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The Gallery Saatchi & Saatchi

by John McGee

Interior view, The Gallery Saatchi & Saatchi (Image courtesy Saatchi & Saatchi)

Inside the ad agency, flitting assistants, whirring computers, and a full shaker of Cuban music whip the atmosphere into a productive frenzy. Against this background, John Merrifield, executive creative director for Saatchi & Saatchi’s Tokyo branch and the man behind the recently opened “the gallery Saatchi & Saatchi,” is talking about his vision like a hyperactive evangelist for the forces of creativity. He simultaneously chats, clarifies, and speculates, unbridled enthusiasm animating the words and ideas bursting from his lips. 

It is all very seductive. But then, he is an ad man. And Saatchi & Saatchi is a giant in the international advertising world, renowned and respected for its innovative spirit. 

Merrifield conceived the gallery Saatchi & Saatchi—part entrance parlor, “playground”, chill out room and, above all, art gallery—“to give young Japanese artists an opportunity to show their work in a public environment in a way that is not profit-oriented.” In a country with limited resources and expensive options for emerging artists, the deal is unbelievable: Free. No commissions, no fees, nothing (although the artists are responsible for the installation of their work). All sales are pocketed by the ecstatic artists. 

Copious natural light floods in through large windows set high in the sweeping curved wall of the quarter circle-shaped, 100 sq. ft., double height gallery space. Nearly half of the back wall is taken up by an enormous glass door displaying a solitary gentleman who sits in an otherwise empty room working on a computer attached to a pole. He’s the president. He looks like the president. But he is also occupying the “entrance” to the company so he could easily be mistaken as a some sort of fancy receptionist. In fact, when I visited, it was the latter function he performed, pointing me toward the design offices. This isn’t one of his regular tasks, the "office muse" just happened to be out when I arrived. Saatchi & Saatchi shun all of the standard forms of announcing visitors—telephones, receptionists, etc.—in favor of Mayumi the marvelous muse who floats around the gallery greeting visitors, directing clients and spinning the music that fills the space.

Merrifield admits he’s not entirely altruistic, when he opened the office here six months ago he wanted himself and his 33 employees to be surrounded by inspiring ideas. In a typical ad agency, this may mean large posters of novel ads. But, as Merrifield likes to remind you, Saatchi & Saatchi is anything but typical. He hopes the changing art will help fuel the agency’s brains, and maybe even work itself into some of their ad campaigns. 

The music, the spirit, and the art—Merrifield sees them all part of an ever changing web of dynamic fascination that will ceaselessly intrigue and lure visitors and clients alike to their little spot of effervescing innovation. But he also clearly hopes the gallery to become a formidable force within the Tokyo contemporary art gallery community. With all the boundless enthusiasm exhibited throughout the building, the gallery promises to be a bold new addition to the city’s cultural landscape.

[Update 2006: This gallery is no longer open.]

©2006 John McGee

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