“A Space of Independence and Warmth” — An Interview with the Founder of Moon Gallery & Studio, Tokyo

 

 

 

In one of Tokyo’s quiet yet vibrant art districts stands a space defined by gentleness and steadfast conviction — Moon Gallery & Studio.

It is both an independent gallery and an extension of its founder’s artistic sensibility. Founded in 2023 by Tokyo-based artist and Musashino Art University printmaking graduate Yuetong Chen, Moon Gallery embodies an experimental spirit and an openness to cross-disciplinary exploration.

Dedicated to showcasing emerging artists from across the globe, the gallery supports diverse media — from painting and illustration to installation, video work, and performance. Here, art is not an isolated gesture but an active dialogue across cultures: a conversation about the individual, perception, and our connection with the world.

As an artist and curator, Chen bridges creators and audiences with sharp intuition and a quiet yet resilient strength. Her story is also emblematic of many contemporary Asian women artists seeking resonance, identity, and self-determination in a global context.

 

 

 

 

I. On the Gallery and Its Origins

Q1. What prompted you to establish Moon Gallery & Studio in Tokyo?

When I graduated from Musashino Art University, I had initially accepted a job offer. But my professor strongly encouraged me to pursue my dream of starting something of my own — he even gifted me a large copperplate printmaking press. I needed a space to house this heavy machine, which pushed me to begin searching seriously for a studio.

I was fortunate to find a former publishing house — a relatively large space that had been converted into a parking lot after the company closed. It was a size and rent I could manage. What started as a search for a simple studio gradually evolved into the idea of building both a gallery and workspace.

 

Q2. What do you hope Moon Gallery will become?

I hope Moon Gallery remains new, inclusive, and bold.
We host exhibitions of painting and illustration, which sell extremely well — in fact, we are among the best-selling emerging galleries in Tokyo. But we also present video art, installation, and performance, which are more interactive and less commercially driven. I don’t want the gallery’s programming to be dictated solely by market logic; academic and experimental practices must also have space.

To attract people from diverse backgrounds, we host evening talks and gatherings on weekends after gallery hours. Many people feel intimidated by white-cube spaces, but they’re curious about art — these events give them an entry point.

Ultimately, I want Moon Gallery to be a nontraditional space of infinite possibilities, where local residents, scholars, and collectors can meet.

 

Q3. As an independent art space, how do you balance artistic ideals with financial realities?

I control the number of highly academic exhibitions, which tend to generate less revenue. Since Moon Gallery runs year-round without breaks, we host exhibitions every week. Approximately every two months, we include an academically oriented show.

This allows us to support talented artists whose work has not yet been fully absorbed into the market — without overwhelming the gallery with operational pressure.

 

 

 

 

 

II. Curatorial Practice and Artistic Work

Q4. Moon Gallery presents highly diverse forms — from painting to performance. How do you select artists?

Twice a year, we host large open-call exhibitions and invite professional curators to jury the submissions. For regular programming, the gallery operates partly on a rental structure, and I personally review all artworks.

My guiding principle is simple:
If a work convinces me in any of these four dimensions — commercial potential, academic merit, aesthetic quality, or playfulness — it qualifies to be shown at Moon Gallery.

 

Q5. Does your background in printmaking shape your understanding of space or exhibition-making?

In our first year, we presented many exhibitions featuring Chinese printmakers — naturally, my aesthetic inclination was rooted in printmaking, and my social circle mostly consisted of Chinese students from the printmaking departments of Tokyo’s top art universities.

But by the second year, through reviewing artworks and communicating with different artists, I expanded my aesthetic boundaries. We now show artists from China, Japan, Korea, the U.S., Australia, Poland, Egypt, and more. We also experiment with more types of media.

This process has influenced my own artistic practice as well. I began exploring performance and photography — something I never expected. To me, this evolution is one of the happiest parts of running the gallery.

 

 

 

 

 

III. Cross-Cultural Perspectives and Women in Art

Q6. How do you understand “cross-cultural practice,” given your experience working and living in Tokyo?

