تاكاشي موراكامي
村上隆
טקאשי מורקאמי
무라카미 다카시
Такаши Мураками

source: galeriainox

Takashi Murakami nasceu em 1962 em Tóquio, recebeu seu BFA, MFA e Doutorado pela Universidade Nacional de Tóquio de Belas Artes e Música. Ele fundou a fábrica Hiropan em Tóquio, em 1996, que mais tarde se transpormou na atual Kaikai Kiki Co., uma produção de arte em grande escala e as sociedades de gestão de arte. Além da produção e comercialização do trabalho de Murakami, a Kaikai Kiki Co. funciona como um ambiente de apoio para a promoção de jovens artistas japoneses. Murakami também é curador, empresário e um observador crítico da sociedade japonesa contemporânea. Em 2000, ele organizou uma exposição paradigmática da arte japonesa intitulada “Superflat”, que traçou as origens da cultura visual pop japonesa contemporânea na arte história da arte japonesa. Ele continuou esse trabalho em subsequentes exposições impactantes como “Coloriage” (Fondation Cartier pour l’Art Contemporain, Paris, 2002) e “Little Boy: The Art of Subculturas Japão explodir” (Japão Society, New York, 2005).
O trabalho de Murakami é exibido em exposições coletivas em todo o mundo e em exposições individuais em importantes instituições como a Fondation Cartier pour l’art contemporain, Paris e Serpentine Gallery, Londres (2002), o Museu de Arte Contemporânea de Tóquio (2001), o Museu de Belas Artes de Boston (2001), e Museu de Arte Contemporânea, Los Angeles (2007), o Brooklyn Museum, o Museum für Moderne Kunst, Frankfurt, no Museu Guggenheim, em Bilbao (2009) e no Château de Versailles, França (2010).
.
.
.
.
.
.
.
source: notablebiographies

Murakami, Takashi.

The works of Japanese artist Takashi Murakami have inspired both admiration and confusion. Inspired primarily by anime, Japanese animation, and manga, Japanese comics, Murakami’s paintings and sculptures feature bright, candy-colored images of cartoon-like characters, with large eyes and exaggerated body parts. His works are often decorated with smiling flowers, round, blinking eyes, and colorful mushrooms. Murakami’s creations defy traditional classifications, breaking down numerous barriers. He blurs the line between so-called high art—the kinds of works normally seen in museums and galleries—and “low” art, like that seen in cartoons or advertisements. He also contradicts the traditional idea of an artist toiling away in a studio to painstakingly create one-of-a-kind works. Murakami employs a large staff of assistants who help him churn out his designs. Some of his works are extremely high-priced creations intended for a gallery or art collectors, but he also mass-produces merchandise, such as mugs, keychains, and T-shirts, featuring the characters he has created. Murakami is often classified as a pop artist. Pop artists are inspired by popular culture, choosing subjects from such sources as cartoons, billboard advertisements, and consumer goods. He longs for—and in large measure has achieved—a kind of success that few artists realize: he has earned the respect of many in elite art-world circles while also making a good living and becoming hugely popular with the general public.

A traditional education

Born in Tokyo, Japan, in 1962, Murakami grew up in a household that placed a high value on art. His younger brother, Yuji, also became an artist. Japanese popular culture informed his outlook, but he also felt the impact of Western society, particularly the popular culture of the United States. Murakami became exposed to some aspects of American life during a time when his father worked at an American naval base, and he also absorbed a great deal through imported movies and music. “Only recently did I realize how much I’ve been influenced by Steven Spielberg,” Murakami told Interview magazine in 2001. “In his films there is a tension between the children’s world and the adults’ world.” Many of Murakami’s works capture that tension between the innocence of childhood and the experience of adulthood, with his cartoon-like images sometimes displaying a dark and slightly creepy undertone.

“I have learned in Europe and America the way of the fine-art scene. Few people come to museums. Much bigger are movie theaters. The museum, that space is kind of old-style media.”

Murakami wanted to be an artist when he grew up. He was particularly interested in animation and comics, and he felt that studying art would help him improve his drawing skills. He enrolled in the Tokyo National University of Fine Arts and Music in the early 1980s.

