YAMAN NKYMN

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YAMAN NKYMN

YAMAN NKYMN
Born Kyoto, Japan
Nationality Japanese
Known for marketing strategist/ contemporary artist

YAMAN NKYMN (born 1974) is a marketing strategist and contemporary artist based in Kyoto and Los Angeles.[1]

He studied chemistry at Kobe University and began his career as a marketing strategist, working globally in partnership with leading fashion houses including Louis Vuitton, Chanel, and Gucci. As a strategic director, he contributed to the anime film Evangelion: 3.0+1.0 Thrice Upon a Time (2021) reaching ¥10 billion at the box office.

In contemporary art, YAMAN’s practice centers on relational art drawing on chaji—an authentic full Japanese tea ceremony—in which the relationships between host and guests, and time itself, become the work. He juxtaposes chanoyu, manga and anime, and streetwear. His core theme is “Information transmission and its (ingrained) distortion,” and he addresses the syncretism inherent in Japanese culture and the process by which subjective aesthetics shift into objective aesthetics.

Frieze describes YAMAN’s practice as a recodification of culture grounded in the principles of chemistry and characterized by juxtaposed observation and parallel analogy across laws at play in both matter and society—invisible states, relationships, interactions, initial states, and states of equilibrium.[2]

In February 2021, he held a solo exhibition at Hiunkaku, a National Treasure in Kyoto, marking the beginning of his full-scale practice as a contemporary artist. In February 2022, he was invited to participate in the official program of Frieze Week Los Angeles, making his international debut only one year after his first solo exhibition.[3]

In November 2023, he held a solo exhibition at Hōshun-in, Daitokuji Temple. There he presented a work of relational art drawing on chaji, with participants including manga artist Hirohiko Araki, contemporary artist Theaster Gates, and Raku Kichizaemon XVI, the sixteenth-generation head of the Raku family.[1] The following August, he participated in a collaboration at the Mori Art Museum. In November 2024, he held his first solo exhibition outside Japan at The Mercer in New York, followed by another solo exhibition at the same venue in 2025.[4][5]

In June 2026, YAMAN gave a presentation at The Metropolitan Museum of Art (The Met) in New York, his first at a museum outside Japan. As part of the museum’s official program held in conjunction with the exhibition The Infinite Artistry of Japanese Ceramics, he participated in an artist talk alongside Met curator Monika Bincsik and Raku Kichizaemon XVI. Following the talk, he presented a ritual offering of tea titled “蓮葉の 繁る池水 所無み 旅空なる 人が宿さず (NØT) FLASH.”[6][5]

Major Presentations

2021

“陸奥の 安達原の 黒塚に 鬼籠もれりと 言うはまことか (UN)KEEPALL” — Installation / Filming — Hiunkaku, Nishi Hongwanji Temple, Kyoto, Japan

2022

Frieze Week Los Angeles — Public Screening — Rooftop in Downtown Los Angeles, USA

2023

“(跡見:) 追儺 黒節分 / (Atomi:) WHITE2BLACK” — Solo Exhibition — Hōshun-in, Daitokuji Temple, Kyoto, Japan

2024

“Beauty and Generosity between us, not division” — Theaster Gates × SABIÉ Collaboration — Mori Art Museum, Tokyo, Japan

“(跡見:) 黒節分 / (Atomi:) WHITE2BLACK ∈ DIVISION” — Solo Exhibition — The Mercer, New York, USA

2025

“一陽来復 / BLACK2WHITE ∈ NEWTYPE” — Solo Exhibition — The Mercer, New York, USA[5]

2026

“Curator and Artist Talk—The Infinite Artistry of Japanese Ceramics” — Official Public Program: Artist Talk and Presentation — The Metropolitan Museum of Art, New York, USA[6]

List of works

“POLYPTYCH - NOEL 2012” commissioned by CHANEL (2012)

“POLYPTYCH - NOEL 2013” commissioned by CHANEL (2013)

“GU TimeLine” commissioned by FAST RETAILING CO., LTD. (2014)

“POLYPTYCH - COCO SHOOT” commissioned by CHANEL (2015)

“From New York to Tokyo” commissioned by GUCCI (2015)

“LAST PHOTOBOOTH - LOUIS VUITTON × Jake & Dinos Chapman” commissioned by LOUIS VUITTON (2017)

“TAMBOUR HORIZON” commissioned by LOUIS VUITTON (2017)

“THE ARCADE” commissioned by COACH (2018)

