Spatial Barriers and the Formation of Global Art Cities: The Case of Tokyo

Abstract

This paper addresses a neglected dimension of global cities research: how the idea of economic concentration, its surplus and consequent global influence can be applied to the art world. The research presented here relates to Tokyo as a well-known example of a global city, advancing existing understandings of Tokyo from the neglected perspective of the arts. Based on qualitative and quantitative research by the author, including cultural and spatial mapping, interviews, ethnographic observations and visual documents, the findings confirm that the role of space and materiality is overlooked in global cities research. The results demonstrate the active contribution and intervention of spatial patterns in the formation of artistic activities. A number of Tokyo's spatial features have an inhibiting effect that shifts artistic activities underground, creating asymmetries in the constitution of symbolic meanings in the city and a failure to openly stimulate artistic practices. As a consequence, Tokyo's vivid art world remains invisible not only to outsiders but to Tokyo itself.

Evolution of the territorial field of art in a post-socialist city. Distribution patterns of private contemporary art galleries in Krakow, Poland, between 1989 and 2019

“…over a period from 1980s to 2019. Other cultural institutions, educational or business establishments (art museums, art schools, auction houses) were taken into consideration, as many studies show that galleries tend to cluster in their vicinity (Moulin, 2009;Plaza et al, 2009;Rius-Ulldemolins, 2012Schuetz, 2013;Molho, 2014;Saint-Raymond et al, 2016;Molho & Sagot-Duvauroux, 2017;Morgner, 2019).…”

“…The existing empirical studies on the spatial distribution of art galleries show their high concentration, especially those with the strongest reputation. They form art gallery districts (Debroux, 2017;Halle & Tiso, 2009;Jansson, 2014;Jyrämä, 2002;Kim, 2007;Molho & Sagot-Duvauroux, 2017;Molotch & Treskon, 2009;Morgner, 2019;Moulin, 2009;Quemin, 2020a;Rius-Ulldemolins, 2012Schuetz, 2013;Schuetz & Green, 2014), often clustering in large numbers along the same streets, such as the famous rues des tableaux in Paris (de Maupeou & Saint-Raymond, 2012;Saint-Raymond et al, 2016). Their clusters combine the logic of competition and cooperation, enabling them to overcome their weaknesses related to their usually modest size (Moulin, 2009;Redaelli & Stevenson, 2021;Rius-Ulldemolins, 2016).…”

“…They occupy locations in prestigious, historic downtowns or in newer inner city districts, despite higher prices on the real estate market in such locations, usually in the vicinity of establishments offering luxury goods and services, taking advantage of the agglomeration economies and induced flows of potential customers. Art galleries located in these districts both create and take advantage of an image of elite consumption areas, while also often being more sensitive to the competition that may squeeze them out of such central locations (Kim, 2007;Halle & Tiso, 2009;Molotch & Treskon, 2009;Moulin, 2009;Fletcher & Helmreich, 2012;Rius-Ulldemolins, 2012Schuetz, 2013;Ithurbide, 2014;Molho, 2014;Phillips, 2014;Schuetz & Green, 2014;Debroux, 2017;Molho & Sagot-Duvauroux, 2017;Morgner, 2019).…”