Pop Art

Pop art, a movement that reached the peak of its influence during the 1960s and 1970s in New York, originated as a rebellion against what some artists saw as a pretentious, elitist art world. Pop artists turned to subjects that had previously been considered unworthy of fine art: consumer products, cartoon characters, and commercial art like that seen on billboards or in magazine advertisements. Pop artists sought to return art to everyday life—or to bring everyday life into the world of art—borrowing images that the general public saw at the grocery store, on the television, or in newspapers.

The person most often associated with pop art is Andy Warhol (1928–1987), an eccentric and ingenious artist who stunned observers with his paintings of Campbell’s soup cans and the legendary blonde bombshell Marilyn Monroe (1926–1962). His most famous works involve the repetition of one image with slight variations—the type of soup in 32 Campbell’s Soup Cans, for example, and the colors in Marilyn Monroe. He had a crew of assistants that helped create his works at his studio, known as the Factory. Warhol often used photographs as the basis for his paintings and reproduced his works using mass-production techniques rather than working by hand. During his lifetime Warhol was alternately dismissed as merely a commercial artist and embraced as one of the most daring avant-garde rebels of his time. In the years since his death, his tremendous influence on modern art has become widely accepted.

Another successful pop artist was Roy Lichtenstein (1923–1997), best known for his comic-strip-style paintings. Lichtenstein borrowed images from newspaper comics of couples kissing or objects exploding in battle. He used thick, black lines and bright primary colors as well as speech bubbles and sound-effect words like “pow!” to create paintings that divided critics but were hugely popular with the public.

Keith Haring (1958–1990), a successful and somewhat controversial artist in the 1980s, also exemplified the principles of pop art. Using grafitti art as his inspiration, Haring created a collection of familiar images—his radiant baby and barking dog, for example—that he used in numerous works, with slight variations. Like many other pop artists, including Takashi Murakami, Haring caused collisions between high art and low art, creating both museum-quality works and mass-produced merchandise.

Working in a variety of styles and employing a multitude of methods, pop artists have all had one thing in common: the struggle for critical acceptance. Because they refused to accept limited definitions of the types of subjects that are appropriate for works of art, pop artists have been dismissed by some critics as merely illustrators or commercial artists—designations meant to belittle their abilities and demean their work. Over time, however, acceptance of pop art as a legitimate form of fine art has spread, and the pop art movement has, to a large degree, succeeded in bringing popular culture into the realm of high culture.

There he studied Nihonga, a nineteenth-century style of Japanese painting that combines Japanese subject matter with European painting techniques. He earned his bachelor of fine arts degree in 1986 and then continued his studies to earn a master’s degree in 1988 and a PhD, or doctorate, in 1993. Even while studying Nihonga, Murakami began to wonder how meaningful that style was to modern-day Japan. During the early 1990s he continued painting and began to teach drawing, working in the traditional style he had studied at the university while also searching for his own style. Murakami had become increasingly drawn to the world of manga and anime, and he was also fascinated by the concept of kawaii, a Japanese term that translates roughly to “cuteness.” Murakami sought ways to incorporate these popular trends into his works to create something of lasting value, as he explained in a 2001 essay, quoted in Wired magazine: “I set out to investigate the secret of market survivability—the universality of characters such as Mickey Mouse, Sonic the Hedgehog, Doraemon, Miffy, [and] Hello Kitty.”

Cuteness meets high art

In Japan, the United States, and elsewhere, kawaii has proven to be extremely popular, particularly with children and young adults. Japanese characters such as Pokemon and Hello Kitty are used to sell tremendous amounts of merchandise. According to a 2003 article in U.S. News & World Report, Hello Kitty appears on some 20,000 products, and annual sales of such products total about $500 million. Anime and manga, both of which often feature wide-eyed, childlike characters pursuing fantastic adventures, are also connected to the kawaii phenomenon. Like Hello Kitty, these cartoons and comics have spawned abundant products—toys, action figures, clothing, and much more—leading to an intensely competitive collecting frenzy. Die-hard collectors not only acquire the merchandise but also accumulate detailed knowledge of the cartoons and comics themselves. This devotion to anime and manga and to collecting related merchandise is shared by a large community of fans referred to as otaku. That term, in combination with “pop,” as in pop art, has resulted in a new term, “poku,” which could be used to describe Murakami’s recognizable artworks.

