Two concurrent exhibitions of Takashi Murakami's works – a major solo exhibition at the Mori Art Museum and a 'pop-up' of 15 new paintings from his 'Ensō' series at his own Tokyo gallery – offer an intriguing perspective on the contemporary artist's renewed focus on traditional Japanese art.
Although widely exhibited outside of his home country, the Mori Art Museum's exhibition of 50 works including paintings, sculptures and videos is the first significant show of his work in Japan since 2001.
The undisputed highlight is an extraordinarily detailed and colourful 100-metre-long painting that depicts the Buddha's disciples transformed into a mesmerising riot of bulging eyes and toothless grins amid a psychedelic landscape. Titled The 500 Arhats, it was inspired by a set of 100 hanging scrolls created by Kanō Kazunobu (1816–1863).
They are 'unadorned self-portraits of Murakami himself', observes the exhibition's curatorial advisor, art historian Tsuji Nobuo.
Also on show are Murakami's working instructions and sketches used by 200 students from Japanese art colleges who helped complete the work following the 2011 earthquake and tsunami in Japan. Murakami says the disaster had a 'profound influence' on the new direction of his work although his trademark controversial commentary on the complex political and social issues facing modern Japan remains a key theme. For instance, the enormous gold-leaf-clad sculpture The Birth Cry of a Universe represents contemporary society collapsing under the weight of the pursuit of development.
Meanwhile, at his own gallery, a decidedly more minimalist, contemplative series of paintings feature the Ensō or 'circle', a motif in Japanese Zen Buddhism symbolising emptiness, unity and infinity. Here, Murakami – who has a PhD in Nihongo painting – reinterprets the traditional fluid brush stroke, using spray paint over a background of smiling flowers and skulls. He says this new style emerged after he sprayed the word 'HOLLOW' as graffiti on a completed painting.
The artist may be engaged in complex spiritual themes but he has not lost his maverick sense of humour. When asked why his Ensō paintings are in contrasting combinations of black, white, gold and red, he joked, 'Because I thought someone might want to buy them in different colours.'
The former is a minimalist, contemplative series of paintings featuring the Ensō or 'circle', a motif in Japanese Zen Buddhism symbolising emptiness, unity and infinity. Pictured: Ensō: Blood and Bones, 2015.
When asked why he chose to paint similar designs in red, black and gold, Murakami replied: 'Because I thought someone might want to buy them in different colours.' Pictured: Ensō: Awakened, 2015.
Murakami has a PHD in the art of traditional Nihongo painting. Pictured: Ensō: Eros, 2015.
According to Galerie Perrotin which arranged the Kaikai Kiki exhibition, the Ensō paintings represent an epiphany for the artist, resulting from quiet and ongoing spiritual practice. Pictured: Hollow White, 2015.
The Mori Art Museum's exhibition of 50 works, meanwhile, includes paintings, sculptures and videos, and is the first significant show of his work in Japan since 2001
The undisputed highlight is The 500 Arhats – an extraordinarily detailed and colourful 100-metre-long painting that depicts the Buddha's disciples transformed into a mesmerising riot of bulging eyes and toothless grins amid a psychedelic landscape. Pictured: Murakami in front of The 500 Arhats
The work was inspired by a set of 100 hanging scrolls created by Kanō Kazunobu (1816–1863). Pictured: The 500 Arhats
They are, observes the exhibition's curatorial advisor, art historian Tsuji Nobuo, 'unadorned self-portraits of Murakami himself'. Pictured: The 500 Arhats (detail)
Murakami’s works have been inspired by manga and kawaii culture with his more recent works reflecting ‘monstrous and charming characters alike, as facetious descendants of past myths.’ To mark the exhibition, Galerie Perrotin launched a 128 monograph with a text by Mari Hashimoto and forewords by Takashi Murakami and Emmanuel Perrotin
For instance, the enormous gold-leaf-clad sculpture The Birth Cry of a Universe represents contemporary society collapsing under the weight of the pursuit of development. Pictured: The Birth Cry of a Universe, 2014
An annotated working sketch of The 500 Arhats
INFORMATION
'Ensō' is on view at Kaikai Kiki Gallery from 31 October – 21 November
The 500 Arhats is on view at the Mori Art Museum from 31 October, 2015 – 6 March, 2016
ADDRESS
Kaikai Kiki Gallery
B1 floor Motoazabu Crest Building
2-3-30 Motoazabu, Minato-ku, Tokyo
Mori Art Museum
53 floor Roppongi Hills Mori Tower
6-10-1 Roppongi, Minato-ku, Tokyo
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