もう限界！うるっせぇ、傲慢、インポ粗チン、口臭く、奈良美智 FUCK YOU! くたばれ！ I've had enough! Shut up, you arrogant, impotent, small-dicked, stinking-breathed—Yoshitomo Nara, FUCK YOU! Drop dead!
I have an issue with Nara-kun, the Japanese artist of my generation who is actually considered the Number One Artist.
I have to follow him on X because it’s his only channel of communication.
He doesn’t allow any reactions—meaning comments—on his posts.
That’s the last straw. Somehow, he just doesn’t get that he spouts so much bullshit.
For fuck’s sake, Jeez! Not 5, neither 10… a whole bunch of 30 “Fuck” art pieces had been sold by Nara-kun.
That’s fucking insane! Our extremely busy art worker really LOVES to use the word “fuck ya!” as artistic masturbation practice.
同世代の日本のアーティストの中で、事実上ナンバーワンと目されている奈良くんについて、どうしても我慢ならないことがある。
彼との唯一の連絡手段だからX（旧Twitter）をフォローせざるを得ないんだが、彼は投稿へのリアクション――つまりコメント――を一切受け付けていない。
もう、いい加減にしてくれと言いたい。彼は自分がどれほどデタラメなことを垂れ流しているか、全く分かっていないようだ。
まったく、いい加減にしろよ！ 5つや10つどころじゃない……奈良くんは「Fuck」と描かれた作品を、それこそ山ほど売ってきたんだ。
正気じゃないよ！ 超多忙なはずのこのアート界の働き手が、「Fuck ya!」という言葉を、まるで芸術的なオナニーの道具みたいに使うのが大好きなんだから。
奈良美智作「Fuck You」@ SBI アートオークション・カタログ表紙
NARA Yoshitomo’s work “Fuck You” on the cover of the SBI Art Auction catalogue
https://art-culture.world/art-world/nara-yoshitomo-sbi-auction-fuck-you-work/
In this Nara’s 30 times “Fuck-You!-Context”, today let’s communicate with only 1 “FUCK YOU!”.
奈良のこの30回「クソ食らえ」な文脈の中で、今日はたった一つの「クソ食らえ！」だけでコミュニケーションしてみましょう。
もう限界！うるっせぇ、傲慢、インポ粗チン、口臭く、奈良美智 FUCK YOU! くたばれ！
I’ve had enough! Shut up, you arrogant, impotent, small-dicked, stinking-breathed—Yoshitomo Nara, FUCK YOU! Drop dead!
奈良美智 on X、2026年8月28日：
本多勝一さんのような人はそうだろうな、とは思う。しかし、世に成し遂げたことは視覚化されるので、草間さんと同じようなことをしている自分は、この頭だけが大きいような人の批判は頭にくるが笑い飛ばす。歴史上に草間彌生の作品は残るが、本多勝一の批判は決して残らない。草間彌生の成したことは彼のひとつかそれ以上の次元にある。完璧ではない人間がどれだけのことが出来るかにおいて、これだけのことを成した草間さんに対して、本多さんは少しでもこうべを垂れるべきだと思う。
I suppose that is the sort of person HONDA Katsuichi is. However, as one’s achievements in the world are visible to all, I—who am doing much the same as Ms Kusama—find the criticism from such a person, who seems to have nothing but a big head, gets under my skin, rather infuriating, but I simply laugh it off.
KUSAMA Yayoi’s work will endure in history, whereas HONDA Katsuichi’s criticisms certainly will not. What KUSAMA Yayoi has accomplished exists on a plane far above his own. In terms of how much a human being who isn’t perfect can accomplish, I think Honda should bow his head a little to Kusama for having done all this.
https://x.com/michinara3/status/2093050767569772670
本多勝一がいかに有名で、極めて高く評価されている人物であるか、その一例を挙げましょう。
本多氏は、奈良君や故草間彌生の二人を合わせたよりもはるかに多くのことを、日本とその社会のために成し遂げてきたのです！
Let me give you an example of just how famous and highly acclaimed the journalist and author HONDA Katsuichi is.
Honda has accomplished far more for Japan and its society than Nara-kun and the late KUSAMA Yayoi COMBINED!
本多勝一
https://ja.wikipedia.org/wiki/本多勝一
奈良や草間の、子供じみていて幼稚、退屈で愚かな、イラストのような絵画は、人々を愚かで間抜けなものにしてしまう。
「I DON’T MIND, IF YOU FORGET ME 俺の事を忘れてほしい」の超un-cool奈良くんよ、お前は本多勝一に深々と頭を下げるべきだ！
The childish, infantile, boring, idiotic illustration-like paintings of Nara and Kusama make people foolish, stupid.