These works, primarily paintings and sculptures, feature cartoon-like characters painted in bright colors with a shiny, almost plastic-looking surface. Murakami’s best-known character is known as Mr. DOB, a mouselike creature with a round head and large, circular ears. Based on a monkey-like cartoon character originally created in Hong Kong, Mr. DOB has appeared in numerous artworks as well as on such

merchandise as mousepads, postcards, and T-shirts. Beginning in the mid-1990s, Murakami’s works were featured in solo exhibits at galleries and museums throughout Japan as well as in the United States, France, and elsewhere. Some art critics were unsure what to make of these unusual creations: they are highly original, beautifully executed, visually appealing—but can they be considered fine art? Some dismissed Murakami’s works, suggesting that they are lovely but lack substance; they please the eye but do not make viewers think. Many others, however, have applauded Murakami’s adventurous approach, particularly his ability to bridge the worlds of high and low art and to create works that appeal to a broader audience than most fine art.
Murakami has been particularly praised for his public art—works displayed where they can be seen by all—that inspires a childlike pleasure in viewers of all ages. In the fall of 2003 Murakami installed a public art display called Reversed Double Helix at the Rockefeller Center plaza in Midtown Manhattan. The display featured two thirty-three-foot balloons, a number of jewel-colored mushroom sculptures that doubled as seats for visitors, and a twenty-three-foot tall sculpture of Murakami’s character Mr. Pointy, known in Japanese as Tongari-kun. Sporting a large round head that comes to a point, multiple arms, and a brightly colored body, Mr. Pointy was described by People magazine as “the whimsical love child of Hello Kitty, a Buddha, and a portabello mushroom.” Murakami sold the Mr. Pointy sculpture to the owner of the esteemed auction house Christie’s for $1.5 million. Two years earlier he had startled and delighted commuters in Vanderbilt Hall, part of New York City’s Grand Central Terminal, with Wink, a display of mushroom sculptures and huge helium-filled balloons hovering thirty feet off the floor—all of which were decorated with brightly colored eyes of all shapes and sizes as well as spirals and other designs.

High art meets commerce

While Murakami had become well known in art circles in Japan and the United States by the beginning of the twenty-first century, it was his astonishingly successful handbag designs for Louis Vuitton in 2003 that made him a celebrity—especially in Japan, where he suddenly achieved rock-star-like status. Created in conjunction with designer Marc Jacobs, who was heading up a clothing line for Louis Vuitton, Murakami’s designs reinvigorated the stately luxury-goods company, making Louis Vuitton bags the hot new must-have item for the wealthy and fashionable. Murakami applied his trademark use of bright, fresh colors to the traditional intertwined “LV” logo, also incorporating some of his signature images, like wide-open cartoon eyes and smiling blossoms. The first Murakami-designed bags sold out even before they reached stores, and over the next several months the bags—priced in the thousands of dollars—flew off the shelves. Tens of thousands of customers put their names on waiting lists to receive Murakami items from future shipments, and numerous imitation versions sprouted up on big-city street corners and Web sites. Sales for the Murakami bags made up about ten percent of Louis Vuitton’s yearly revenues, totaling well over $300 million in 2003. Murakami paid a price for his success with the Louis Vuitton bags, however: he had achieved widespread fame, but as a designer of purses rather than as an artist. In an interview with Jim Frederick of Time International in the spring of 2003, Murakami said: “I need to rebuild the wall between the commercial art and the fine art I do. I need to focus on the fine-art side of me for a while.”

Murakami has received almost as much attention for the way his works are produced as for the works themselves. In a style reminiscent of one of pop art’s most famous practitioners, Andy Warhol (1928–1987), Murakami calls his studios factories. With one factory located outside of Tokyo and one in Brooklyn, New York, Murakami creates his paintings, sculptures, and merchandise with the help of dozens of assistants. He begins by sketching a design, which he then scans into a computer. He refines the picture on-screen, choosing colors and adding his own trademark images—the mushrooms, happy blossoms, eyeballs, and others—which are selected from a digital file of clip art. The picture is then printed onto paper and handed off to the assistants. They silk-screen the outline onto canvas and begin the laborious process of painting. To achieve the candy-shell high gloss of a Murakami work, the assistants must apply layer after layer of acrylic paint, working with anywhere from seventy to eight hundred different colors for one work. Murakami supervises the assistants’ painting but rarely applies it to the canvas himself. He told Frederick of Time International that in 1998 he and thirty assistants would spend six months on one large work; five years later, the factories were producing forty works in one year.

