Светлана Николаева

Такаси Мураками Инстаграм фото

Merry Christmas to all of you ! From My studio. photo: @tagawajunringo

本日より、「バカな家族の狂詩曲（ラプソディ）：村上福壽郎、隆、裕二」展、父、兄、弟の3人のアホ家族展を始めます。「家族」とは、生殖可能なカップルが〈つがい〉になって子づくりをし、育てたり、育てられなかったり、いろいろあって、血縁関係の切れない縁（えにし）が出来てしまって、その別れられない関係故に愛憎が積層する人間同士の物語の構造を指し示しています。家族毎に脱力ヘトヘトになるような物語があって、それが渦巻くのがこの世というもの。私が所属する村上一家にも物語はありますが、それほど、どろどろしているわけでもなく、ドラマ的には薄いのですが、ひとつ他の家族と違うのは、造作作品が大量に存在するということなのです。父が福壽郎、母がイツ子。そして長男が僕、隆で、次男が裕二です。４人家族。父はタクシードライバーをやっていて、母は専業主婦で、僕が中学高校の頃は、家計を助けるために、母はパートで働いていました。父は75歳で引退しましたが、自分のために趣味でせっせとつくり続けたガラクタを溜めに溜めており、妻のイツ子はその積層した作品群を疎ましく思い、「こんなのもう捨ててしまいたい！」と不満に思うも、まぁ、そこは長年連れ添った夫婦ゆえ、ぐっと我慢して、破棄を踏みとどまり、福壽郎の部屋はガラクタで埋まってゆきました。夫婦円満を願う息子の私は、2010年に中野ブロードウェイの中で小さなギャラリーを始めていて、そこでは何をやっても許されるということで、開催の動機と展覧会の内容が最低でもいいから、福壽郎のガラクタを展示販売したのです。すると、面白がった、カイカイキキ周辺の知人たちがそれらを安価とは言え、購入してくれ、ほぼ完売。そして、他のギャラリーからも展覧会への出品のお誘いを受け、御茶ノ水の陶芸とイラスト専門の画廊、トライギャラリーでの2人展や、僕がデビューした大阪の現代美術画廊、青井画廊でグループ展もやったりして、そこでも、好評を得てしまいました。福壽郎はその事態を喜ぶかというと、2回目の展覧会が終わった頃にアルツハイマーを発症し、夫婦円満という文脈から、介護へとフェーズが移って行き、その環境に疲弊したイツ子が脳梗塞で倒れてしまい、2人とも介助施設に入って生活するに至っています。そろそろ福壽郎の死期も近かろう、と僕が勝手に思い込み（まだ生きてます）、評判の良かった作品たちを撮影し、まとめて作品集をつくって、村上一家の墓碑としようと思い、宮村周子さんと高橋実和さんに編集構成をお願いして、デザインは僕のNY時代の旧友であり、アート本の専門的なデザイナーの後藤隆哉さんの事務所で構築し、約2年の月日をかけて美麗な作品集をつくり上げました。中の福壽郎のポートレイトは鈴木心さんが撮影してくれていました。出来上がった画集を見た人たちが、これまたみんな感動してくれて、本を俯瞰する展覧会をやってみてはどうよ？と言ってくれ、今どきの、高齢になったときの生き方における不安や共感などが綯い交ぜになってて、俗に言う感動ポルノというジャンルになるのかもしれないけれども、村上一家の恥部を見てもらうのも、芸術鑑賞のひとつの在り方かもなぁ〜と考えて、本の販売促進も含めて、展覧会、やることにしました。展示作品は、福壽郎のつくった小物たちがメインで、僕と裕二の作品も申し訳程度に展示します。福壽郎の作品は、日々の生活のなかでつくった小道具など趣味の創作が主体ですが、そもそも、造形の出発点は僕らが産まれた板橋区坂下三丁目の下町で、北九州から仕事を求めて上京してきた若い夫婦が行う子育ての貧困のなか、僕ら兄弟に、かまぼこにくっついている木の台座を溜め込んで乾燥させ、それを木工ボンドで接着させたりして、手づくりのおもちゃとして組み上げた造形物制作に端を発します。福壽郎の作品集をつくっているときに、編集の宮村さんと高橋さんが僕の作品への影響を発見し、面白がっていました。特に木工の台座をつくると、その下にキャスターをくっつける癖など、そのまんま引き継いでおり、作品のみならず、僕の会社の内部の家具にはまたぞろぞろキャスターがくっつきまくっております。父、福壽郎の発達障害的なネガティヴなあれこれが子どもに遺伝して、結果、たまたま芸術家稼業になったという。。。なんともバカな一家なんであろうか、と、ため息を漏らしていただければ本望です。繰り返しになりますが、展覧会には、福壽郎のつくったアート未満な絵画や造作物。そしてキャスターの付いた家具。それらと、僕、隆と弟、裕二のアート作品を並べてみようと思います。入場料は無料です。何かを感じてくれたら、是非、福壽郎の作品集も購入いただけると嬉しく思います。本の中の村上一家の恥部を見ていただくことで、何かみなさんの慰めになればいいなぁ、と思います。で、版画を作って販売します。サインなんですが、自分の名前を忘れるどころか文字の書き方も忘れて居て名前を書き終わるまで30分もかかるので、サインも印刷にして、指紋とか、鉛筆でピューとか簡単な痕跡を残す様なものにしようと思います。35000円です。ははは。誰が買うっちゅーねん！

