日本の現代アーティスト・トップ 6（2020年） Contemporary artists from Japan, Top 6 (2020)
Contemporary art is constantly in fluxus. 現代アートはいつもイン・モーション（流動）である。
In the context of the global art scene, here is my list for 2020:
Contemporary artists from Japan, Top 6
1. MURAKAMI Takashi 村上隆
2. KUSAMA Yayoi 草間彌生
3. SUGIMOTO Hiroshi 杉本博司
4. LEE U-Fan 李禹煥
5. NARA Yoshitomo 奈良美智
6. MIYAJIMA Tatsuo 宮島達男
As a reference you can compare the new list with the older ones:
Contemporary artists from Japan, Top 10 (2019)
Contemporary artists from Japan, Top 157 (2018)
日本の現代アーティスト・トップ 92 (2017年度)
Contemporary artists from Japan, Top 92 (2017)
日本の現代アーティスト・トップ 68 (2013年度 ー 2016年度)
Contemporary artists from Japan, Top 68 (2013 – 2016)
その他、こちらのリンクへどうぞ、compare with other up-dates:
米国ギャラリー Blum&Poeのアーティスト・リストから外された村上隆 (2019/4/23)
Takashi Murakami Had Been Erased From American Gallery Blum & Poe’s Artists’ List
今日のJapan Times。「村上隆：日本のアート・アウトサイダー、平成時代を定義した、’嫌われた’アーティスト 」。不幸な村上隆、、、(2019/3/14)
Today’s Japan Times. “Takashi Murakami: Japan’s art outsider. The ‘hated’ artist who defined the Heisei Era”. An Unhappy MURAKAMI Takashi…
The Value of Murakami’s Works? An Unhappy MURAKAMI Takashi…
The Man Who Ruined The Japanese Art World? An Unhappy MURAKAMI Takashi…
Ten days ago, art dealer Emmanuel Perrotin (Perrotin Gallery), who works together with MURAKAMI since 1993, explains his view on the actual situation regarding the so-called “bankruptcy” rumours about Murakami’s Kaikai Kiki Co.
GALERIE PERROTIN POP-UP GALLERY
TAKASHI MURAKAMI “ENSŌ”
OCTOBER 31, 2015 – NOVEMBER 21, 2015
Pharrell Visits Takashi Murakami – The 500 Arhats (October 2015)
Takashi Murakami – Arhat Cycle, Palazzo Reale, Milan
Besides Perrotin, Gagosian remains the main representative gallery for MURAKAMI Takashi.
Exhibitions by Takashi Murakami @ Gagosian
TAKASHI MURAKAMI @ GAGOSIAN LONDON
June 27–August 5, 2011
Britannia Street, London
Viewpoints / Openings : Takashi Murakami @ Gagosian Gallery, London
Posted by Patrick Nguyen, August 5, 2011
In the Land of the Dead, Stepping on the Tail of a Rainbow
November 10, 2014–January 17, 2015
555 West 24th Street, New York
Video from March 19, 2019
TAKASHI MURAKAMI AT LACMA
In a conversation with curator Stephen Little recorded at the Los Angeles County Museum of Art, Takashi Murakami describes the process behind three major large-scale paintings. Among the works he discusses is Qinghua (2019), inspired by the motifs painted on a Chinese Yuan Dynasty porcelain vase. Qinghua appears in Murakami’s Beverly Hills exhibition GYATEI².
“psyche” by Kaikai Kiki youtube channel (Mar 24, 2010)
Takashi Murakami x BOME – History of Figure Collaboration Project (July 2013)
ワンフェス2013［夏］の Takashi Murakami×BOME「カイカイキキブース」で、巨大フィギュア「３ｍの女の子」など、現代美術家・村上隆氏による作品を展示してた。ワンフェス史上（たぶん）最大の美少女フィギュア(のおっぱいとお尻)で、椹木野衣さんの感想『彫刻としての物理的脅威と反彫刻的な仮想イメージのギャップが凄い』などがある。
Dealer Marianne Boesky on Remaking Her Gallery, and Learning From the Last Art-Market Crash
artspace 2014/5/3, Andrew M. Goldstein
How did Murakami catch fire?
It was a combination of things. He’s brilliant, and he’s rigorous, and every part of his plan is ruthless. We would train each other. He would come here or I would go to Japan and he would throw questions at me about the art world and art market. He was a ruthless information-seeker because his first goal was to create an art market in Japan for his generation—it wasn’t about and still isn’t about making money and being famous. He was trying to legitimize the art that was being made in his country in his time. In Japan back then, you were an artist if you made nihonga paintings and wore a suit to your studio and made $100,000 a year—then you were approved. His brother is that kind of artist. Murakami wanted the otaku and the manga artists and the people who were being creative in that field to be acknowledged as artists, and in the West that was happening.