Murakami’s method of producing paintings results in works that have no depth or perspective—the images seem flat and two-dimensional. Murakami has dubbed this style “superflat,” which is, in part, a tribute to the two-dimensional style of some Japanese cartoons. Murakami has also explained the style as a reference to such high-tech devices as flat-screen televisions and computer monitors. The term also reflects the smashing of distinctions between fine art and commercial art, between high culture and low. Murakami told Interview, “In Japan, there is no high and there is no low. It’s all flat.” Jeff Howe wrote in Wired that “Murakami likes to flaunt that he can make a million-dollar sculpture and then take the same subject and crank out a bunch of tchotchkes [trinkets].” While his aggressive marketing of his own images and his practice of selling inexpensive knick-knacks alongside his high-priced original works have aroused some controversy in the art world, Murakami sees no reason to change. He told Howe that to him, art is “more about creating goods and selling them than about exhibitions.” Undoubtedly he will continue to produce valuable works of fine art as well as inexpensive trinkets, working toward a future where the distinction between the two will be gradually diminished.
.
.
.
.
.
.
.
source: kunsthuizennl

Takashi Murakami werd in 1963 geboren in Tokio en volgde zijn opleiding aan de Nationale Universiteit voor Schone Kunsten en Muziek in de Japanse hoofdstad waar hij zijn doctoraat in ‘Nihonga’, een mix tussen Westerse en Oosterse stijlen die teruggaat naar de negentiende eeuw, behaalde. Takashi Murakami werkt zowel in traditionele media zoals schilderkunst, als in nieuwe, digitale en commerciële media. Hij wordt algemeen gezien als een van de meest baanbrekende en uitdagende Japanse kunstenaars van deze tijd.

Takashi Murakami poogt de grenzen tussen hogere en lagere kunst te vervagen en wordt gezien als één van de grondleggers van de Superflat stijl. Deze stijl wordt gekenmerkt door grote egale kleurvlakken en door anime en manga geïnspireerde figuren. Murakami’s werk vertoont overeenkomsten met pop-art in zoverre dat hij elementen uit lagere kunst haalt en deze verwerkt in hogere kunst. Men brengt zijn werk dan ook onder in de categorie Neo Pop-art. Hij maakt zowel cartoonachtige schilderijen als quasi-minimalitische sculpturen, grote ballonnen, decorontwerpen en ontwerpen voor horloges, posters, sleutelhangers, asbakken, t-shirts en andere industriële producten in veel gevallen geïnspireerd op zijn beroemde figuur Mr. Dob.

Het werk van Takashi Murakami wordt inmiddels wereldwijd tentoongesteld in de meest vooraanstaande musea. In 2008 werd Takashi Murakami genoemd in de lijst van 100 Meest Invloedrijke Mensen door het tijdschrijft Time. Hij was de enige visuele kunstenaar die daarin voorkwam.
.
.
.
.
.
.
.
source: conoce-japon

Las pinturas, esculturas y globos de Takashi Murakami son coloridos y atractivos, y hacen referencia a personajes de caricatura. Murakami utiliza su profundo entendimiento del arte occidental para integrar su obra a su estructura, trabajando dentro de la “japoneidad” como una herramienta para revolucionar el arte. Como artista, Murakami cuestiona las líineas entre el Este y Oeste, pasado y presente, arte serio y cultura popular. En fechas recientes Murakami sorprendió al mundo con su colaboración con Louis Vuitton, con lo que pone a prueba la división entre arte y producto.

Takashi Murakami nació en Tokyo en 1963 y se recibió de la Universidad Nacional de Bellas Artes y Música de Tokyo. Ha presentado diversas exposiciones en la galería Marianne Boesky en Nueva York; la Fondation Carter pour l’art contemporain en París; el Museo de Arte Contemporáneo de Tokyo; el Museo de Bellas Artes de Boston; y la Galería Emmanuel Perrotin en París, entre otros. Murakami es conocido por su personaje recurrente, Mr. DOB quien aparece en playeras, pósters, cadenas y otros productos. También ha dado vida a esculturas tridimensionales.

Como curador, Murakami busca cuestionar las nociones de historia y cultura. Su exhibición en tres partes titulado Superflat ha dado la vuelta al mundo, de América y Europa, y ha intentado introducir a artistas, animadores, caricaturistas, etcétera a audiencias internacionales bajo la premisa de que dichas categorías creativas no son tan rígidas como el sistema japonés, y que pueden ser concebidas como arte. Su última instalación Little Boy sugirió una nueva interpretación de la historia a través de una exposición de matices políticos sobre la Bomba A y la cultura popular japonesa de la posguerra.

