In 2019, as Japan welcomed the new Reiwa era from the Heisei period, MEDICOM TOY entered its 23rd year since its founding. Driven by an insatiable curiosity to "create what we want," they boldly venture into uncharted territories, effortlessly bridging the boundaries between "toys," "figures," and "art." What future do they envision now? Glimpses of it can be found at the event held once again at Space O, Omotesando Hills. This annual gathering, where MEDICOM TOY's past and future converge, is called theMEDICOM TOY EXHIBITION '19. This year, we spoke with Tatsuhiko Akashi, President of Medicom Toy, about the highlights of the exhibition and his vision for the future. Of course, numerous limited-edition items will be available exclusively at the venue, so be sure to check those out as well.

—The MEDICOM TOY EXHIBITION '19 is about to open.

AkashiThis event started in 2003, but perhaps some people aren't aware of what it was like back then. It was 16 years ago, and there's almost no record left on the web. The term 'digital tattoo' became a topic, but on the other hand, old digital historical facts are constantly being overwritten, making them surprisingly difficult to find.

Things that are easily searchable in print don't appear online as news articles or blog posts from around 2000. I was reminded that the Medicom Toy exhibition began during such a transitional period.

—What was the original impetus for starting the MEDICOM TOY EXHIBITION?

AkashiMedicom Toy was founded in 1996, and until 2002, we exhibited at the Tokyo Toy Show (an exhibition hosted by the Japan Toy Association, the largest of its kind in Japan).

The catalyst for holding the MEDICOM TOY EXHIBITION in '03 was an invitation from Mr. Akio Iida, who was curating the BAPE® GALLERY at NOWHERE in Aoyama. He asked if we'd like to do something together using the gallery space. It was a very thoughtful gesture from Mr. Iida. If he hadn't approached me then, I might still be exhibiting at the Toy Show.

—It was groundbreaking for a single manufacturer to hold an exhibition, allowing visitors to see new products ahead of time.

AkashiPerhaps after exhibiting at the Tokyo Toy Show for five years, I felt a slight sense of being an outsider. We're still on good terms with Takara Tomy, the main organizer, but I felt we needed to reconsider displaying our products in that venue.

I'll never forget the fifth year, when an electric toy called "Para Para Robo Space Gorilla" from another manufacturer was playing incessantly in front of the Medicom Toy booth. It was driving me crazy. The gorilla was dancing Para Para to Eurobeat (laughs). They were incorporating what was popular at the time... I ended up buying it because it was so catchy (laughs).

At that moment, I had a strange feeling. I wanted to take full control and direct the presentation ourselves. So, in a way, the "Para Para Robo Space Gorilla" is also responsible for the birth of the MEDICOM TOY EXHIBITION (laughs).

—It was also a surprise that you presented a non-saleable STAR WARS™ KUBRICK to everyone at the reception for industry professionals the night before.

AkashiIt was largely thanks to Steven Chiarenza at Lucasfilm at the time, who found it amusing.Steven ChiarenzaSteven later moved to Hasbro, and we collaborated on the TRANSFORMERS BE@RBRICK. Now, he's a Vice President at Universal, leading the DreamWorks team. He and I are currently planning new initiatives, so please look forward to those as well. It's all been a continuous thread from that time.

—And the following year, in '04, you moved the venue to Parco Gallery in Shibuya Parco Part 3.

AkashiIn '04, we were still in our eighth year. Doing something at Parco was something we deeply desired, so I wondered if they would really let us do it? But thanks to the efforts of those involved, it felt like a smooth transition.

Still, it was the first time we rented a venue, and they must have been concerned about the potential sales figures, so we were motivated to do our best. That year, it was held concurrently with BE@RBRICK WORLD WIDE TOUR (an exhibition where high-profile creators from around the world expressed their unique visions on a 1000% scale BE@RBRICK canvas).

—Incidentally, looking back at the events held at Parco around the same time, there was the "Winter Sonata Bae Yong Joon's Elegant and Dangerous World Exhibition," and the theatrical performance was the "Rock Musical Hedwig and the Angry Inch."

AkashiI see. It really captures the era. After that, the exhibition continued at Parco for some time (the venue name changed to Parco Factory in '08 and Parco Museum in '12), and it became something people looked forward to, like an annual festival.

However, to be honest, around '13 and '14, I started to think that this venue might not be sufficient in terms of capacity. The crowds became so dense that visitors couldn't even walk through the aisles, and we couldn't greet them properly. I thought this was becoming a problem, and then, in '16, the year we celebrated Medicom Toy's 20th anniversary, we moved the venue to Space O at Omotesando Hills.

—This is the fourth year at this venue.

AkashiThe decision to choose Space O as the new venue was likely related to MEDICOM TOY PLUS, which opened in Omotesando Hills the same year. The idea of using the basement space to coincide with the opening came up within our company, and we decided to consult with them. With the cooperation of Omotesando Hills, we were able to create a fun space, decorating the floor with giant BE@RBRICK balloons.

—We interviewed you just before the exhibition last year as well. What can we expect this year?

AkashiI feel that product development with a greater diversity of facets is accelerating. The world is becoming smaller and smaller; we can now connect with authors and artists we previously only knew from photo books through social media. It's a very happy environment where we can directly send our message to the people we want to reach.

Among the interesting projects I'm considering, I have a strong desire to see artists who will lead Japan's future collaborate with top international artists. When I proposed to both parties, "Wouldn't it be interesting if this person and that person could create something together?" they both responded enthusiastically, saying, "That sounds great. We'd love to do it." I believe we'll be able to announce two or three such programs at this year's exhibition.

—Are these international and domestic artists strangers to each other?

