A BE@RBRICK created by contemporary artist Rieko Akatsuka, who also heads Fujio Production Co., Ltd., is complete! The theme is a collaboration with her father, manga artist Fujio Akatsuka. We asked her about the background of this work and her activities to date.

Rieko Akatsuka is a contemporary artist and the representative of Fujio Production Co., Ltd. As the daughter of Fujio Akatsuka, the manga artist behind masterpieces such as "Tensai Bakabon," "Osomatsu-kun," and "Let's La Goon," she dedicates herself daily to the company's business and her creative activities.

At the "Great Neon Exhibition," held in Shizuoka and Tokyo since 2020, she exhibited a massive neon artwork, "New Akatsuka (EDITION 3)" (approx. 2000mm in height, produced by Aoi Neon Co., Ltd.). This project calls upon Aoi Neon to revitalize the declining "neon tube" industry as art, creating a new market to pass down the skills of neon tube craftsmen to the future. It garnered attention as a miraculous collaboration between the genius Fujio Akatsuka and the eccentric Rieko Akatsuka.

This time, to commemorate the exhibition of a new work in the New Akatsuka series, "BE@RBRICK New Akatsuka Papa of.'” Bah, Hum 400% / 1000%" at MEDICOM TOY's "AKASHIC RECORDS 3 ~ from Illuminati ~" event in October, we interviewed Ms. Rieko Akatsuka about her past journey and the thoughts behind her collaboration with her father.

Rieko Akatsuka
Born in Tokyo. Artist / Representative of Fujio Production Co., Ltd.
Moved to the UK in 1994. Graduated from Goldsmiths, University of London, with a degree in Fine Art in 2001. Affiliated with Danielle Arnaud gallery in London since 2002. She continues her creative activities based in Tokyo and London. Her book is "A Father More Foolish Than Papa of.'” Bah, Hum" (Gentosha Bunko).

—Could you tell us what inspired you to pursue a career in art as a contemporary artist?

Akatsuka(Hereafter, Akatsuka) My parents were both involved in art-related work, and I was good at art from elementary school, so I never considered any path other than art. Perhaps because I was frustrated that I couldn't draw as well as my parents when I was young, or perhaps because I always played with LEGOs, my medium of expression was three-dimensional rather than two-dimensional. Then, in 1994, I moved to the UK. As part of my preparation for university, I studied Ceramics for A levels for two years, and my teacher strongly recommended that I pursue a career in ceramics. However, I really wanted to study Fine Art, where both the medium and expression are free, so I studied Fine Art and Contemporary Art Theory at a university in London. The following year, after graduation, in 2002, I became affiliated with the Danielle Arnaud gallery in London, where I remain to this day.

—You are said to be fond of electronic music and club culture; could you tell us about their influence on you?

AkatsukaWhen I was little, my parents would sometimes host standing cocktail parties at home, inviting friends to our Western-style living room. The walls were lit with pink lighting, and my mother would play dance music like "Land of 1000 Dances" by Wilson Pickett, and we all danced together joyfully. So, dance music became a natural part of me. In the 70s, I was astonished by the sound of synthesizers for the first time and became captivated. From my teens, I delved into electronic music, and in my 20s, I entered the world of electronic dance music and club culture.
I feel like I perceive music with my body rather than just hearing it with my ears, so lyrics aren't very important to me, and I don't like my emotions to be manipulated by melodies or lyrics. The timbres of electronic music are infinite, without a fixed format. Depending on the mix, it can be very three-dimensional, with unexpected sounds coming from unexpected places, or placed in unexpected locations... Electronic music stimulates my senses and expands my perception, constantly seeking new stimuli and surprises. I absolutely hate being constrained and am always seeking freedom, so becoming free through electronic music, which transports me beyond my emotions and thoughts, feels incredibly good. In the 90s, I loved dancing in clubs while immersed in loud electronic music.
It's not electronic music, but I've become obsessed with the music from the village of Jajouka in Morocco, which has a 1300-year history, and I've been visiting the village every year since 2012. This is 1300-year-old dance music!

—In your work "Kakin (My Family Tradition)" (2011), which uses onomatopoeia from Fujio Akatsuka's works, and the Buddhist altar object "Akatsuka" (2015) exhibited at the "Fujio Akatsuka Art Exhibition" celebrating his 80th birthday, what were your intentions?