“陸奥の 安達原の 黒塚に 鬼籠もれりと 言うはまことか (UN)KEEPALL” (2021)

“陸奥の 安達原の 黒塚に 鬼籠もれりと 言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0” (2022)

“年ごとに 人はやらへど 目に見えぬ 心の鬼は ゆく方もなし WHITE2BLACK 11072023” (2023)[5]

“Beauty and Generosity between us, not division / 私たちの間にあるのは分断ではなく、美と寛容である” produced by SABIÉ, in collaboration with Theaster Gates (2024)[7][5]

“年ごとに 人はやらへど 目に見えぬ 心の鬼は ゆく方もなし WHITE2BLACK 11062024” (2024)[4]

“冬の夜を ひとり寝覚に おきたれば おなじ心に 雁も啼くなり BLACK2WHITE 12222025” (2025)[5]

“蓮葉の 繁る池水 所無み 旅空なる 人が宿さず (NØT) FLASH” (2026)[5][6]

Works

陸奥の 安達原の 黒塚に 鬼籠もれりと 言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0

年ごとに 人はやらへど 目に見えぬ 心の鬼は ゆく方もなし WHITE2BLACK 11072023[5]

This work of relational art, drawing on chaji, an authentic full Japanese tea ceremony, was presented at Hōshun-in, Daitokuji Temple, in Kyoto from October 31 to November 8, 2023. The chaji 追儺 黒節分 / WHITE2BLACK was held by invitation only on October 31, November 4, and November 7, with three guests invited on each date. The exhibition 跡見: 追儺 黒節分 / Atomi: WHITE2BLACK drew on the atomi associated with chaji and was by advance reservation only on November 3, 5, and 8, with attendance limited to 27 people each day. The principal guests at the three chaji were, respectively, contemporary artist Theaster Gates, manga artist Hirohiko Araki, and Raku Kichizaemon XVI, the sixteenth-generation head of the Raku family.

The central theme was “Information transmission and its (ingrained) distortion.” YAMAN treats “distortion” as both good and evil. He considers transmitted information to contain some form of distortion and holds that, as such distortion becomes ingrained over time, distinguishing “historical fact” from “official history” becomes difficult. The work questions the possibility that the will of victors, those in power and the establishment, i.e. the majority, may intervene in this process. It takes as its subject Sen no Rikyū’s practice of tea, which has been transmitted and inherited for approximately 450 years.

YAMAN juxtaposed Oni, Sugawara no Michizane, and Astro Boy with Sen no Rikyū, linking them all as “dissidents.” He also referenced the 1999 American film American Beauty as a catalyst carrying a structural language from outside Japan. He interpreted the film as “a story of finding a distinctly American form of wabi-sabi and of the protagonist parting from the world at the moment of enlightenment,” and read it in parallel with Sen no Rikyū.

In the waiting room, YAMAN displayed the two-meter-tall Buddhist sculpture of an Oni used in (UN)KEEPALL; in the usucha (thin matcha) setting, he displayed an animation cel and a child’s rice bowl from Astro Boy. YAMAN regarded Astro Boy as one of the “dissidents”: although capable of emotion, Astro Boy is not permitted under the Three Laws of Robotics either to compete with or fight humans on equal terms and is subjected to discrimination. The cel and bowl have also been used in subsequent works.

年ごとに 人はやらへど 目に見えぬ 心の鬼は ゆく方もなし WHITE2BLACK 11062024[4]

This work of relational art, drawing on chaji, an authentic full Japanese tea ceremony, was presented at The Mercer in New York from November 6 to 9, 2024. The chaji 黒節分 / WHITE2BLACK ∈ DIVISION was by invitation only from November 6 to 8, with three guests invited each day. The exhibition 跡見: 黒節分 / Atomi: WHITE2BLACK ∈ DIVISION drew on the atomi and was by advance reservation only on November 9, with attendance limited to 81 people.

Continuing the theme “Information transmission and its (ingrained) distortion,” the work juxtaposed chanoyu culture with anime culture, focusing on the shift from subjective aesthetics to objective aesthetics in the rise and decline of cultures.

YAMAN considers chanoyu culture to have matured through Sen no Rikyū’s subjective aesthetics and, with the centenary memorial for Rikyū as a turning point, to have shifted toward objective aesthetics centered on the question, “What would Rikyū do?” By contrast, he views the subjective aesthetics of anime culture, which formed in isolation from society, as having deepened the culture’s separation from society in the wake of the 1989 Tsutomu Miyazaki case. He sees Neon Genesis Evangelion as having emerged to break that impasse, after which anime culture shifted toward objective aesthetics as global niche-mass content. On this basis, he asks whether contemporary chanoyu culture and anime culture are nothing more than “forms” that can be learned.