👉 While we worked on Fukujuro’s art book, the editors Noriko Miyamura and Miwa Takahashi found various influences of his work on mine, amusing themselves. Case in point, I have directly inherited his habit of attaching casters to wooden bases he makes. Not only my work but many pieces of furniture in my offices and studios have casters attached to them. Fukujuro the father has passed the various negative aspects of his developmental disability onto his sons, inadvertently making art the family’s livelihood... I hope you’ll shake your head and sigh, amazed at this silly family. Again, our plan for this exhibition is to showcase Fukujuro’s less-than-art paintings and objects, as well as pieces of furniture with casters. Alongside these, we plan to display some of my own and my brother Yuji’s artworks. Admission is free. If the works speak to you, I hope you will purchase Fukujuro’s book. Our hope is that the embarrassing aspects of the Murakami family you find in the book will offer solace to you in some way. Yoroshiku_onegai_itashimsu! translation: @tabi_the_fat

👉 it continues. His works were somehow also well received at these venues. Fukujuro may have been pleased by this turn of events, but he was diagnosed with Alzheimer’s around the time his second exhibition closed. Their story now shifted from that of a harmonious marriage to one of caregiving. Drained by the responsibility, now Itsuko suffered cerebral infraction. Today, they both live in an assisted living facility. Making an unwarranted assumption that Fukujuro’s end was near (he’s still alive), I decided to photograph his more popular works and publish an art book that the Murakami family could cherish as his tombstone. I asked Noriko Miyamura and Miwa Takahashi to edit the book; Takaya Goto, my long-time friend since my time in NY and the designer who specializes in art books, and his office, designed it. After about two years of work, we created an exquisite art book, which includes Fukujuro’s portrait by photographer Shin Suzuki. Those who saw the book were moved in turn, and some suggested that I should do an exhibition that surveyed the publication. There seems to be a timely mixture of anxiety and sympathy regarding the way of aging life here in Japan, so this project may belong to the so-called genre of “inspiration porn,” but I thought offering up an embarrassing aspect of my family could be one form of art appreciation. So I decided to hold an exhibition, in part to promote the book. The show will mainly feature small works by Fukujuro, with a token presentation of my own and my brother Yuji’s works. Fukujuro’s works are primarily his hobby creations such as small tools he made in everyday settings, but the origin of his art making lies in our childhood. As a young married couple my parents raised their children in poverty in downtown Tokyo, Sakashita 3 cho-me in Itabashi Ward, where they moved to from Kitakyushu in search of work. Fukujuro would wash, dry, and save the wooden boards that came with kamaboko fish cakes, constructing handmade toys for my brother and me by gluing them together. That was how he started creating. 👉 Still more...

