Looking back: two new shows reveal different sides of Takashi Murakami

Ensō, Shangri-la, 2015
Two concurrent exhibitions document two different sides of the work of Takashi Murakami – a 'pop-up' of 15 new paintings from his 'Ensō' series at his own Tokyo gallery and a solo exhibition at the Mori Art Museum. Pictured: Ensō, Shangri-la, 2015.
(Image credit: Courtesy Galerie Perrotin)

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.'

Ensō: Blood and Bones, 2015

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. 

(Image credit: Courtesy Galerie Perrotin)

Ensō: Awakened, 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. 

(Image credit: Courtesy Galerie Perrotin)

Ensō: Eros, 2015

Murakami has a PHD in the art of traditional Nihongo painting. Pictured: Ensō: Eros, 2015. 

(Image credit: Courtesy Galerie Perrotin)

Hollow White, 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. 

(Image credit: Courtesy Galerie Perrotin)

The Mori Art Museum's exhibition

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

(Image credit: press)

extraordinarily detailed and colourful 100-metre-long painting

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

(Image credit: press)

The 500 Arhats

The work was inspired by a set of 100 hanging scrolls created by Kanō Kazunobu (1816–1863). Pictured: The 500 Arhats

(Image credit: press)

The 500 Arhats (detail)

They are, observes the exhibition's curatorial advisor, art historian Tsuji Nobuo, 'unadorned self-portraits of Murakami himself'. Pictured: The 500 Arhats (detail)

(Image credit: press)

‘monstrous and charming characters alike

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

(Image credit: press)

The Birth Cry of a Universe, 2014

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

(Image credit: press)

The 500 Arhats

An annotated working sketch of The 500 Arhats

(Image credit: press)

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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Catherine Shaw is a writer, editor and consultant specialising in architecture and design. She has written and contributed to over ten books, including award-winning monographs on art collector and designer Alan Chan, and on architect William Lim's Asian design philosophy. She has also authored books on architect André Fu, on Turkish interior designer Zeynep Fadıllıoğlu, and on Beijing-based OPEN Architecture's most significant cultural projects across China.