So he purely came to show with me here on so that he could launch himself in America, because the Japanese are always glomming onto what the West is doing and always trying to appropriate it and ultimately catch up culturally with the West. He knew that if the West embraced him, they would have to. So he came out with his first show with me and Blum and Poe in America, and he had his version of the St. Pauli Girl with her big bursting breasts and the cowboy and the splash paintings, and it was brilliant.
Why was that first show such an important statement?
Because if you took the sculptures away, the splash paintings were a perfect combination of Pop Minimalism, gestural abstraction, and Hokusai wave paintings—he was capturing 100 years of painting history in these paintings and then putting them in the context of these ridiculously over-the-top sculptures, which were meant to be a commentary on how in the same way that we have stereotypes about the Japanese, they also have stereotypes of us, that we’re all cowboys and St. Pauli Girls. Beer and boobs! [Laughs]
So he just handed it to the audience, and it worked. So that was the beginning, and then the strategic projects he did in Grand Central Station and Rockefeller Center and with Marc Jacobs were all part of a really considered plan. The nos and the yeses of what an artist does is a really important part of their trajectory, and he was like a military strategist.
You also did fantastically well at auction yourself, when you sold Murakami’s My Lonesome Cowboy at Sotheby’s for $15.5 million in 2008, after he was poached by Gagosian, fetching five times his previous record.
Oh yeah, I did do great. I had a partner on that piece, and the timing was spectacular and Alex Rotter did an incredible deal. It was that culminating time in ’08—it was nuts. But I hadn’t represented Murakami for years and I had a partner who wanted out, so the timing was right. I have no qualms. I don’t feel sad. [Laughs]
Michael Shnayerson, May 28, 2019, artnet
“By now, Murakami had begun asking his dealers to underwrite production costs—not for Vuitton bags, but for much of the rest of his work. Blum and Poe knew that Murakami was no spendthrift. He slept in a converted crate in his office, just outside Tokyo, and worked every waking hour, making all design decisions, no matter how small.
The problem was his ambition: it was just so sweeping. They underwrote as much as they could, as did the artist’s other dealers, but when Murakami announced that his next project would be a 19-foot-high platinum and aluminum Buddha, his dealers balked. Boesky was pregnant in 2006, and Murakami, she recalled, didn’t like the timing of that at all. “You’re lactating, you can’t be my business partner,” she recalled him saying.”
Sarah Thornton on Murakami:
Murakami in the Christie’s auction room with art consultant Philippe Ségalot, 2006
November 16, 2006 • New York • Sarah Thornton at Christie’s Post-War and Contemporary Evening Sale
May 15, 2008 • New York • Sarah Thornton at Sotheby’s Contemporary Art Evening Sale
“Facing eighty-three lots, Meyer began by speed-reading the rules. The first few works flew off the block with remarkable efficiency, but it wasn’t until Lot 9, Takashi Murakami’s naked and fully erect My Lonesome Cowboy, 1998, that mouths began to drop. Word had it that dealer Marianne Boesky had consigned the work and that, some time ago, Meyer himself had almost bought the seminal sculpture. (Meyer told me that he’d decided against it because his mother was coming to visit.) The crowd delighted in a virile volley of bids between Philippe Ségalot on the aisle and Sotheby’s Alexander Rotter, who was on the phone with someone who many suspected was Steve Cohen but others thought might be Viktor Pinchuk (although the Ukrainian billionaire usually has a dealer like Larry Gagosian or Jay Jopling bid for him in the room). Eventually, Rotter’s client won the sculpture for $15.2 million, nearly four times its $4 million high estimate. Even Murakami, who was sitting at the back of the room with artist Chiho Aoshima, was wide-eyed with amazement.”
From MoMA collection’s description:
“Mr. DOB functions as an endlessly morphing alter ego of sorts for the artist, appearing in every facet of his production—in or on paintings, sculptures, key chains, and plush toys—reinforcing with each repetition the character’s iconic status.”