Drawing on a Shinto-inflected worldview, YAMAN attempted to create a simulated experience of the lost subjective aesthetics through a three-and-a-half-hour chaji comprising kaiseki, koicha (thick matcha), and usucha (thin matcha). As catalysts, he referenced elements from a period when relational art was particularly active, including the 1999 American film American Beauty, the 1990s anime series Sailor Moon S and Neon Genesis Evangelion, and Martin Margiela’s Spring/Summer 1990 collection.

冬の夜を ひとり寝覚に おきたれば おなじ心に 雁も啼くなり BLACK2WHITE 12222025[5]

This work of relational art, drawing on chaji, was presented at The Mercer in New York from December 13 to 15, 2025. It was presented in 一陽来復 / BLACK2WHITE ∈ NEWTYPE, a chaji that also served as a solo exhibition. The invitation-only event was held over three days for three guests each day and introduced poetry reading into the conventional structure of chaji.

Continuing the theme “Information transmission and its (ingrained) distortion,” the work examined chanoyu culture and anime culture in juxtaposition and presented “primordial syncretism” as a model of cultural formation running through Japanese culture in both the early modern and modern periods. Comparing this model with syncretism in postcolonial contexts, the work asks whether structures that enable heterogeneous elements to coexist may be overwritten and erased by expansionism and the prioritization of efficiency, which drive contemporary society.

As one example, YAMAN took the view that, in the Roman Empire before the end of the fourth century, the religions and cultures of territories under its rule coexisted syncretically within a polytheistic worldview, while the expansion of the empire and the demands of efficient governance eventually gave rise to pressure for religious and cultural uniformity. He thus juxtaposed the richness of syncretism with its inefficiency.

YAMAN regards chanoyu as a crystallization of religious and cultural syncretism and locates its point of origin in Sen no Rikyū’s syncretic editing, guided by subjective aesthetics. He used chaji as a device that mirrors the plurality and inefficiency that contemporary society is gradually losing.

From anime culture, which was likewise formed through syncretism, YAMAN referenced Mobile Suit Gundam. He presented the “Newtype” as a counter-image to homogenization driven by expansionism and efficiency, showing how society defines and excludes minorities or absorbs them as possibilities for the future.

蓮葉の 繁る池水 所無み 旅空なる 人が宿さず (NØT) FLASH

Collaborative Works

Beauty and Generosity between us, not division / 私たちの間にあるのは分断ではなく、美と寛容である[7]

This work of relational art, a collaboration between SABIÉ and Theaster Gates, was presented on August 6, 2024, in the galleries of the Mori Art Museum exhibition Theaster Gates: Afro-Mingei, and at a dedicated venue. YAMAN was responsible for planning the work and served as one of its hosts alongside Gates and Reijiro Izumi, who heads SABIÉ.

Making use of the exhibition’s layout and artworks, the work followed the ritual protocol of chaji, unfolding in the order of machiai (waiting room), kencha (a ritual offering of tea), mukaetsuke (the host’s greeting of the guests), kaiseki, and chaseki (the tea session). During mukaetsuke, Gates, one of the hosts, entertained the guests using a DJ booth included in the exhibition.

During the chaseki, under the concept of transforming “division” into “beauty” and “generosity,” the three hosts and nine guests prepared tea for one another in an attempt to dissolve the boundary between hosts and guests.

THE ULTIMATE OTHER[3]

Produced by Frieze Studios and released on Frieze.com on May 5, 2022, the short film follows the making of YAMAN NKYMN’s work “陸奥の 安達原の 黒塚に 鬼籠もれりと 言うはまことか (UN)KEEPALL (1.0: 1.0, 1.0, 1.0, 1.0) 1.0.”[3]

In addition to YAMAN, the film features actress Tao Okamoto, model Fernanda Ly, gallerist Kibum Kim, and Shouei Takeda, Head Regent of Nishi Hongwanji Temple. It examines (UN)KEEPALL and its theme of minority issues in the context of the rise in anti-Asian hate in the United States during the COVID-19 pandemic.[3]

YAMAN focuses on the dual meaning of Oni in Japanese folklore: both “the plague itself” and “that which wards off plague.” He aligns Oni with a definition of the vulnerable that human beings distort and exploit for their own purposes. He further connects pandemic-era anti-Asian hate to the contradiction whereby Asian Americans, although themselves a minority, are scapegoated even while being regarded as a “model minority.”