Al proponer un replanteamiento de “Japón” a aquellos dentro y fuera de la isla, Murakami mantiene un compromiso por promover el arte japonés al mundo. Dos veces al año lleva a cabo el festival GEISAI en Japón para talentos emergentes, y su compañía Kaikai Kiki apoya y administra a un grupo de jóvenes artistas. “Llegar a ser un ejemplo viviente del potencial del arte” es la fuerza que motiva a la obra de Takashi Murakami.
.
.
.
.
.
.
.
source: zawikifreefr

Takashi Murakami est né à Tokyo en 1962. Il vit et travaille à Tokyo.

Takashi Murakami fait ses études à la Tokyo University of Fine Arts and Music (département peinture, 1986-1993).

Sa première exposition personnelle a lieu en 1989. Depuis lors, il revendique la pratique d’un art japonais autonome, d’un “nouveau japonisme”, qui ne soit pas imitation de l’art occidental. Représentant de la nouvelle culture japonaise, il est l’un des artistes japonais les plus populaires aujourd’hui.

Bien qu’inscrite en écho au Japon traditionnel de l’ère Edo, l’œuvre de Murakami est le reflet de la société contemporaine et de la nouvelle culture japonaise, imprégnée de l’imaginaire des mangas. Considéré comme l’un des chefs de file du néopop japonais, Murakami revendique l’héritage de Warhol et du pop art américain, tout en analysant la manière dont l’art japonais peut trouver une autonomie face au modèle occidental.

Il crée des sculptures monumentales, peintures, papiers peints, et autres objets. Ses œuvres puisent directement dans l’imagerie manga japonaise, qui est détournée et amplifiée sur des thèmes ou émergent des questionnements à première vue absents de l’aura kitsch et kawaii des bandes dessinées japonaises.

Il cristallise dans ses œuvres et ses projets, la nouvelle subculture de Tokyo. Il est le représentant d’une génération imprégnée de l’imaginaire des mangas et des otakus. Au fil du temps, les personnages se mettent à grouiller sur différents supports en deux dimensions ou sont moulés, dans des formats divers, du minuscule au géant, en fibre de verre et peints (Hiropon, 1997).

Ils prennent aussi la forme de ballons géants en plastique aux couleurs criardes et, gonflés à l’hélium, qui envahissent les espaces d’exposition (Mr.Dob, 1997). Il réfléchit particulièrement aux scénographies pour “que le public ait l’impression d’être entouré par une multitude de caméras, même s’il se trouve en face d’une seule et même image”. Une figure à grosse tête, Dobe (qui a pris aujourd’hui pour lui “valeur d’autoportrait”), revient de manière répétée (Dob in the Strange Forest, 1999), de même que les personnages Kaikai et Kiki ainsi que des motifs de champignons (Super Nova), de fleur et d’yeux (Jellyfish Eyes).

A la fin des années 80, il crée la Hiropon Factory, devenue aujourd’hui la Kaikai Kiki Corporation. La société crée des logos, des T-shirts, des motifs pour des vêtements, toutes sortes de produits dérivés. Takashi Murakami coordonne aussi des expositions montrant les œuvres de jeunes artistes de son pays.

Son activité de commissaire d’exposition est pour lui tout aussi importante que son travail d’artiste. Lorsqu’il organise une exposition, il essaie à chaque fois de capter les aspects à mettre en valeur ceux de la spécificité japonaise. Il tente de mettre en relief le point de rencontre entre culture nippone et occidentale, il veut montrer des aspects de sa culture que les Occidentaux détestent ou ne comprennent pas. Chiho Aoshima, jeune artiste japonaise, est ainsi parrainée par Murakami, dont elle partage le style. Murakami a par ailleurs collaboré avec la marque de maroquinerie de luxe Louis Vuitton. Il conçoit pour la collection de l’année 2004, de nouveaux motifs alliant son univers à ceux de cette grande marque.

L’oeuvre de Takashi Murakami, par sa mièvrerie revendiquée, prend violemment à rebours nos goûts et notre sacralisation de l’art. Elle magnifie une sous-culture japonaise que nous cherchons désespérément à épargner à nos enfants lorsqu’elle s’incarne dans des dessins animés bêtifiants et agressifs.

