What motivated you to pursue an MA at Sotheby’s Institute, and how did your experience shape your perspective on the art world?

I pursued the MA at Sotheby’s Institute to gain an industry perspective on art and contribute to revitalizing Japan’s art market.

At that time, schools offering Master’s programs specifically in the field of art business were still very rare. Learning that Sotheby’s Institute could make this possible became my primary motivation.

Additionally, the Institute’s strong connection to Sotheby’s auction house and its practical, real-world applicability were key factors in my decision.

What were the most valuable skills you gained during the program, and how do you apply them in your career?

The MA in Art Business curriculum included subjects such as the international art world, legal ethics, and economics. Through these courses, I learned to view art as an asset class and understand the value it holds compared to other assets like stocks.

Building on this knowledge, I gained the ability to think about the value of art and the purpose of collecting it from a broader perspective.

The greatest benefit I gained from the program was the knowledge that now allows me to engage with my country’s government and industry, aiming to revitalize the art market for its sustainable future with consistency and persuasiveness.

Moreover, the most significant asset I have gained over the thirteen years since graduating is the wonderful community of global students gathered at Sotheby’s Institute. The enduring connections with my former classmates, juniors, and seniors, forming this remarkable community, greatly benefit my current work within the art world.

Can you describe your current role and how the knowledge or experiences from the MA in Art Business support your responsibilities?

I have now established my own company, YMKY Inc., with the mission of “Bridging Kyoto’s Aesthetic Sensibility for Future Generations.” We are undertaking initiatives to contribute to the revitalization of Japan’s art market.

We are engaged in various projects to connect Kyoto—where my roots lie—its culture and arts, with the next generation through innovation, working alongside artists of my own generation, international artists, and other art players.

To realize this, I collaborate with private entities and government bodies on diverse projects aimed at invigorating Japan’s art market and heightening international attention toward Japanese and Kyoto art. I see myself as playing a bridging role between Japan’s and Kyoto’s art scenes and the international art scene, or indeed industries beyond the arts.

Currently, I serve as Fair Director of ACK, an art fair originally launched as a Kyoto Prefecture cultural project, and as a Growth Strategy Promotion Advisor for Kyoto City. Leveraging the power of government, I am working comprehensively to invigorate Kyoto’s art scene through these two positions: ACK for Kyoto Prefecture and as an advisor for Kyoto City.

Through this work, I have come to recognize that my unique strength, cultivated at Sotheby’s Institute, lies in viewing the art world from an international perspective and utilizing my global network to cultivate the art scene in my home country, Japan.

The knowledge I gained from the MA in Art Business on creating sustainable structures for art as a business and industry has been invaluable, allowing me to apply these principles effectively in my current role.

What inspired you to participate in Art Collaboration Kyoto (ACK), and what impact do you hope it will have on Japan’s art ecosystem and international collectors?

I participated in Art Collaboration Kyoto (ACK) as one of the exhibitors during its inaugural year while I was running my gallery called THE CLUB. Over the subsequent five years, I worked alongside the founders, including Kyoto Prefecture, to establish the foundation for ACK as it exists today.

My motivation for ACK stemmed from the desire to create an impact that revitalizes Japan’s art market through collaboration between the public and private sectors. It has now become a substantial platform, with 56 companies currently sponsoring, and we are successfully realizing this vision.

Furthermore, precisely because it is a new art fair, I felt motivated by the opportunity to create a blueprint for future art fairs by adopting a “doing things differently” approach, undertaking initiatives distinct from existing art fairs. Having pursued these goals over several years, I feel we have established the foundations for an international art fair unique to Kyoto.

How is Art Collaboration Kyoto helping to shape a new generation of collectors, artists, and cultural patrons in Japan and beyond?

ACK fosters thoughtful engagement and cultivates a globally minded community of collectors and cultural supporters by prioritizing quality and collaboration—the two principles that define the fair’s identity.

  • Quality: In a time when collectors can easily access international art online, ACK offers visitors assured, in-person encounters with high-quality art. By keeping the fair at a manageable scale, it creates an environment where visitors can take their time, look closely, and build deeper connections with the work.
  • Collaboration: The fair’s identity also expands access to the Japanese and international art scenes. In the Galleries section, Japan-based galleries host overseas galleries, creating a supportive entry point for international participants and allowing both sides to share networks, introduce new artists, and connect their respective clients.

I enjoy shaping ACK as a blueprint for the future of art fairs with the collaborative intelligence given by my generation, which includes a new generation of key players in the art world today.

What were some of your key takeaways from participating in the Art Market in 2050 conference in London, and how do you see these insights influencing the global art market?

I recently spoke at the Art Market in 2050 conference in London and discussed the importance of collaborative efforts, with the aim of fostering dialogue between local and global players at ACK. Having personally set the theme for ACK 2025 as 2050, I was contemplating the form an art fair could take to visualize new futures through ACK.

Listening to speakers from diverse fields including technology was immensely instructive. Among these discussions, the term “collaboration” stood out as a recurring theme cutting across numerous domains. I firmly believe that achieving significant goals requires collaborative intelligence rather than the power of any single individual.

By pooling smaller efforts to generate collaborative intelligence, we can build a long-term, sustainable art ecosystem. This conference provided a valuable opportunity to reflect on these ideas anew.

Furthermore, I sense that 2025 will be a shifting moment for the art world and society at large. Through this conference, I felt that within this context, the value placed on the experience itself is rising—not just the art itself, but the act of viewing art, collecting it, and the encounters with people that collecting brings.

What has been the lasting value of the program for you—whether in terms of professional opportunities, intellectual growth, or personal perspective?

Through the MA in Art Business program, I gained a perspective that allows me to view the art world from a broader vantage point—a bird’s-eye view for long-term growth.

I believe possessing this viewpoint has been immensely beneficial to my current working methods, particularly in terms of how I engage with professionals from industries outside the art world and involve them within the art sphere to provide a sustainable impact for a better future of the art world.

What advice or tips would you give to Sotheby’s Institute applicants?

I believe the Sotheby’s Institute MA program provides an invaluable community for working in society after graduation. I sincerely hope you will cherish each and every connection you make during your time at Sotheby’s Institute—with professors, guest speakers, classmates, and alumni.