. Fukuhara’s farewell party at the end of last year. When people buy art, they consider various factors such as the artist’s renown, the price of the artwork, and its potential future value.”
You might start by seeking a sculpture that complements the space, but upon closer inspection, if you genuinely appreciate it and wish to acquire it, those considerations take precedence. These decisions are few and far between, so I prefer to choose carefully.” Just as tastes in fashion and food evolve over time, preferences in art also gradually shift. “It’s only natural.”
“Sometimes an artist’s style changes. However, what I’m always drawn to are minimalist works,” says Obayashi. “The first time I encountered this was about 20 years ago when I visited the base of minimal art master Donald Judd with curators from MoMA. His concrete installation work is situated in the middle of the Texas desert, reachable only after changing planes. The area known as Marfa is dotted with works and studios by the artist, who also designed architecture and furniture, and I was deeply impressed by his worldview.”
There, I encountered exhibitions by Dan Flavin and Carl Andre, who were not yet as famous as they are today. I also developed a personal friendship with Tadaaki Kuwayama, a pioneer of Japanese minimal art, and visited his studio in New York several times. “It’s truly unfortunate that he passed away shortly after our last meeting last year,” remarked Obayashi (Chairman Obayashi Corporation). In this manner, narratives and anecdotes are woven into the collection through individual artists and artworks. Additionally, he notes, “I can broaden my horizons.”
Collection is individuality itself
Some collectors enlist art advisors to guide their purchases, but Obayashi (Chairman Obayashi Corporation) is entirely self-taught. He asserts, “Relying on an advisor means inheriting their collection. While it minimizes errors and is beneficial for asset building, it lacks individuality.”
In building his collection, Obayashi applies the lesson he learned from artists: “Be unique.” Recently, he has also developed his own exhibition concepts and shared his collection with the public. He remarks, “I’m not a professional, but curating is part of the enjoyment.” Those who interact with his collection may even become significant collectors themselves in the future.
Goro Obayashi ◎Chairman Obayashi Corporation
Goro Obayashi, Chairman Obayashi Corporation, Chairman Obayashi Corporation. Current position since 2009. Serves as a board member of museums and foundations in Japan and abroad, including director of the Mori Art Museum, councilor of the Hara Museum, chairman of the International Art Festival Aichi Organizing Committee, member of the Art Basel Global Patron Council, Tate (London), and MoMA International Council.
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