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    ART LAW WORLD Art Law in Japan

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    Law & Ethics in the Artworld

    January 19, 2021
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    Kodai Kimura




    Bar Admissions

    • Japan, 2007
    • New York, 2015
    • Washington D.C., 2022
    • Registered Foreign Lawyer, Singapore International Commercial Court (SICC), June 2015 - August 2020 
    • Registered Foreign Lawyer, Ministry of Law Singapore, August 2013 -September 2014



    Professional Activities
    • Daiichi Tokyo Bar Association
    • Member, the Copyright Law Association of Japan
    • Member, Intellectual Property Lawyers Network Japan
    • Co-Chair, Benjamin N. Cardozo School of Law, Japan Alumni Club
    • Member, Inter-Pacific Bar Association (IPBA)
    • Member, the Japan Association for Cultural Policy Research
    • Member, The International Art Market Studies Association (TIAMSA)(August 2019 - August 2021)
    • Benefactor Member, Mori Art Museum
    • Official Columnist, Forbes JAPAN (November 2020 - present)
    • Auditor, Kinan Art Week Executive Committee (2021 and 2022)
    Research Projects
    Art Projects
    • MALOU A-F, Block House, Tokyo, July 20 - July 30, 2022 (Legal Consulting & Contract Drafting)





      • Speaker, The Basics of Artist Rights and Contracts, Kobayashi & Yugeta Law Office, Startbahn, Inc., and One Asia Lawyers, Asian Art & Legal Practice Team, Online, October 2020
      • Speaker, Copyright and Contracts for Web Creators, contents.nagoya 2019, Nagoya, July 2019
      • Speaker, Copyright Basics for Art Management, Aoyama Gakuin University, August 26, 2016

      Media Appearances

    • POLICY

      The three policies underpinning my art law practice

      1. Understanding of Art - Contributing to my favorite area.

      I place importance on actually seeing and thinking about numerous works of art on a daily basis. In recent years, I have visited the following art fairs and museums.


      Armory Show (2013), Frieze New York (2013), Art Stage Singapore (2014), Art Fair Tokyo (2016 - 2019, and 2021-2022), art stage OSAKA (2022), 3331 Art Fair (2021), Art Basel Hong Kong (2017), Art Central Hong Kong (2017), Art Taipei (2017)


      Mori Art Museum, The National Art Center, Tokyo, Museum of Contemporary Art Tokyo, Tokyo Metropolitan, Art Museum, The National Museum of Modern Art, Tokyo, Tokyo Photographic Art Museum, The Watari Museum of Contemporary Art, Artizon Museum, Yokohama Museum of Art, The Hakone Open-Air Museum, The Museum of Modern Art, Saitama, Chiba Prefectural Museum of Art, Chiba City Museum of Art, Nagano Prefectural Art Museum, Nagoya City Art Museum, Aichi Prefectural Museum of Art, Toyota Municipal Museum of Art, Kyoto City KYOCERA Museum of Art, The National Museum of Modern Art, Kyoto, Kyoto National Museum, The National Museum of Art, Osaka, Nakanoshima Museum of Art, Osaka, Abeno Harukas Art Museum, The Museum of Art, Kochi, Fukuoka Art Museum, Fukuoka Asian Art Museum


      MoMA, Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, Whitney Museum of American Art, New Museum, The Noguchi Museum, MoMA PS1, Dia: Beacon, Storm King Art Center, National Gallery of Art, Hirshhorn Museum, Museum of Contemporary Art, Chicago, National Gallery Singapore, Singapore Art Museum, ArtScience Museum, Hong Kong Museum of Art, Taipei Fine Arts Museum, Museum of Contemporary Art Taipei, MoNTUE (Museum of National Taipei University of Education)

      2. "1 in 100 Expertise" – Exploring optimal solutions based on understandings of the "law" and "art business."

      Lawyers' analyses are centered on legal theory. Of course, legal theory is important, but I also focus on incorporating a mechanism to prevent disputes through an analysis of dispute elements, which means considering what elements lead to disputes in the first place.


      The legal framework varies from country to country, but dispute elements are similar across countries so examples from abroad are also helpful.


      For example, if I analyze dispute elements over public art, I can see that there are many cases where the deterioration of art work (maintenance) and redevelopment of a surrounding environment can cause disputes.


      I stock cases and press articles in Japan and overseas on a daily basis and analyze dispute elements so that they can be useful in preventing conflicts.

      3. "Simplifying Complex Information" – Leading you to take action.

      Because legal discussions are often complex and difficult to understand, I strive to convey information in a simple and easy-to-understand manner and in a way that leads you to action.


      To improve the clarity of information, I use visual expressions such as creating a chart of relationships between parties in cases where there are many parties concerned.


      Aiming towards establishing Art Law in Japan

      The name of this website "ART LAW WORLD" was created by combining the phrase "ART WORLD," which is widely used in the art industry,

      with the phrase "ART LAW," which is used in the legal professions of Europe and the United States.


      "ART WORLD" is derived from a famous paper the Artworld, (1964), by Arthur Danto on defining art,

      and is now well established as a term for the world of art composed of players such as artists, galleries, collectors, auction houses, art museums, and art critics.


      "ART LAW" is not a solo statutory law but it is a practice area that focuses on the art world, covers a wide range of laws,

      including mainly copyright, and is edited to make it easier for players to deal with legal issues arising in the art world.


      The basis of the practicing attorney's role is to resolve the individual legal issues of each client.


      However, I believe that attorneys can also play a key role in contributing to the sound development of the art market as a whole

      through establishing a legal field that can be easily edited for players in the art world, as "ART LAW."


      With an aim towards establishing Art Law in Japan, I will continue to update ART LAW WORLD.


      Please feel free to contact me!

      Kobayashi & Yugeta Law Office
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