On April 6, 2010, a new museum was launched. Not just anywhere, but in the heart of Tokyo in the Marunouchi district.

Museums are wondrous things. They continue to evolve in a variety of ways all over the world. In their original incarnation in Western society, museums were designed for the public display of paintings, sculptures, and other kinds of artworks that were collected by members of royal and noble families, and other wealthy people. Gradually, these things became the shared property of ordinary citizens, and as people came into contact with these beautiful works, they began talking with others about the enjoyable experiences they had had. Now, museums have become an indispensable part of urban life. Along with theatres and concert halls, museums perform a central role not only in capitals of the Western world like Paris, London, and New York, but in countless cities around the world. Museums are, as it were, the face of a city, and through the media of art, they function as a kind of stage or an information center through which people come to understand the city and region, and a wide range of aspects regarding the history of the community and culture.

With this in mind, what exactly does the opening of the Mitsubishi Ichigokan Museum mean for Marunouchi, Tokyo, and the Japanese art world? It must first be said that we are extremely fortunate to be able to meet the basic requirements of a contemporary museum such as easy accessibility and attractive architecture. The low-rise brick building , which was originally designed for this lot in 1894 and went on to become a landmark of the Marunouchi district, has an independent structure and its classical design enhances a sense of comfort and ease in this area. The Mitsubishi Ichigokan Museums special exhibitions and collection of works will also be based on the distinctive geographical and historical features of the building and its location. The museum which became entrenched in the West in the modern era has its origins in activities such as the conservation of works, research, and public showings of its collection. But our museum, while also making use of this model as a foundation, will concentrate on presenting exhibitions of art from the late 19th to the first half of the 20th century by focusing on the interaction between art and cities in the modern era.

Since the French Revolution, art has been the preserve of the people and various creative activities have developed in close connection with the culture of a city. In addition, the modern city, having experienced the industrial revolution and being supported by a variety of technological developments related to communication tools and transportation networks, transcended geographical and historical limitations to become the site of vigorous exchanges with foreign cultures. From environmental and racial problems to the alienation of the individual, the majority of the issues that we currently face in our culture have directly emerged from the culture of the modern city. In the future, in the exhibitions that are planned at the Mitsubishi Ichigokan Museum, we intend to focus on the diverse types of art that were produced by artists who lived in the complex, modern city and their tense relationship with society.

Our ideal is to create a space where people can easily access as part of their regular routine and by simply taking a step inside, can encounter vibrant beauty and get new insights. I sincerely hope that the Mitsubishi Ichigokan Museum will satisfy this ideal and become a familiar presence in the city.

Akiya TAKAHASHI
Director
Mitsubishi Ichigokan Museum, Tokyo
April 2010