MURAKAMI VS MURAKAMI @ Tai Kwun Contemporary, Hong Kong
2019/6/1 – 9/1
村上隆 對戰 村上隆 專訪 MURAKAMI vs MURAKAMI Interview | 大館 Tai Kwun
村上隆 對戰 村上隆 MURAKAMI vs MURAKAMI | 大館 Tai Kwun
see, refer to:
桶田コレクション展 ‘LOVE @ FIRST SIGHT’ @ スパイラル 東京 (2019/4)
Oketa Collection exhibition ‘LOVE @ FIRST SIGHT’ @ SPIRAL Tokyo
Interestingly, artist MURAKAMI Takashi’s art collection can be regarded as excellent and referential. The exhibition in the Yokohama Art Museum 2016 brought much more sympathies by the audience and critical acclaim by colleagues than the solo show “500 ARHAT” at the Mori Art Museum 2015.
2016/1/30 – 4/3 @ Yokohama Museum of Art
Takashi Murakami’s Superflat Collection
―From Shōhaku and Rosanjin to Anselm Kiefer―
村上隆トークイベント 「村上隆のスーパーフラット・コレクション展 ―蕭白、魯山人からキーファーまで―」 横浜美術館
KOIZUMI Meiro wins 2017 Japanese Contemporary Art Transparency Prize
エスプリ・アーティスティック* 小泉明郎、丹羽良徳、折元 立身、グスタフ・クリムト、名古屋 覚
Esprit Artistique* KOIZUMI Meiro, NIWA Yoshinori, ORIMOTO Tatsumi, Gustav Klimt, NAGOYA Satoru
MURAKAMI Takashi’s Instagram account with over 2 million followers
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I have resumed practicing calligraphy these days. My mother loved calligraphy and I trained in it from the age of five through seventeen. In a school of calligraphy I went up to the seventh dan (level), which was one level below the assistant instructor qualification, but I couldn’t maintain my interest. Soon after that, I started going to a prep school to study for art university entrance examinations; I have been in the world of painting ever since. Almost twenty years ago, however, after the 9/11 attacks, I started painting the motif of Daruma (Bodhidharma), and in those paintings I began incorporating some calligraphic elements. Ever since, I have been picking up calligraphy from time to time. My mother is currently eighty-five, and she talks about calligraphy in every other conversation we have. She really loves it dearly. A few weeks ago, I started doing calligraphy on used Chemex coffee filters. I make coffee every morning in the glass coffeemaker so I have been drying the filters afterwards, treating them to stop ink-bleeding, and writing on them. I have many kinds of developmental disabilities, one of which manifests in my inability to throw things away. This can get really challenging. The used coffee filter was one such thing I kept accumulating and I had always hoped to somehow reuse them, so I am very much relieved to have found an occasion to do so with my calligraphy. Right now, I am writing one piece after another to add to this body of work. Another thing I am into these days is to burn white sage while I do calligraphy. translation: @tabi_the_fat 最近、書を再開しています。母親が書道が好きで、僕が5歳から17歳まで書をやらされてました。ある書道の会の7段と言うレバルまで到達し、師範代の一歩手前まで行きましたが、自分的に興味が持続せずやめました。そのすぐ後に美術大学受験専門の予備校に通い始めて、其れからズッと絵の世界です。ですが20年ほど前に911の事件があったとき、達磨の絵を描き始めて、その時、書を絵画の中に取り込むことなどしていました。其れからたまに書にハマります。母親は85歳存命で、僕と話す時2回に1回は書についての話をする程本当に書が好きです。で、数週間前からポチポチ始めたのが、僕が毎日コーヒーケメックスというガラス器で淹れる時に使う、紙のコーヒーフィルターの使い残しを乾かして、滲み止めをして其処に書を書いてます。僕は発達障害のいろんな障害を持っていて、その一つに、物が捨てられないという部分があって、本当に苦しいです。で、使い捨てのコーヒーフィルターも捨てられずに取り置いてて、いつか、再利用したいと思っていたので、今回、書を書くきっかけが掴めて大変ほっとしています。 そんな作品群。兎に角今はどんどん書いています。書を書く時、ホワイトセージを焚くのも最近気に入ってます。
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2 weeks ago Murakami’s posting @ Instagram made huge waves in the global art scene.
Takashi Murakami Announces That His Business Is on the Brink of Bankruptcy in an Emotional New Video Posted to Instagram
The artist’s lavish spending and big-budget sci-fi film could be the cause of his financial woes.
Caroline Goldstein, July 1, 2020
“I’m a silly human being
This spring, I streamed a series of cooking show of a sort on Instagram Live. I’m sure those who watched them were utterly confused, but I was trying to buoy my own thoroughly sunken feelings through these streamings.
