オススメ展覧会：村上隆エディション展「JAPONISME → Cognitive Revolution: Learning from Hiroshige」@ カイカイキキギャラリー (麻布) Worth seeing: Takashi Murakami Edition Exhibition "JAPONISME → Cognitive Revolution: Learning from Hiroshige" @ Kaikai Kiki Gallery (Azabu)

国内外に活動するネオジャポニズムのアーティストとして、村上隆くんが時折私の作品群を模倣したり、そこからインスピレーションを得たりすることは、光栄に感じています。
彼が模倣していることは周知の事実です。
むしろ、東京での40年にわたる私のアート・プラクティス が、他の日本のアーティスト/アートワーカーに多大な影響を与え、今もなお与えていることを裏付けるものであり、私がトレンドセッターであると認められている証であると言えます。
ニューヨークのガゴシアンでの成功展覧会に続き、日本のオーディエンスは今、村上のジャポニスム作品群とその背景にある美術史的概念を鑑賞する機会を得ています。
カイカイキキギャラリーで開催中の展覧会は多くの来場者で賑わい、展示作品は適正価格でコレクターの手に渡っているようです。　
亜 真里男と村上隆の概念的アイデアは、ここで興味深く刺激的な交差点を形成しています。
中国や韓国の現代アーティストを例に挙げると、我々のジャポニズムの洗練された独創性が特に明らかになります。
私たち双方にとって、こうした便宜主義は日本の美術史に参入したいという願望に資するものであり、
まさにこの強い美術史的文脈においてこそ、アート実践は自己省察の瞬間――例えばジャポニズムにおいて――や批判的距離を育み、それによって一定の操作的自律性を生み出すのです。

東京、令和8年1月20日
亜 真里男

As an artist working within the Neo-Japonisme movement both domestically and internationally, I feel honoured that MURAKAMI Takashi occasionally imitates my body of works or draws inspiration from them.
It is common knowledge that he imitates.
Rather, it confirms that my 40 years of artistic practice in Tokyo has had and continues to have a strong influence on other Japanese artists / art workers, and that I am therefore considered a trendsetter.
Following his successful exhibition at Gagosian in New York, Japanese audiences now have the opportunity to appreciate Murakami’s Japonisme body of work and the underlying art-historical concepts behind it.
The exhibition currently at Kaikai Kiki Gallery is bustling with visitors, and the works seem to be finding their way into collectors’ hands at fair prices.
The conceptual ideas of Mario A and MURAKAMI Takashi form a fascinating and stimulating intersection here.
When we refer to Chinese or Korean contemporary artists, the sophisticated originality of our Japonisme becomes particularly clear.
For both of us, this kind of expediency serves our desire to enter into Japanese art history.
It is precisely within this strong art-historical context that art practice cultivates moments of self-reflection – as in Japonisme, for instance – and critical distance, thereby generating a certain degree of operational autonomy.

Tokyo, 20th of January 2026
Mario A

村上隆エディション展 Takashi Murakami Edition Exhibition “JAPONISME → Cognitive Revolution: Learning from Hiroshige”
カイカイキキギャラリー Kaikai Kiki Gallery
2025.12.19 – 2026.01.29
https://www.kaikaikiki.com/exhibitions/6038/
https://www.kaikaikiki.com/en/exhibitions/6038/

Update 2026/1/29

takashipom

At Kaikai Kiki Gallery in Tokyo, we are currently holding a print version of the JAPONISME → Cognitive Revolution: Learning from Hiroshige exhibition, which was presented last year at Gagosian Gallery in New York.

The exhibition closes today, and yesterday I received a photo from the gallery staff of my mother, Itsuko, making a surprise visit to see it. It was a deeply emotional image; I wish I could have been there with her.

One of the reasons I ended up becoming a painter goes back to the great boom in large-scale art exhibitions in Japan in the 1960s, only about fifteen years after the end of World War II. Perhaps it was part of the nation’s attempt to overcome the trauma of war.
Rather than proper museum facilities, department stores would set up makeshift spaces they called “art museums,” borrowing large numbers of works, such as Impressionist paintings, from overseas to hold exhibitions.

My family would go together to these shows 3 or 4 times a year, to see exhibitions of my parents’ favorite artists such as Renoir, Monet, and Goya. There, my parents would enthusiastically explain things away to my brother and me. I don’t remember a thing about what they told me, and as a child I hated being dragged to these events. I wondered why they wouldn’t take us instead to Ultraman shows or amusement parks, and I came to resent art appreciation.

My most vivid memory is the Goya exhibition at the National Museum of Western Art. We had to wait in line for 3 or 4 hours before entering, and when we finally stepped inside, we were immediately confronted with disturbing paintings. I was so affected that I couldn’t sleep at night, carrying a kind of trauma from the experience.

And yet, life is strange. Those very traumas ended up forming the foundation that later supported my path to becoming a painter.

It made me very happy that, while my mother Itsuko is still alive, I was able to show her my work on the concept of cognitive revolution in Japonisme—especially the piece inspired by Monet’s La Japonaise, which she loves so much. I found myself thinking that perhaps she felt at least a little proud that I became an artist.

Today is the final day of this exhibition.
https://www.instagram.com/p/DUEeCvKE339/?img_index=1
(end of update)

TAKASHI MURAKAMI
JAPONISME → Cognitive Revolution: Learning from Hiroshige
May 8–July 11, 2025

West 21st Street, New York
https://gagosian.com/exhibitions/2025/takashi-murakami-japonisme-cognitive-revolution-learning-from-hiroshige/

Refer to 参照:

日本現代美術のトレンドセッター 亜 真里男「Gogh, Kiyoshiro & Me (Summertime Blues – Tokyo 2020) 」2016年 対 村上隆のジャポニスム展 2025年
The Trendsetter in Japanese Contemporary Art Mario A “Gogh, Kiyoshiro & Me (Summertime Blues – Tokyo 2020)” 2016 vs. Takashi Murakami “Japonisme” @ Gagosian New York 2025
https://art-culture.world/art-world/gogh-kiyoshiro-me-summertime-blues-tokyo-2020-mario-a/