Mais, lors d’une exposition en 2002 à la Fondation Cartier, Takashi Murakami entend définir ainsi l’identité japonaise contemporaine. « Je voulais montrer à l’Occident, et surtout à la France, patrie des beaux-arts et de la culture d’élite, que nous avons délibérément choisi cette sous-culture si méprisée en Europe. S’il existe aussi un art d’élite au Japon, il fonctionne sur un complexe d’infériorité à l’égard de l’Occident. Nous devons cesser cette imitation qui nous tourne en ridicule, quand notre force créative s’exprime dans les productions les plus populaires. »

Pareil manifeste décrète implicitement que notre art élitiste, bourgeois, sacralisé, est une survivance anachronique. Takashi Murakami ne prétend pas être un « génie », mais revendique simplement sa démarche: « Au Japon, un jeune doué en dessin aspire non pas à être artiste mais à devenir dessinateur de manga ou de dessin animé », explique-t-il. Tant d’énergie créatrice vouée aux tanks miniatures, aux animaux à grands yeux, aux robots musculeux, aux atmosphères sucrées de sous-bois, bref à l’infantilisme !

Kawai, le « mignon » est érigé en valeur. Quand Murakami raconte la genèse de ses oeuvres, cela commence toujours par « quand j’étais petit… » Au-delà du graphisme, cette fascination pour l’enfance s’exprime au Japon par la toute-puissante culture otaku, manière obsessionnelle de s’adonner à la lecture des mangas, à la construction de maquettes, aux collections diverses. Plus de 500 000 fans collectionneraient ainsi les figurines de Gundam, le héros intersidéral.
.
.
.
.
.
.
.
source: artuzel

Такаши Мураками ( 村上 隆) – японский художник, скульптор и дизайнер. Родился в Токио в 1962 году, окончил Токийский национальный университет изящных искусств и музыки. Один из наиболее известных в мире японских художников в стиле нео-поп.

Творчество Такаши Мураками – это оригинальный симбиоз современной поп-культуры и “высокого” искусства. В его работах прослеживается влияние популярных в Японии мультфильмов – аниме, и комиксов – манга.

Одной из ключевых работ автора является некое подобие автопортрета, его алтер-эго, – Mr. Dob. Персонаж представляет собой существо с круглой головой и большими ушами, на одном нарисована латинская буква D, на другом – B, голова изображает букву О. DOB – сокращение фразы “Dobojite dobojite” (Зачем? Зачем?). Фраза ассоциируется с японской культурой, так как принадлежит известному комику Toru Yuri, однако Мураками выбрал ее как обращение ко всем мировым культурам, воспринимаемый как своеобразный призыв к размышлению. Картина написана в 1998 году, но впоследствии художник создал целую серию с изображением Mr. Dob, где персонаж был перерисован в разных цветах.

Визитной карточной автора на протяжении уже многих лет являются рожицы-цветочки, изображающие весь спектр эмоций – улыбающиеся, веселые, грустные, злые, испуганные.

Помимо них Такаши изображает героев аниме и манги, создает скульптуры персонажей, одна из которых – скандальная порнографическая работа “Мой одинокий ковбой” (My Lonesome Cowboy) – была продана на аукционе за 15.2 млн долларов.

Мураками занимается не только написанием картин, но и создает предметы одежды, всевозможные аксессуары с изображением своих произведений – от сумок до диванных подушек и ковриков для компьютерной мыши. Он сотрудничает с Марком Джейкобсом – креативным директором известной марки Louis Vouitton – и создал для бренда коллекцию сумок Cosmic Blossom.

В 2002 году Такаши стал куратором выставки современных японских художников и скульпторов Superflat. Название выставки, которое переводится как “суперплоский”, художник придумал сам, и назвал этим термином все современное японское искусство, сочетающее в себе продукты индустрии развлечений (аниме, манга), поп-культуры и изящных искусств. Автор задается вопросом, в чем различие между живописью евпропейских и японских художников, и приходит к выводу, что в Японии изобразительное искусство создает ощущение “плоскости” из-за отсутствия трехмерного изображения. Таким образом, Такаши Мураками выделяет современное японское искусство в отдельный “феномен”, тем самым привлекая к нему внимание и способствуя его развитию на мировом рынке.