YAMAN characterizes his work not as material but as ritual. He identifies the Buddhist sculpture in the Kei-ha school tradition, Hiunkaku, a National Treasure, and the Heian-period waka used in the title as elements that render the ritual authentic. He also treats Quentin Tarantino’s Kill Bill as a representation of Asian culture from a Western perspective, while suggesting that Tarantino’s love for it as an otaku may have kept the representation from becoming discriminatory. Okamoto describes discrimination as “a state in which the balance between love and fear tips toward fear,” while Kim and Ly discuss the value of Asian people and their culture in American society, as well as how the majority seeks to incorporate that culture and even its structures.

Career

Early activities and marketing

YAMAN was born in Kyoto in 1974. After attending Rakunan High School, he graduated from the Department of Applied Chemistry, Faculty of Engineering, at Kobe University. He worked in the product-planning department of a manufacturer while concurrently serving as a brand manager, completed designated coursework at GLOBIS Management School, and was also active as a VJ. In 2005, at the age of 30, he began working independently.[8]

In 2007, he founded dressing Inc., a digital agency specializing in fashion, and served as its president until 2017. He began providing social-media consulting services in 2008, with clients including MARK STYLER, WORLD, and Sanyo Shokai. In 2011, he joined SoftBank Academia as a member of its inaugural external cohort and studied under Masayoshi Son.[9][10]

In 2012, YAMAN started content production and undertook commissioned work primarily for international luxury brands. For Fast Retailing’s “GU TimeLine,” he was involved in planning and production and in operating it for two and a half years, growing the project until it accounted for 20 percent of GU’s total online sales. In 2016, he presented the strategic model “Single, Powerful Content for Multiple Channel,” in which a single core piece of content is optimized for distribution across multiple channels, at DECODED FASHION TOKYO.[11][8][12]

In 2017, he established screamlouder Inc. (株式会社スクリイム・ラウダア) in Los Angeles. In his own projects, he also produced content for outdoor digital screens, magazine collaborations, and television programs, while planning promotions using social media. WWD JAPAN described him as “a front-runner in social-media strategy” and “a leading authority on digital initiatives.”[9][13]

In 2019, YAMAN joined Evangelion: 3.0+1.0 Thrice Upon a Time as a strategist. In 2020, he and Hideaki Anno established YamAnno Inc., serving as its co-representatives. In July 2021, the film surpassed ¥10 billion at the box office, approximately twice the revenue of the preceding installment. It was the first film in the Evangelion series to reach that figure, as well as the first film directed by Anno to do so. Anno thereby became the sixth director to have a Japanese film surpass ¥10 billion at the box office. For Toei, one of the film’s co-distributors, it was also the first film to pass that threshold.[14][15][16][17]

As a contemporary artist

Before beginning his full-scale artistic practice, YAMAN contributed on-site reports on Dismaland, the Venice Biennale, and documenta 14 to VOGUE JAPAN between 2015 and 2017.

In February 2021, he held his first solo exhibition at Hiunkaku, a National Treasure, marking the beginning of his full-scale practice as a contemporary artist. The work was produced in collaboration with Nishi Hongwanji, Myokei Matsumoto, a master Buddhist sculptor working in the Kei-ha school tradition, and Tezuka Productions. Subsequently published critiques of the work included those by Hirohiko Araki, Moyoco Anno, Hitoshi Ishihara, Masahiro Yoshitake, Miho Matsuura, Akira Senju, and Shinichi Osawa.[18]

YAMAN made a film version of the work, staging and filming successive screenings on the digital billboards at Shibuya Scramble Crossing during Japan’s state of emergency, at the Théâtre Édouard VII in Paris during lockdown, and at two Kill Bill filming locations: the American Cement Building in Los Angeles and the site commonly known as the “Kill Bill Church” in Hi Vista, Los Angeles County. In January 2022, he released a moving-image work assembled from this sequence of public activations. The following month, it was screened as part of the official program of Frieze Week Los Angeles. At the Chateau Marmont in West Hollywood, a screening limited to 36 attendees, in reference to the Thirty-Six Immortals of Poetry, and a premiere dinner hosted by Frieze were held.[19]

In November 2022, YAMAN presented the study “年ごとに 人はやらへど 目に見えぬ 心の鬼は ゆく方もなし WHITE-TO-BLACK 11062022,” drawing on chanoyu culture.