Rhapsody of a Foolish Family: Fukujuro, Takashi, and Yuji Murakami is a three-person show featuring a father and his two sons. “Family” signifies the interpersonal narrative structure in which a fertile couple pair up and have children they subsequently may or may not manage to raise, inevitably creating the inseverable tie of blood relations; love and hate pile up in layers because of this unbreakable relationship. Each family has its own exhausting story, and the world is swarming with them. The Murakami family I belong to has its own story, but it’s not particularly a messy one. As far as drama goes, it’s pretty thin. One thing that sets us apart from other families, however, is that we produce a tremendous number of artworks between us. My father is Fukujuro and my mother is Itsuko. I am their first son, Takashi, and the second son is my brother Yuji. We are a family of four. My father was a taxi driver. My mother was a housewife, but to supplement the family income she also worked part-time when I was in junior high school and high school. Fukujuro worked until age 75, but on the side he always created his art that amounted to junk as a hobby, accumulating them over the years. Itsuko resented them and wished to throw them all out, but on account of their long marriage she managed to put up with them, stopping short of discarding them. As a result, Fukujuro’s room increasingly filled up with junk over time. I had opened a small gallery in 2010 within Nakano Broadway in Tokyo where I had free rein to do as I pleased. Hoping for my parents' marital harmony, I, their son, exhibited Fukujuro’s junk for sale there, since it didn’t matter that the motivation and the content of the show were lousy. As it turned out, friends and acquaintances of Kaikai Kiki found them interesting and, granted they were cheap, bought almost the entire show. Fukujuro subsequently had offers to exhibit at other galleries, participating in a two-person show at Tri Gallery Ochanomizu in Tokyo that specializes in ceramics and illustrations, as well as in a group show at Aoi Gallery in Osaka, the contemporary art gallery where I had made my artistic debut years ago. 👉 Continue

RHAPSODY OF A FOOLISH FAMILY: FUKUJURO, TAKASHI, AND YUJI MURAKAMI DECEMBER 23, 2019 – JANUARY 18, 2020 GALLERY HOURS :11:00 – 19:00 GALLERY CLOSED： SUNDAYS, MONDAYS (EXCEPT FOR DECEMBER 23), PUBLIC HOLIDAYS, DECEMBER 28, 2019 – JANUARY 6, 2020 RECEPTION：DECEMBER 23, 2019 18:00 – 20:00 http://en.gallery-kaikaikiki.com/ Concurrent Exhibition “Fukujuro Murakami” Dates: December 23, 2019 – January 18, 2020 Gallery Hours :Open: 12:00 – 19:00 Gallery Closed：Wednesdays, December 30, 2019 – January 3, 2020 Venue: Animanga Zingaro (Nakano Broadway 2F, 5-52-15 Nakano, Nakano-ku, Tokyo) バカな家族の狂詩曲ラプソディ：村上福壽郎、隆、裕二 2019年12月23日ー2019年1月18日開廊時間 :11:00〜19:00 閉廊日：日、月（12月23日を除く）、祝、 2019年12月28日ー2020年1月6日レセプション：2019年12月23日（月）18:00〜20:00 http://gallery-kaikaikiki.com/ 同時開催「村上福壽郎」会期：2019年12月23日(月)ー2019年1月18日(土) 開廊時間：12:00〜19:00 閉廊日：水、2019年12月30日ー2020年1月3日場所：Animanga Zingaro（東京都中野区中野5-52-15 中野ブロードウェイ2F）

I was really impressed! @jjabramsofficial @starwarsmovies

👉 Continued I truly believe that there was no one other than JJ who could have carried on the task of directing the main story of Star Wars! What an amazing, superb job you have done! It may not mean much coming from someone like me, and it may be presumptuous of me, but I am a fan of 40 years, since when I was 17, so please allow me to give this praise. And by the way! My cameo appearance! Yes! I was in it! Out of focus, yes, but I was there! Thank you so much, JJ, I feel like I can now die peacefully—I felt so deeply moved. But such a personal feeling immediately blew away as I wept and wept toward the climax of the film. I cried about so many things! Thank you JJ! You have done a job beyond perfect. It was truly amazing! @jjabramsofficial ! Congratulations! translator: @tabi_the_fat

It was the best possible ending. This film showed what JJ can do when he truly got serious. He earnestly explored what Star Wars saga meant, descended down into his own depth, dug further down as an artist—the film exuded his wholehearted passion. Perhaps because Episode 8 and Solo weren’t so well-received, he may have felt as though he had his back to the wall. When, at the world premier, JJ got up on stage with Disney’s Bob Iger and the producer Kathleen Kennedy, he inflated both his cheeks and exhaled deep, as if to calm himself down. I swallowed hard, seeing how even JJ could get nervous. This was the true, big stage! The two producers and JJ made sure to praise George Lucas in their speeches, setting a very humble mood. JJ also expressed his gratitude to Steven Spielberg; I could sense that the moment of truth for that entire generation was imminent, and felt electrified with anticipation. Then, at JJ’s invitation, John Williams walked on to the stage! There was a standing ovation! He was followed by the C3PO actor Anthony Daniels and other main casts. There was another standing ovation when, at the end, Mark Hamill joined. In this warmest, most loving of atmospheres—you can’t expect a better environment in which to watch Star Wars—the film started with the iconically dramatic music. Rey and Kylo Ren’s earnest portrayals were beyond passionate, almost uncharacteristically so for Star Wars, and the emotional threads were exquisitely woven throughout the film toward the final scenes. Adam Driver, who had up to now seemed somewhat ill-fitting in the world of Star Wars, has completely overturned such an impression and assimilated into the world now. I can only imagine what a challenge it must have been for Daisy Ridley, who took on the role of Ren, but there were so many superb moments! Those nuanced expressions! And I laughed out loud at the quintessentially Star Wars jokes that studded the film throughout. I laughed a lot in fact! John Williams’s score this time was all wonderful as well. 👉 Continue 👉