В 2010 году в Версале была организована выставка современных художников, где были представлены и скульптуры Такаши Мураками. Работы вошли в книгу Murakami Versailles. Поразительный контраст стилей – барокко и ни на что не похожий японский поп-арт – произвел неизгладимое впечатление на зрителей, вызвав как положительные отклики, так и волну негодования и критики преимущественно из-за эротических мотивов в некоторых работах автора.

Творения Такаши Мураками – одновременно яркие, развлекательные и глубоко философские. Сам Такаши определяет свою творческую деятельность как критику японского общества. В современной Японии, по мнению художника, живопись, скульптура, игры, комиксы и дизайнерская одежда слились в одно целое, и уже нет разницы между высоким искусством и продуктами потребления.

В 2013 году состоялся дебют Такаши на большом экране – вышел его первый полнометражный фильм “Глаза медузы” (Jellyfish Eyes). Фантастическая лента рассказывает о небольшом японском городке, где появляются существа, похожие на медуз, с которыми дети города играют, не подозревая, что они созданы на секретной базе, которая ставит эксперименты и таит в себе много неизвестного и, возможно, опасного. Картина создана для детей в стиле, схожем с аниме, ярком, динамичном и развлекательном, однако автор ставит цель донести до детей мысль о жестокости и несправедливости мира, с которыми они должны находить силы бороться.

Помимо своей творческой деятельности Мураками курирует коммерческие проекты. В 1996 году – еще в начале своей карьеры – Такаши открывает в Японии свою первую студию Hiropon Factory, а в 1998 появляется ее аналог в Нью Йорке. Позже, в 2001 году он создает компанию Kaikai Kiki Co., Ltd., которая до настоящего времени занимается продажей произведений современных японских деятелей искусства, а также их продюсированием и организацией выставок.
.
.
.
.
.
.
.
source: 23yy

村上隆(1962年2月1日-)是一位日本艺术家。他曾就学于东京艺术大学。他是受日本动画和日本漫画影响而专注于御宅族文化和生活方式的后现代艺术风格超扁平(Superflat)运动创始人。其灵感源自众多古怪的浮世绘艺术家和金田伊功于1983年发布的动画作品《Harmagedon》。曾获东京艺术大学颁发BFA、MFA及PhD。1996年他在东京创办了HIROPON工厂,之后演化成现时的Kaikai Kiki有限公司,一所大型艺术生产的艺术管理公司。他曾于多个世界著名的展览场地举行展览,包括2001年在东京当代艺术馆;2002年在伦敦蛇型艺廊;2007年洛杉矶当代艺术馆;2008年纽约布鲁克林博物馆;2003年他为路易威登创作出彩色图案皮具,将其个人艺术事业推至高峰。现时,他为加州大学洛杉矶分校担任客席教授。

村上隆(日语 村上 隆 平假名 むらかみ たかし 罗马字 Murakami Takashi),是上世纪60年代以后出生的日本艺术家中极具影响力的一位,在日本不仅是一位受到广泛的喜爱的艺术家,也是日本新一代年轻人的偶像。村上隆他强烈意识到西方的当代艺术与日本的艺术创作是截然不同的,重要的是我们这一代人如何不依靠任何固有的文化体系而创造出最本质的东西。因而他的作品既融合了东方传统与西方文明,高雅艺术与通俗文化之间的对立元素,同时又保留了其作品的娱乐性和观赏性。是一种结合了日本当代流行卡通艺术与传统日本绘画风格特点的产物。其作品趣味性十分值得一提。村上隆将米老鼠的变体形象植入自己的作品(Mr.DOB)将它视为自己的化身并成为独特的视觉符号。
村上隆独特的superflat(超扁平)风格画作,用高度精炼的日本古典绘画技法混合了波普艺术、动画和御宅族生活元素,他在不断扩大的审美争论和文化启示领域内游刃有余。他的作品有与人们熟悉的乌托邦和反乌托邦主题同行的微笑花朵、精心制作的场景动画以及变形的cult人物,他回忆和复兴了超越和启蒙叙述手法。挖掘宗教和世俗题材是这位所谓的日本怪人艺术家的偏好,他被普遍认为是早期现代纪元的代表,与西方浪漫主义传统截然不同。如果要问村上隆,日本的文化特质是什么,他的答案一定是:Superflat(超扁平)。这个词是他提倡的日造英语,也是一九九九年广泛受人注目的词汇。不仅点明了卡通动画及漫画影像上的二维平面特质,更深入指向日本大众文化的扁平无深度现象。他曾不止一次提到,日本整个社会就是superflat。