AkatsukaIn 2011, we were organizing the "Fujio Akatsuka Manga University Exhibition" at the Kyoto International Manga Museum and the "kitchen" of Nijo Castle, and I was to exhibit a new work in the Nijo Castle "kitchen." I had long wanted to create a piece using the interesting onomatopoeia in Akatsuka's manga, so I extracted the laughter from "Let's La Goon," made it three-dimensional, and arranged it randomly. Free laughter is also a characteristic of Akatsuka's manga, so I wanted viewers to be able to assemble the laughter freely depending on their position. My parents passed away within three days of each other, and I felt that Fujio Akatsuka's manga taught me the importance of "laughter," so I limited the onomatopoeia used to laughter. Since it was also drawn by my father, I named it "Kakin" (Family Tradition).
In "Akatsuka," I considered the inside of the Buddhist altar to be a timeless space where Buddhas reside, and the outside to be a temporal space where living humans exist. I thought of the Buddhist altar as a meeting point between my father and me. My father lived a life where there was no boundary between his manga and his private life, so I depicted him and the characters from his manga living vibrantly and joyfully in a timeless space (inside the Buddhist altar). "Akatsuka" is not only my surname but also a verb and adjective indicating Fujio Akatsuka's stance and attitude. Therefore, playing on "Hasegawa Buddhist Altars," I titled it in hiragana as "Akatsuka."
Collaborating with my father gives me the feeling of being with him, whom I love dearly. And the process of creation is so much fun that I sometimes burst out laughing.

—Could you tell us about your encounter with MEDICOM TOY?

AkatsukaI don't remember if I first learned about BE@RBRICK in Japan or if I had already seen it in London, but before I knew it, BE@RBRICKs were everywhere—in the UK, the Netherlands, and various places around the world. I previously had a collaboration offer from Beams, and they produced BE@RBRICKs of Akatsuka characters and Fujio Akatsuka. Then, last year, Mr. Akashi, who had seen my neon artwork "New Akatsuka," approached me, and the father-daughter collaboration "Papa of.'” Bah, Hum × New Akatsuka BE@RBRICK" was born. I am greatly inspired by the boundless imagination and ideas of MEDICOM TOY, led by Mr. Akashi, who is full of vitality, uniqueness, and excellent taste.

—Following its exhibition at the "Great Neon Exhibition," the highly acclaimed giant neon art piece "New Akatsuka" was sold by lottery at "AKASHIC RECORDS 2.5" IN Art Fair Tokyo 2022, hosted by MEDICOM TOY.

AkatsukaI was delighted when Aoi Neon Co., Ltd. invited me to participate in the "Great Neon Exhibition," an exhibition of art using neon tubes. Without considering the production challenges, I went all out with my ideas, resulting in "New Akatsuka," which proved to be a challenge for the neon artisans. It seems my works have an element that makes people smile; everyone who saw "New Akatsuka" appeared to be enjoying it and taking photos with their phones.

—What was the thinking behind choosing neon art?

AkatsukaMy whole family has always been nocturnal and loved going out at night since I was little. My father loved the world symbolized by the neon lights of Shinjuku, and I loved the feeling of being both calmed and excited by spaces made mysterious with colorful neon lights and illumination. Growing up in such a household, I naturally loved the atmosphere of clubs. The house I live in now transforms into a mysterious space at night with colorful indirect lighting in the rooms, stairs, and bathroom. When I play ambient electronic music, it feels like the chill-out room in a 90s club, providing both relaxation and that exciting sensation. I still love the night, and I truly believe that "dreams unfold at night"! Therefore, I felt that neon tubes were a medium that could express the feelings and atmosphere I love.

—In your collaborations with Fujio Akatsuka, there's a sense of extending the expressive possibilities of manga. What do you keep in mind in practice?

AkatsukaMy father once said in an interview that he wanted to create works that no one else had done. He constantly broke conventions with gags, and apparently told a friend, "I'm a professional destroyer." When I create my own works, I am conscious of Fujio Akatsuka's attitude of breaking conventions. I'm not particularly exploring ways to expand the expressive possibilities of manga, but collaborating with my father is a very enjoyable process, created with the free spirit of playing with Fujio Akatsuka and playing as Fujio Akatsuka.

—Could you share some episodes from the development of "BE@RBRICK New Akatsuka Papa of.'” Bah, Hum 400% / 1000%," which is about to be released, what you focused on, and your impressions upon its completion?

AkatsukaI agonized over how to incorporate "New Akatsuka" into BE@RBRICK, but everything went smoothly once I decided to place "New Akatsuka" inside the belly of the skeleton "Papa of.'” Bah, Hum" BE@RBRICK. The three-dimensional fluorescent letters glow under blacklight, so I believe I was able to express the neon concept even without using neon tubes.

—Your favorite Fujio Akatsuka work is "Let's La Goon," and your favorite character is "Bellamach," a wild bear from the same series. What resonated with you about them?

Akatsuka"Let's La Goon" is a series that was canceled because my father did whatever he wanted without considering the readers, and it's described as a surreal gag manga that goes beyond nonsense. It's my and my father's favorite Akatsuka manga. It's free because it doesn't seek meaning, or rather, it has no meaning at all. It has a speed that relentlessly rushes through a hilariously absurd world, leaving only the refreshing feeling of "Ah, that was fun!"
The character design of "Bellamach" and its carefree foolishness are very cute. There's also a character called "Tofu-ya Gen-chan," whose foolishness is almost heartbreakingly pure. Gen-chan is foolish to an enviable degree, and I aspire to be a model of foolishness like him.

—What would you like to do with MEDICOM TOY in the future?