Star Wars premiere! Many thanks! @jjabramsofficial

Now!

@tonari_no_zingaro has prints. @misteryanen @madsaki @takano.aya @chiho_aoshima

Tonari no Zingaro is excited to announce that we will be selling @madsaki merchandise starting 14th Dec. On the first day, a @madsaki autograph session will be held. Details can be found via our website (https://zingarokk.com/). #tonarinozingaro #トナリノジンガロ #甚蛾狼 #kaikaikiki #takashimurakami #村上隆 #takashipom #nakanobroadway #officialsouvenirshop #complexcon #hypebeast #madsaki

Dear Fabricators, This is the fifth redo. I'm really sorry.

To commemorate the special art issue, Die Welt @welt and BLAU @blauinternational International are releasing my art print—edition 100, 70 x 60cm—and I have just signed them. The technique is archival pigment print, and I have never seen such a high quality, brilliant print! The printer is Mengershausen Editionen, who apparently regularly prints for Baselitz. I would love to work with them on another occasion. I was moved by the quality!

I am in Berlin now, for a project for the German daily Die Welt’s @welt annual special art issue. My artwork will be printed on the pages throughout the issue, for which we have worked with the newspaper for the past half year or so. Today we are finalizing the layout here, and there will be a dinner party later to celebrate the issue, which comes out tomorrow. I am so touched that a print medium has worked on such an issue with tremendous passion, that they take art so seriously. Thank you so much Cornelius @blauinternational Tittel, who has directed the issue and written articles about it, and Ulf Poschardt, @ulfposh the Editor-in-chief. Yuko Sakata @tabi_the_fat has helped coordinate the project in detail. And my design team at the Miyoshi studio: I know it was a lot of work going over multiple layout revisions, but the paper will finally be printed and will be on stand all over Germany tomorrow morning. Thank you for all your hard work. The photos show me reviewing the proofs of the issue and attending the morning editorial meeting. Ah, Berlin! We used to have a gallery here until a few years ago. I’m deeply moved that I was able to return to this city.

Can not believe！ Just few weeks ago he came my studio & talking about his new animation project! RIP 🙏 @juicewrld999 Passed away Dec 8

"MI_RYO_KAI" the END! OTUKARESAMA_DESU!

"MI_RYO_KAI" 2 Antique shop owners @sugimotoosamu @keizo.ando who are my friends exhibition start to tommorow morning at @hidarizingaro Check it out!

This article created a small buzz in Japan back in mid-October—in it, JJ publicly said that I make a cameo appearance in the new Star Wars film! Here’s a rough translation of the Japanese article: "Takashi Murakami apparently participated in the filming of Star Wars: The Rise of Skywalker (release date: December 20). Director J.J. Abrams revealed the news to the Japanese media at a joint interview. At one point J.J. abruptly said, 'My friend makes an appearance [in the new film]. Can I say this? I’m sure it’s fine. You know the artist Takashi Murakami? He’s in the film.' As the room filled with surprise, he laughed mischievously. 'Maybe I ruined the surprise. I’m friends with him, so I called him up and asked if he wanted to be in the film. And he actually came to the filming.’ Apparently they had known each other for a while.” I don’t care if I appear only for a second, out of focus; if I’m really on the screen, I’m so happy I can die now. In my career, I have always emulated George Lucas’s way of life, albite in a minuscule scale. He has truly revolutionized the film industry with so many things he has done, and I have absolutely been worshiping his drive to fundamentally reshape everything. JJ has now taken over his world and is carrying on, the baton passing hands from one genius to another, as it were. It’s such a fantastic story, and I’m beyond thrilled if I can actually be part of that world. But. Scenes are routinely cut and edited out in the world of Star Wars, so I can’t be rest assured until I see it with my own eyes! Ha! I’m going to the premier in LA!