As a foreigner in Japan, I understand deeply the challenges of creating art in a different cultural environment. Many Japanese people are shy — they often look inside from the doorway but hesitate to enter. When exhibitions feature aesthetics unfamiliar to Japanese audiences, they sometimes question them.

Before each exhibition, I discuss with artists how to make the show more approachable for local visitors — what activities or setups can encourage them to come in. During exhibitions, I help translate conversations and introduce works through references familiar in Japanese culture.

Cross-cultural identity is a double-edged sword:
It makes foreign artists stand out — we differ from the mainstream.
But it also creates difficulty in sales; deep cultural resonance is often required for purchases, and this is harder to achieve.

Interestingly, Chinese culture is quite close to Japanese culture, so Chinese works are often easier to promote locally, while Western works face more challenges.

 

Q7. As a female artist and gallerist, does your identity bring a particular perspective or challenge?

My perspective allows me to understand marginalized groups easily. Besides being a foreign woman and a mother, our gallery team includes a Tokyo University of the Arts graduate who is autistic, a man who loves wearing skirts, and friends from the LGBTQ community. Each of us contributes something unique.

This diversity shapes our approach when selecting artists — we naturally see from many angles.

The challenges come from the outside world.
When communicating with government offices, I’m often questioned about whether I’m truly the company president — whether the “real boss” is actually my husband. When meeting new business partners, older male collaborators frequently express surprise that I am “so young” for this role.

At first, I felt offended. Now, I take it as an unintended compliment — apparently, I still look too young to be trusted (laughs). Instead of dressing more formally to meet their expectations, I prefer to challenge those assumptions simply by existing and being visible. I hope more people will realize that young women can be excellent negotiators and highly trustworthy professionals.

 

Q8. How do you view the current ecosystem for Asian women artists?

Japan’s ecosystem is relatively strong. Students who choose art as early as high school can focus solely on art. University provides ample resources and freedom, and students often hold exhibitions outside campus as part of their education.

Successful female artists can continue creating independently, gaining exposure through numerous fairs, art markets, and affordable rental galleries. Japanese collectors love young artists — they appreciate originality and fresh thinking. Even if market integration is difficult at first, artists can find stable jobs in museums or other fields while continuing to create.

China’s situation is much more challenging. There are very few rental galleries, and major galleries typically only accept established artists, leading to a polarized environment where the already famous exhibit repeatedly and emerging artists rarely receive opportunities.

Low part-time wages also push many art graduates to either endure long periods with no income or leave the field entirely. Collectors in China also tend to prefer already well-known artists, making it even harder for young artists to sell their work.

 

 

 

 

 

IV. Looking Forward

Q9. What upcoming exhibitions or plans does Moon Gallery have?

For Christmas, we are hosting an art market featuring illustrators and independent jewelry designers, along with DJ events inviting artists from China and Ukraine to engage local residents and international visitors.

Next year, our major project is an annual exhibition themed around the moon — expanding the imagination around femininity and lunar symbolism.

The gallery has also been fully booked for months, so we’ve begun expanding.
Our second space recently opened near Senso-ji Temple, and we are preparing an art goods shop in the cultural hub of Kichijoji. The goal is to build a more accessible bridge between art and the public.

 

Q10. What do you hope visitors take away when they enter your space?

Resonance — or disruption.
If viewers find emotional alignment with an artist, that’s wonderful.
If they encounter something shocking or completely unfamiliar, that’s equally valuable.

 

Q11. If you could describe Moon Gallery with one word, what would it be?

Transformation.
I hope the gallery grows with our artists, stays adventurous, never withdraws from society, and never fears vulnerability. I want us to remain as curious and open as the day we first opened our doors — constantly learning, adapting, and discovering new facets of ourselves.

 

 

 

Moon Gallery & Studio is not merely a site for exhibition; it is a space where dialogue, understanding, and emotional resonance come to life. Every visitor encounters the warmth and independent thought behind each artwork, while artists find a platform for cross-cultural exchange and genuine expression.

As Yuetong Chen shows us, art is more than form — it is a way of living, a gesture of courage, and a bridge across boundaries. In the years to come, Moon Gallery will continue nurturing emerging voices and fostering critical conversations around women, art, and creative possibility.