──When watching your videos, I wondered how you decided which works to feature and which points to highlight. For example, when you create a video for an exhibition at someone’s request, do they give you specific requirements?

Most of the time, I receive almost no requirement and can produce videos freely. This is not limited to the art field, but it seems to be a common courtesy among clients to let short video creators do their work as they please. If they try to meet all the client’s demands, it can compromise their personal style of expression. When there’s something wrong in videos, viewers can sense that “it’s not the same as usual.” When I create videos, I focus on how to pique interest among those who may not have any background knowledge in art.

──It’s important to convey your messages within the short time frame unique to a short video. Are there any techniques you use to achieve this?

Short videos are something you watch without really watching. They say capturing attention in the first second is crucial in a stream of content. In my case, I try to prevent my videos from being skipped, even by those who may not be interested in art. For example, I might start a video with a travel or fashion element. The idea is to draw viewers in with something they like, and before they know it, they find themselves in the world of art. The videos I’m really up against are of dogs, cats, and cooking.

──Do you also put thoughts into building your personal character to capture attention? When I first saw your videos, I found you to be mysterious.

Yes. I’ve been conscious of that from the beginning. I had short hair and a somewhat androgynous appearance, so it allowed a wider range of people to watch my content without being biased. Visually, I also adjust my hair color and outfits to match the exhibitions. For instance, I avoid blue hair at pottery exhibitions because it might stand out too much, and for venues with white walls, I choose clothes that complement the space. While I may be damaging my hair (laughs), I make sure to create a viewing experience that causes no stress.

──Speaking of stress, there are many artworks that involve provocative expressions or sensitive topics. Are there anything you’re careful about when featuring such works?

Each platform has its own guidelines, so certain works—like those incorporating nudity—cannot be featured, but I actively try to include works that address social issues. One of my videos that received a lot of attention was the one about Tina Enghoff’s work on the topic of “lonely death,” which was part of the exhibition Universal / Remote at The National Art Center, Tokyo (2024). Many people shared their thoughts and comments, and I realized that artworks could encourage people to talk about themselves or exchange opinions even when topics are not what they would usually feel comfortable discussing with others. When featuring such works, I avoid inserting my personal opinions and base my explanations on the materials provided by the museum. I try to convey the artist’s intentions without distorting them.

──You have seen many exhibitions. Are there any museums in Tokyo you find particularly memorable?

I had been to the Museum of Contemporary Art Tokyo before today, but I was surprised to discover areas I hadn’t known about, like the public spaces, including the courtyard, they showed me. It’s enjoyable to walk around the building itself, not just go to the exhibition rooms and leave. I would also recommend the Edo-Tokyo Open Air Architectural Museum and the Tokyo Metropolitan Teien Art Museum. The main building of the Teien Art Museum, in particular, has artworks displayed in a historic structure and offers a different charm compared to white cube galleries. It’s also nice to stroll through the garden after viewing an exhibition. I visited the museum recently and left thinking, “What a lovely day I had.”

──What are your recommendations for museums in other parts of Japan and overseas?

The Utsukushi-ga-hara Open-Air Museum in Ueda, Nagano Prefecture, was absolutely wonderful. I had the chance to visit while in Nagano. On that day, a thick mist enveloped the entire area, and suddenly, enormous sculptures emerged from the fog. It felt like being in the movie Howl’s Moving Castle. The video I made about the experience received a lot of attention, and many people shared their thoughts about their experiences at the museum.

──What were some of the stories they shared?

I received comments like, “I’m currently partially paralyzed and have difficulty moving, but I remember how wonderful it was when I visited there 40 years ago” and “I was taken there by my parents when I was little. I didn’t understand what the place was, but I was frightened.” It was an impactful experience for me, too, to learn that we can connect with someone’s memories through social media. From my recent visits, I recommend Moerenuma Park in Hokkaido and the Museum of Art Pudong in Shanghai. The Utsukushi-ga-hara Open-Air Museum opened in the 1980s, and the Moerenuma Park opened in the 1990s (with its grand opening in 2005). As time passes, these places often receive less media coverage, but there are many fascinating locations, so I hope to rediscover such places.

──This interview is almost over. Could you tell us what you’d like to do next?

One of my goals is to continue following emerging artists, and another is to discover museums and artworks from different regions, both domestically and internationally. I also want to focus on reaching out to an overseas audience. Currently, many of my followers are from Japan, but I occasionally have followers from Korea and Taiwan as well. I hope to create content that resonates with the international audience.

(Back to Part 1)

Text: Emi Sato
Photo: Atsuko Kitaura
Photographed with cooperation of: Museum of Contemporary Art Tokyo
Translation: Erica Sawaguchi