AkashiCompletely. Of course, the Japanese artists know the international artists; they are incredibly famous. But the international artists don't yet know the young talents in Japan.

However, I approached both sides with the proposal, "There's this artist, and I'd like to do something together with them, what do you think?" – assuming they wouldn't refuse – and they both agreed immediately. So, I felt they were genuinely interested. I want to ensure our sense of casting remains sharp. This is a first for us. I anticipate more collaborations where both the artists and I find great enjoyment.

—That sounds very exciting.

AkashiAlso, for new products releasing this fall and beyond, I believe we'll be able to showcase many items that express beyond conventional boundaries. Within my own projects, the artist programs for VAG (VINYL ARTIST GACHA) are accelerating, leading to initiatives like GACHAPOS with the post office. Various things are progressing in parallel, and the dots are starting to connect effectively.

I often talk with artists, and as they continue to create, individual points connect to form various products, content, and software that expand outwards. It would be wonderful if everyone involved could be happy through collaboration.

Previously, we often had one-off projects, like a single artwork becoming a BE@RBRICK. But recently, the number of interconnected projects has truly increased.

For example, if something becomes a BE@RBRICK, the next step might be VAG, then FABRICK®, then GACHAPOS... This kind of expansion is becoming easier to facilitate, allowing things to move into the spotlight. I hope that by using our company as a hub to connect artists worldwide, we can create exciting things.

A prime example is Kaori Hinata's character "MORRIS," with whom we've been collaborating for about two and a half years. It's continuously growing. I'm currently acting as her agent, and we're receiving offers from all over the world. I hope to see MORRIS develop in a positive direction.

—You mentioned the idea of becoming a hub for connecting artists and content last year as well, and it seems to be progressing even more tangibly now.

AkashiYes. And from this year onward, the presentation will become increasingly multifaceted. Not only three-dimensional objects,Amplifierand programs likeNoodle, which we launched last year, are also accelerating. It feels like things are starting to move quite organically. That's why it's so enjoyable right now.

Experiencing global talent, outputting that talent to the world, and infusing it with our own sensibility. Seeing both creators and recipients find joy together. These are sources of immeasurable pleasure. You'll likely encounter things that make you say, "Wow!" and others that make you think, "They got me!" so please look forward to those aspects as well. Also, someone has created the music that will be played at the venue starting this year.

—Are you referring to the theme music for MEDICOM TOY EXHIBITION?

AkashiYes. Until last year, we were using existing music, but a music collective approached us, saying they'd love to compose something. It's possible they might create the theme for MEDICOM TOY EXHIBITION every year from now on. With the exhibition just around the corner, I hope many people will come to visit.

MEDICOM TOY EXHIBITION '19

Venue / Space O [Omotesando Hills Main Building B3F]
Location / 4-12-10 Jingumae, Shibuya-ku, Tokyo
Omotesando Hills Event Venue Contact: 03-3497-0360 *During exhibition period only
Dates / July 20, 2019 (Sat) - July 25, 2019 (Thu) *Open daily during the exhibition period
*Entry restrictions may apply on July 20 (Sat) and 21 (Sun).
Hours: 11:00 AM - 9:00 PM (Sundays until 8:00 PM) *Last entry 30 minutes before closing
Admission: General ¥300 (tax included)
Details here
http://www.medicomtoy.co.jp/information/ex19.php
Exhibition Commemorative Products (All scheduled to be released at the venue on Saturday, July 20, 2019)

BE@RBRICK DAFT PUNK (DISCOVERY Ver.) GUY-MANUEL de HOMEM-CHRISTO 1000% / THOMAS BANGALTER 1000%

The highly anticipated 1000% scale BE@RBRICK DAFT PUNK is here! Available in two versions: "Guy MANUEL de HOMEM-CHRISTO" and "THOMAS BANGALTER." Each approximately 700mm in height. ¥48,000 each (excluding tax).

MOON BE@RBRICK 100% & 400% / 1000%

To commemorate the 50th anniversary of the moon landing, the MOON BE@RBRICK, featuring lunar surface photos from the NASA Image Library rendered with water printing, is available in 100% & 400% and 1000% sizes. Height: approx. 70mm / 280mm / 700mm respectively. 100% & 400% set: ¥12,000 (excluding tax). 1000%: ¥48,000 (excluding tax). *This product is officially licensed by NASA.

CAMO SHARK BE@RBRICK 100% / 400% / 1000%

The MEDICOM TOY CAMO SHARK BE@RBRICK is available in three sizes: 100%, 400%, and 1000%. Height: approx. 70mm / 280mm / 700mm respectively. 100%: ¥2,000 (excluding tax). 400%: ¥10,000 (excluding tax). 1000%: ¥60,000 (excluding tax). *Shipping (separate fee applies) is available for the 1000% size from the venue.

BE@RBRICK KARIMOKU fragmentdesign 400% polygon – CHESS / carved wooden – LONGITUDINAL CHESS

New additions to the KARIMOKU wooden 400% BE@RBRICK fragmentdesign series. Each is a masterpiece meticulously handcrafted by skilled artisans. Approx. 280mm in height. ¥220,000 each (excluding tax).

FLOWER BOMBER (GESSO BLACK Ver.)

The GESSO BLACK Ver. of the FLOWER BOMBER statue, inspired by BANKSY's graffiti, is now available. Approx. 360mm in height. ¥58,000 (excluding tax).

MONKEY SIGN (DRIP Ver.)

The DRIP Ver. of the MONKEY SIGN statue, inspired by BANKSY's graffiti, is now available. Approx. 360mm in height. ¥48,000 (excluding tax).