AkatsukaThere are many nameless characters in Akatsuka's manga with fascinating designs that shouldn't be overlooked. It would be interesting to line up many BE@RBRICKs of such characters at once!
Also, just thinking about it now, what if Beshi were made into a fluorescent green skeleton BE@RBRICK, with a blacklight inside to make it glow, and several speech bubbles with Beshi's lines were placed inside? The ears would naturally become Beshi's eyes. Is that a bit scary...?
Also, the idea of a bear × bear, with the bear Bellamach becoming a BE@RBRICK, is quite cute.

—Lastly, could you tell us about what Fujio Production has planned for the future?

AkatsukaFrom September 29, 2022, we plan to hold the exhibition "Let's Demolish the Old Fujio Pro Building!! 'Hey, Why Did You Come?'" (http://kowasunoda.com/) at the former Fujio Pro building in Nakaochia.
The Fujio Pro building (my father's workplace and home), which is over 40 years old, has deteriorated, and we have finally decided to demolish it. It was a place where many people, centered around my father, created many works through enjoyable activities, not just work, so I felt it would be a waste to simply demolish it. Before saying goodbye to the building "Fujio Pro," I came up with the idea of holding various exhibitions and events with the motto "Foolishness with Seriousness," inviting many people from diverse fields to participate.
Through various endeavors, including not only publications but also exhibitions, events, and collaborative works with my father, I hope that people will continue to feel Fujio Akatsuka's free spirit. And it would be wonderful if even one more person could smile and enjoy themselves!

BE@RBRICK New Akatsuka Papa of.'” Bah, Hum 400% / 1000%
A miraculous collaboration between the genius Fujio Akatsuka and the eccentric Rieko Akatsuka. "Papa of.'” Bah, Hum" from the neon art piece "New Akatsuka" is now available as a BE@RBRICK 400% / 1000%. Total height approx. 280mm / 700mm. The "New Akatsuka" module inside the body glows eerily. Scheduled for exhibition and release at "AKASHIC RECORDS 3 ~ from Illuminati ~ " held from Saturday, October 22nd to Monday, October 31st.
This will be a "venue sale item" available for purchase only by lottery winners, with advance lotteries held for specific time slots from Sunday, September 25th to Thursday, October 6th. For details, please see the "MEDICOM TOY Official Blog".
©️Fujio Akatsuka
©️Rieko Akatsuka
BE@RBRICK TM & ©️2001-2022 MEDICOM TOY CORPORATION. All rights reserved.

AKASHIC RECORDS 3 ~ from Illuminati ~
"AKASHIC RECORDS" is a project curated by Tatsuhiko Akashi, the representative of MEDICOM TOY, which exhibits and sells works by carefully selected artists, brands, and content from around the world. This third pop-up event scales up by moving the venue to "Space O" on the 3rd basement floor of Omotesando Hills Main Building. Under the mysterious subtitle "from Illuminati," over 100 items, the largest number to date, will be exhibited in a grand space.
Organizer | MEDICOM TOY
Period | Saturday, October 22, 2022 - Monday, October 31, 2022 (Open daily during the period)
Opening Hours | 11:00 AM - 9:00 PM (Sundays, October 23rd and 30th, until 8:00 PM)
Venue | Space O [Omotesando Hills Main Building, 3rd Basement Floor] 4-12-10 Jingumae, Shibuya-ku, Tokyo
Admission Fee | Free
Entry | Free Entry
Please note that operating hours and other details may change due to the spread of COVID-19. Please check the website in advance for details.
Please note that entry may be restricted due to crowding at the venue on the day. Please understand this in advance. Purchase of "venue sale items" is only possible for those who have won the advance lottery. Last entry is 30 minutes before closing each day.

Let's Demolish the Old Fujio Pro Building!! Exhibition "Hey, Why Did You Come?"
Period | Thursdays, Fridays, Saturdays, and Sundays (including holidays) from Thursday, September 29, 2022, to Sunday, October 30, 2022.
Opening Hours | 11:00 AM - 7:00 PM (Reservations required for 2-hour slots: 11:00 AM-, 1:00 PM-, 3:00 PM-, 5:00 PM-). Maximum stay of 2 hours.
Venue | Former Fujio Pro Building: 1-3-15 Naka-Ochia, Shinjuku-ku, Tokyo
Number of Visitors | 20 people per session
Closed | Mondays, Tuesdays, Wednesdays (However, open on Monday, October 10th, a public holiday).
Admission Fee | 500 yen (tax included)
Participants | EYE, Fujio Akatsuka, Tadanobu Asano, Hajime Anzai, Keiji Ito, KAZ, Takahiro Kawaguchi, Kenichi Kitamura, Tomoo Kimura, Shotaro Kuroda, Tomoo Gokita, Akira Saito, Mitsunori Shiiya, Hisashi Shiriagari, Kintaro Takahashi, Noriya Takeyama, Keiichi Tanaami, Katsuki Tanaka, Keiji Terashima, Yusuke Nakano/Paramodel, Masahiro Nogami, Jun Miura, Katsuhiro Yoshi, Rieko Akatsuka, and others (in Japanese syllabary order).
For details and inquiries about this exhibition, please seehttp://kowasunoda.com/.