In February 2023, he was appointed creative director of SABIÉ, a cultural initiative founded in 1992 by Masakazu Izumi, the second son of Hōunsai, the fifteenth-generation grand master of the Urasenke school, to examine chanoyu culture in the contemporary era and communicate its essence.[20]

From October to November 2023, YAMAN held a solo exhibition at Hōshun-in, Daitokuji Temple. He developed the previous year’s study into a relational artwork comprising a chaji, and an atomi exhibition that presented the traces of the chaji to the public. The work incorporated black Raku tea bowls by the first-generation master Chōjirō and by Nonkō, as well as an animation cel from Osamu Tezuka’s Astro Boy.[1]

Theaster Gates’s participation in the Hōshun-in exhibition led to a collaboration between Gates and SABIÉ in August 2024, staged within the Mori Art Museum exhibition Theaster Gates: Afro-Mingei. YAMAN was responsible for planning the work and served as one of its hosts.[7]

In November of that year, he held his first solo exhibition outside Japan at The Mercer. He transposed the two-layer structure of chaji and atomi developed in Kyoto to New York. The exhibition took as its subject the transition from subjective aesthetics to objective aesthetics in chanoyu culture and anime culture, together with the division arising from that transition.[4]

At a solo exhibition at the same venue in December 2025, YAMAN reversed WHITE2BLACK to BLACK2WHITE and introduced poetry reading into an invitation-only chaji without an atomi component. While retaining “Information transmission and its (ingrained) distortion” as its core theme, the work broadened its focus to “primordial syncretism” as a model of formation of Japanese culture and to the plurality lost in the course of expansion and increasing efficiency.[5]

On June 7, 2026, he extended this practice to The Metropolitan Museum of Art (The Met). He participated in the museum’s official program “Curator and Artist Talk—The Infinite Artistry of Japanese Ceramics,” where he spoke on a common model of cultural formation shared by chanoyu, anime, and streetwear, and the contemporary reception of the tea ceremony. At the conclusion of the program, he presented a ritual offering of tea to gods, carrying forward his established practice of relational art.[5][6]

Appearances, Talks, and Contributions

Television

  • SENSORS — Nippon TV — 2015[21]

Talks

  • DECODED FASHION TOKYO — Tokyo American Club — 2016[12]
  • ad:tech kyoto 2017 — Keynote Speech, Miyako Messe — 2017[22]
  • NewsPicks × Academyhills — Roppongi Academyhills — 2018[23]
  • FASHION WORLD TOKYO — Tokyo Big Sight — 2018[24]

Contributions

  • バンクシーの「Dismaland」に訪れた、ナカヤマン。によるスペシャルレポート！ [YAMAN NKYMN’s special report from Banksy’s Dismaland] — VOGUE JAPAN — 2015
  • 開催中のヴェネチア・ビエンナーレ、今年のみどころを早速レポート。 [A first look at this year’s highlights from the Venice Biennale.] — VOGUE JAPAN — 2017
  • ダミアン・ハーストの“虚構”から何を感じるか？ ヴェネチア・ビエンナーレをナカヤマン。が行く。 [What can we take from Damien Hirst’s “fiction”? YAMAN NKYMN visits the Venice Biennale.] — VOGUE JAPAN — 2017
  • ５年に一度の「ドクメンタ14」から見えた、魅力的作品とギリシャの現実。 [Compelling works and the realities of Greece, as seen at the quinquennial documenta 14] — VOGUE JAPAN — 2017
  • ナカヤマン。が追跡する２度目の“Banksy Does New York” [YAMAN NKYMN tracks the second “Banksy Does New York”] — FAST GROW — 2018

Interviews

From Kyoto to ‘Kill Bill’, YAMAN’s ‘(UN)KEEPALL’ Examines Cultural Transmission as Distortion

Marketer and Contemporary Artist, YAMAN will hold the third performance of his world tour in Paris