I love & I believe herself! genius! @ninagawamika 🖖

Thank you for my first south America show! at @institutotomieohtake Sao Paulo w Ricardo Ohtake, President of Instituto Tomie Ohtake & Gunnar B. Kvaran, Director of Astrup Fearnley Museet @astrupfearnley 🙏 photo: @mosomota

colabo w @porter_yoshidakaban.official 🙇‍♂️

Collabo w @jbalvin photo: @milkman

I am coming to @institutotomieohtake latest owen show. My first time in Brasil! #murakamipormurakami #murakaminotomie #institutotomieohtake

Ready to next show.

From Haneda 12hours, and then another 12hours to Sao Paulo. 🧟‍♂️🧟‍♂️🧟‍♂️

How many years ago? It is a good memory.

🤣

For Otani Workshop’s @ota539 first publication, we at Kaikai Kiki @kaikaikikigallery spent two and a half years gathering materials and editing. I hope you will have a look. “Otani Workshop: When I was Seventeen, I Learned About Giacometti from My Art Teacher and Became Drawn to Sculpture – and so I Make Sculptures Now.” by Otani Workshop is out now. Publisher: Kaikai Kiki Language: Japanese, English Hardback: 176 pages Retail: ¥3,200 plus tax Now shipping via Amazon.co.jp! https://www.amazon.co.jp/ (Scroll down and select your language.) Available only at Amazon.co.jp. Ship internationally. Please create your account with Amazon.co.jp. if you do not have one.

program

I had decided and have publicly been declaring that I would never hold another solo exhibition in Japan after The 500 Arhats exhibition at the Mori Art Museum @moriartmuseum in 2015. This was because I felt that my artistic activities in Japan’s contemporary art world has had no effect whatsoever on the Japanese society. I have had positive domestic reactions in Japan when it came to my side projects such as fashion collaborations. When I have presented and sold my artworks here, however, the reactions have always been quite off base, and around 95% of the works would be sold to overseas clients. This hasn’t changed for the past 28 years, since when I made my debut at the age of 29. This is why I have been declaring that I would never do another solo show in Japan, that there was no point… and yet the Superflat Doraemon show has opened at Perrotin gallery @galerieperrotin in Roppongi in the form of my solo exhibition. Half of the show consists of paintings in which I incorporate images from Doraemon @dorachan_official , the iconic post-war Japanese manga, so to me this is yet another collaboration with Doraemon and in my heart I didn’t see this show as a solo exhibition. But of course, objectively, it’s a solo show. So I feel quite embarrassed. Hahaha. But those on the Doraemon side I have been working closely with over the years, from Fujiko Pro, Shogakukan Inc., and TV Asahi, as well as the Doraemon author Fujiko F. Fujio's three daughters, were kind enough to attend the opening. I felt relieved, as though we have beautifully come full circle in terms of the context of this exhibition, which owes to the great accomplishments of the master Fujiko F. Fujio. The exhibition runs through January 25, 2020. Please find further details such as the hours on the gallery’s website. photo: @rkrkrk

Still working! @jbalvin A lot of happning!

@xxxibgdrgn Welcome back! 🙏 @_________cherry_______ @fakesickness

@verdy Congrats! & @sklamallrightsreserved

New project, but I don't know how change in future. Name "King of APE"

The missing beard collection has exceeded the amount of beards that are growing now! 06:35am

@futuradosmil & us first time to made orijnal prints made by kaikaikiki miyoshi studio @shisho_kaikaikiki @ishikawayouichi & team. result was prity strong mean at @complexcon version @tonari_no_zingaro booth was sold out. photo: @rkrkrk

Already remembered @complexcon 2019 photo: @rkrkrk

just started! @complexcon photo: @rkrkrk

Underground oil tank will change to Art gallery soon. @artgalleryofnsw

Guess where I am? Being an underground artist in #Sydney! Exploring the hidden oil tank that @artgalleryofnsw is transforming into a cool art space as part of #sydneymodernproject #japansupernatural Photo credit: Jenni Carter, AGNSW

Shaped canvas

@natsuko.ete She’s a genius. She’s a treasure. She’s a ball of energy. Young, ambitious, and fearless, her talent pours forth! That’s the ultimate beauty. Thank goodness for the luck that brought this encounter!