Is all art a reflection on mortality? Something to leave behind before we finally kick the bucket, maybe. An extension of the self that isn’t weighed by consciousness. Perhaps it’s a morbid interpretation of the latest bright and gilt work of celebrated Japanese artist Takashi Murakami, but with skulls subtly etched into the encroaching clouds on his canvases and a short talk that mentions death, it’s easy to turn to a darker understanding of the highly successful artist’s show.
Celebrating 15 years of working together with the Gagosian gallery, Takashi Murakami enlightens the clamouring press at Japanese Art History À La Takashi Murakami on 10th December about his concept. In his address he references the presence of death in the works, as well as Zen philosophy, through leaving space or openness in the compositions. The acrylic and gold leaf prints on canvas process the death of his father that happened seven years ago, as well as his father’s decline developing Alzheimer’s 5 years prior. Murakami shares he is aware of his own mortality too, speaking matter-of-factly. 
Layering his own illustrations with AI-generated images to depict Four Symbols individually hung across one wall, the mythical guardians of Kyoto, the artist makes an explicit reference to what’s beyond human life and the divine. It’s sensible to use cutting edge, fast-changing technology for this, adding a sense of futurism and perhaps a nod to how his works might be re-interpreted in the future as he riffs off Japanese art history himself, who might next interpret his own work?
Shifting gears from the talk, the artist later dons a signature fluffy tactile smiling flower hat (of which the reverse frowns) to film what looks like a TikTok, dancing with a morph-suited companion. Takashi Murakami knows how to play the game, pleasing us with profound contemplations as well as joy in his presence. He’s explained before the hats act as a bridge between himself and others that transcends language, since using English limits him. 
This moment of dance gives an absurd quality to this highly modern reality of the art world – he boogies across the floor of a prestigious white cube filled with his odes to pieces from the Tokyo National Museum, notably the giant reinterpretation of Rakuchū-Rakugai-zu Byōbu (Scenes in and around Kyoto) (Funaki Version) painted by Iwasa Matabei in the 17th century. Being watchable certainly has an impact on how art is received in the 21st century and shooting around works that depict a contemporary “erosion of the [Japanese] nation’s ancient splendour” in this way adds to this narrative of disappearing old-fashioned codes. As his flower characters appear in many compositions, like a sort of Where’s Wally, modernity and his pop culture symbol saturate the canvases.
Murakami’s attraction to sexual or shocking themes excites us, like his My Lonesome Cowboy piece that sold for upwards of $15 million in 2008 at Sotheby’s and his pornographic and racy show in 2011 at Gagosian where 3-Metre Girl entranced visitors. Yet, in this show the closest we get are some Anime-style female prints dressed modestly head to toe in Kimono and Geta. Glossy, polished and grand, the impact of this show is in its scale and attractive colours rather than sex.
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Artwork © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Prudence Cuming Associates Ltd - Courtesy Gagosian.
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Artwork © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Prudence Cuming Associates Ltd - Courtesy Gagosian.
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Artwork © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Prudence Cuming Associates Ltd - Courtesy Gagosian.
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Maiko in Springtime Kyoto, 2024 © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Kei Okano - Courtesy Gagosian.
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Flaming Vermillion Bird, 2024 © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Kei Okano - Courtesy Gagosian.
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White Tiger and Family, 2024 © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Kei Okano - Courtesy Gagosian.
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Rakuchū-Rakugai-zu Byōbu: Iwasa Matabei RIP, 2023–24 (detail) © 2024 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved - Photo: Kei Okano - Courtesy Gagosian.