“I DON’T MIND, IF YOU FORGET ME” – very un-cool Nara-kun, you ought to bow deeply to Honda!
東京、2026年8月28日
亜 真里男 Mario A
1990年、西ドイツに留学中の奈良くん。ドイツ再統一のさなか、西ベルリンと東ベルリンが一つになろうとしていた。「ベルリン――壁のあとで」。社会・文化的に極めて重要なこの時期、デュッセルドルフ芸術アカデミーで奈良くんが描いたのは、子供っぽく、とてつもなくふざけた絵だった。31歳という日本男として！
1990. Nara is studying in West-Germany. German reunification. West Berlin and East Berlin are coming together. “Berlin – After the Wall”. What does Nara paint at the Düsseldorf Art Academy during this significant socio-cultural period? Childish, incredibly silly pictures. As a Japanese man, at the adult age of 31!
Yoshitomo Nara
“Untitled”
1991
Acylic on window glass with wood frame. 107 x 92 x 5 cm. Signed and dated ‘Yoshitomo Nara ’91’. – Traces of studio and minor traces of age.
(Text by Lempertz:)
In 1991, the year in which the work on offer was created, the Japanese artist Yoshitomo Nara was studying at the Kunstakademie in Dusseldorf under A.R. Penck. The influence of his teacher can be discerned in this early work which is reminiscent of a child’s drawing due to its highly simplified, sketch-like execution. It thus contrasts with Naras later paintings which are characterised by a smooth, flawless visual vocabulary.
The feeling of isolation that the young artist experienced, living in a foreign country for several years, and his confrontation with the unfamiliar environment are expressed in his art. In a nonverbal manner, he manages to give the viewer an insight into himself through his paintings and drawings, incorporating childhood memories and the visual vocabulary of Japanese children’s books. Even in his early works, he concentrates on isolated child figures who act in a kind of bubble without a defined environment. While these little protagonists are often characterised by emotions such as being lost, grief or anger, the present work conveys a feeling of optimism and insouciance.
Similar to the Manga comics of his Japanese homeland or street art, Nara repeatedly combines painting with elements of text. In this work, a window with a wooden frame that was adapted as an unconventional picture carrier, also evokes the rough character of street art. Nara’s use of text passages usually stem from rock or punk songs which he listens to during the artistic process. This music is a major source of inspiration for him; key issues such as rebellion and nonconformity are repeatedly found in his painting. In this case, however, he emphasises the pleasure of music and a positive basic attitude: ‘But nothing get[s] me down.’
Catalogue Raisonné
Yoshitomo Nara, The complete works, paintings, sculptures, editions, photographs, Vol. 1, San Francisco 2011, cat.rais. no. P-1991-016
Provenance
Directly from the artist; private collection, Rhineland-Palatinate
https://www.lempertz.com/en/catalogues/lot/1177-1/57-yoshitomo-nara.html
バカ奈良は絶えず「戦争ではなく愛を（Make love, not war）」と叫んでいる。だが、愛ゆえに誰かとセックスしたことなど一度もなく、それゆえ「愛を交わす（making love）」ことの本当の意味も感触も、全く分かっていないのだ。
彼は作品の中で常にナイフを突きつけて人々を威嚇し、誰彼構わず中指を立てて見せる。「お前ら全員、くたばれ（FUCK YOU）！」と。これこそが奈良の戦争なのだ。奈良は傲慢な偽善者である！
Idiot Nara constantly cries out, “Make love, not war.” Yet, he has never once had sex out of love, and consequently, he has absolutely no understanding of the true meaning or sensation of “making love.”
In his work, he is always threatening people by brandishing a knife and flipping the bird at anyone and everyone, shouting, “FUCK YOU!” This is Nara’s war. Nara is an arrogant hypocrite!
お前は2014年に正式に我が国を去った。それ以来、東京を含む日本のアート界の生態系を陰で裏切り、日本のギャラリーを通じて現地のアートシーンに積極的に参加することなど一切していない。ここから出て行け、アメリカへ帰れ（「アイ・ラブ・L.A.」）、この非愛国者め、日本のアート界を破壊する奴め！「クール」な日本人アーティストを気取ってる ＝ お前は笑いものだ！🤣
さっさと失せろ！
You officially left Japan in 2014. Since then, you’ve sneakily betrayed the ecosystem of the Japanese art world—including Tokyo—and have NOT actively participated in the local art scene through a Japanese gallery. Get out of here and go to America (“I love L.A.“), you anti-patriot, you destroyer of the Japanese art world!
Acting like a “cool” Japanese artist?! You’re a laughingstock! 🤣
Get the FUCK OFF!
Get the FUCK OFF!