References

  1. ^ a b c TEAM, TOKION EDITORIAL (22 December 2023). “現代アーティスト・ナカヤマン。インタヴュー Vol.1 - TOKION”. TOKION - カッティングエッジなカルチャー＆ファッション情報. Retrieved 12 April 2024.
  2. ^ “From Kyoto to ‘Kill Bill’, YAMAN’s ‘(UN)KEEPALL’ Examines Cultural Transmission as Distortion | Frieze” (in English). www.frieze.com. Retrieved 9 May 2022.
  3. ^ a b c d “‘The Ultimate Other’: Art Against a Rising Wave of Anti-Asian Hate | Frieze” (in English). www.frieze.com. Retrieved 9 May 2022.
  4. ^ a b c d “茶の湯を現代に接続する現代美術家ナカヤマン。の試みTHE CONCEPT spin-off｜THE KYOTO｜京都新聞”. THE KYOTO. Retrieved 25 February 2025.
  5. ^ a b c d e f g h i j k 大塚葉 (18 August 2026). “現代美術家ナカヤマン。 茶の湯を現代アートで再構築”. 日経BOOKプラス. Retrieved 7 September 2026.
  6. ^ a b c d “Curator and Artist Talk—The Infinite Artistry of Japanese Ceramics” (in English). The Metropolitan Museum of Art (7 June 2026). Retrieved 7 September 2026.
  7. ^ a b c ““茶会”であり“リレーショナルアート”。森美術館で行われたシアスター・ゲイツのクローズドイベントをレポート”. Tokyo Art Beat. Retrieved 25 February 2025.
  8. ^ a b ルイ・ヴィトンやグッチ、GUの仕掛け人が語る「SNS戦略に悩む時点で周回遅れ」　ビジネス＋IT 6 February 2017
  9. ^ a b “SNS戦略のトップランナー、ナカヤマン。が語る「インフルエンサー時代」の未来”. WWDJAPAN (6 June 2017). Retrieved 18 December 2021.
  10. ^ ビジネスリーダーが描く、キャリアとビジネス 第2回「好きなことしかやらない。」　ALPS CAREER Retrieved 6 June 2018.
  11. ^ “【ナカヤマン。独占インタビュー】デジタル施策のトップランナーとしてad:tech登壇決定。ファッション業界から初のキーノート・スピーチ選出。| vol.2 - TERMINAL MAGAZINE（ターミナルマガジン）”. TERMINAL MAGAZINE. Retrieved 18 December 2021.
  12. ^ a b 【レポート】“SNS 戦略最前線”では何が起きているのか？ −「Decoded Fashion Tokyo summit 2016」を振り返る　DiFa 5 December 2016
  13. ^ 世界ブランドが受け入れた日本人クリエイターの思考とは。ナカヤマン。×川添隆が語るデジタル戦略の本質　FASTGROW 19 December 2017
  14. ^ “マーケター、現代アーティストのナカヤマン。が、世界巡回展の第3弾をパリで開催 - TOKION”. TOKION - カッティングエッジなカルチャー＆ファッション情報 (19 May 2021). Retrieved 18 December 2021.
  15. ^ “『シン・エヴァ』興収102.2億円突破で終映 有終の美に公式「本当にありがとうございました！！」”. ORICON NEWS. Retrieved 20 December 2021.
  16. ^ “https://twitter.com/toei_pr/status/1414857156168351744”. Twitter. Retrieved 9 May 2022.
  17. ^ “エヴァンゲリオン公式サイト News”. www.evangelion.jp (13 July 2021). Retrieved 24 June 2025.
  18. ^ “「LV」などのデジタル施策を手掛けたナカヤマン。が巡回展 東京や京都で”. WWDJAPAN (15 February 2021). Retrieved 12 December 2022.
  19. ^ “現代アーティストのナカヤマン。が米国でパンデミックとアジアン・ヘイトを題材に作品を発表” (in Japanese). ADFウェブマガジン｜ADF Web Magazine (7 March 2022). Retrieved 17 December 2022.
  20. ^ TEAM, TOKION EDITORIAL (28 February 2023). “現代芸術家・ナカヤマン。と「茶美会文化研究所」二代主宰・伊住禮次朗が共同で茶懐石を元にしたパフォーマンスアートを発表 - TOKION”. TOKION - カッティングエッジなカルチャー＆ファッション情報. Retrieved 3 March 2023.
  21. ^ インスタグラム×ファッション!世界が認めた日本人プロデューサー　SENSORS 9 October 2015
  22. ^ AD:TECH KANSAI KEYNOTEレポート(2)ワコール 猪熊敏博氏・スクリイム・ラウダア ナカヤマン。氏　TECHWAVE.jp 2 August 2017
  23. ^ NewsPicksプロピッカーが語る最先端 第1回「SNSとデジタル戦略」　academyhills 15 January 2018
  24. ^ 売上とブランディング、SNSで二兎を得るデジタル戦略　FASHION WORLD TOKYO 4 April 2018