With the sudden swoop of COVID-19 pandemic, my company faced bankruptcy and I had to give up on a number of projects, the most symbolic of which being the production of my sci-fi feature film, Jellyfish Eyes Part 2: Mahashankh.”
full text see:
View this post on Instagram
This spring, I streamed a series of cooking show of a sort on Instagram Live. I’m sure those who watched them were utterly confused, but I was trying to buoy my own thoroughly sunken feelings through these streamings. With the sudden swoop of COVID-19 pandemic, my company faced bankruptcy and I had to give up on a number of projects, the most symbolic of which being the production of my sci-fi feature film, Jellyfish Eyes Part 2: Mahashankh. For nine long years, I had persevered! It was a film that was to realize my childish dreams! The enormous budget I poured into this project, as well as my tenacious persistence, put a constant and tremendous stress on my company’s operation for the past nine years. But at the same time, I was able to endure various hardships because I had this project. Faced with the current predicament, however, I was persuaded by both my business consultant and tax attorney that I must, simply must try and drastically reduce our business tax by filing the film’s production cost as tax-exempt expenditure. To that end, I am going to produce and release a series of videos to publicly announce the discontinuation of the film’s production. (To be clear, this is an entirely legitimate procedure—I’m not trying to evade tax!) These videos will be released against the backdrop of our struggle to avoid an economic catastrophe, but perhaps it may have a cathartic effect on the viewers/my followers to see the story of stupid Murakami’s failure. Long story short, I’m a silly human being for whom the moment of bliss is when I am thinking my truly childish sci-fi thoughts. I don’t know how many episodes the series will end up being, but a series it will be, so please come along with me on this journey for a little while.
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is about my painstaking staging of the police forced entry sequence and the reporting on the actual filming. For each scene, I had the exact image in my head of how it should look. We would go location hunting and visit many potential sites before settling on a one, and on the day of the filming, we mobilized as a huge team. Each time, however, we would encounter various troubles such as unexpected weather or a breakdown of a rented car, and we would have to circumvent them in order to achieve the desirable picture. The entire process required such perseverance. When I managed to film a complicated scene, hiring and coordinating a large number of people, I became ecstatic with euphoria, feeling simultaneously the elation of organizing a festival and the nervousness about the huge budget draining out tearing at my heart. This would pushed me into the state of oblivion and before I realized, I had poured an enormous budget into the project. Since I posted Episode 1, a number of media outlets have written articles focusing on my potential bankruptcy. But the truth is that since I have founded my company 20 or so years ago, it has never once had an easy time financially. This is because whenever I have any profit whatsoever, I always inject that money into a new project in order to spread my energy and the possibilities of creative expressions as far and wide as possible. So while I wouldn’t say it’s business as usual, this dire situation is nothing entirely new, either. I am making this documentary series by way of properly expressing my apologies to the countless people who have participated in the production of my film and, as such, I wanted to frankly and truthfully express everything I felt. That is why I went ahead and used the word “bankruptcy” in the episode, which probably didn’t need to be discussed in something I post publicly. On the other hand, thanks to this incident, people now have a better understanding of how seriously I engage in creating my art, so perhaps that was the unexpected benefit for me. Or maybe that’s just sour grapes, because my name now seems to be inextricably associated with the word bankruptcy. Ha ha.
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Compare with Jellyfish Eyes (Part 1)
Jellyfish Eyes | Official Trailer (English Subtitles)
Takashi Murakami Q&A | ‘Jellyfish Eyes’ (Full)
artdaily-news: Murakami’s Kaikai Kiki artists new group exhibition “Healing” @ Perrotin Seoul 2020/7/23 – 9/4
Exhibition explores the multifaceted and eccentric universe that is Takashi Murakami’s Superflat
SEOUL.- Perrotin Seoul is presenting Healing, an exhibition of works –old and new– by Kaikai Kiki artists Takashi Murakami, Mr., MADSAKI, TENGAone, Kasing Lung, Aya Takano, Chiho Aoshima, Emi Kuraya, ob, Otani Workshop, Yuji Ueda and Shin Murata.
In 2 weeks opens the rescheduled group show @ the Mori Art Museum, Tokyo, where Murakami exhibits a.o. his new works:
STARS: Six Contemporary Artists from Japan to the World
How Have They Become Superstars?
2020.7.31 [Fri] – 2021.1.3 [Sun]
* Period has been modified.
Murakami’s friend Madsaki introduces in English some aspects from the new work, be shown in the Mori Art Museum （「英語で言うって」）
Last year’s cool collaboration with Billie Eilish
Billie Eilish – you should see me in a crown (Official Video By Takashi Murakami)
Creative Commons Attribution Noncommercial-NoDerivative Works
photos: cccs courtesy creative common sense