Gagosian presents an exhibition of new paintings by Murakami at Grosvenor Hill gallery in London.
Gagosian is pleased to announce Japanese Art History à la Takashi Murakami, an exhibition of new paintings by Murakami at its Grosvenor Hill gallery in London. In this presentation, the artist pursues his fascination with the narrative of Japanese art by offering his own interpretations of historical paintings. By “Murakamizing” these iconic images, he ponders the erosion of the nation’s ancient splendor; he also considers the ways in which it has been impacted by new aesthetics and values associated with its opening to the West after the end of the Edo period (1603–1868).
Rakuchū-Rakugai-zu Byōbu: Iwasa Matabei RIP (2023–24) is modeled on Iwasa Matabei’s Rakuchū-Rakugai-zu Byōbu (Scenes in and around Kyoto) (Funaki Version) from the collection of the Tokyo National Museum. The original seventeenth-century work depicts the city in extraordinary detail across two six-panel folding screens. Murakami’s version, which was commissioned for his exhibition Mononoke Kyoto at the Kyoto City Kyocera Museum of Art, populates its gold-leaf clouds with skulls, a memento mori inspired by a visit to the Toribeno burial ground. He also integrates examples of his own iconography including smiling flower-faced figures and his familiar Mr. DOB character.
Murakami’s paintings of the Four Symbols, mythical guardians of Kyoto, pair each of their subjects with metropolitan locations aligned with the four compass directions: the Black Tortoise is associated with Mount Funaoka and Mount Kitayama in the north of the city; the Blue Dragon with the Kamo River in the east; the Vermilion Bird with Ogura Pond in the south; and the White Tiger with the San’indo Highway in the west. To arrive at these juxtapositions, Murakami combined his own sketches with AI-generated images and fragments of his earlier works in a process that parallels the inventiveness of earlier artists in depicting unfamiliar or imaginary creatures.
Among the other works in the exhibition are figure and flower paintings, including a tondo. In one, Murakami reworks a set of Daigo Hanami-zu screens from the collection of the National Museum of Japanese History in Sakura that depicts a cherry blossom viewing event on the grounds of Kyoto’s Daigoji Temple; in another, he reinterprets a pair of Kiku-zu screens by Kōrin that portray chrysanthemums in white, green, black, and gold. A version of an additional screen by the same artist features bunches of hollyhocks in red, pink, and white, while a work inspired by a screen from the collection of the Artizon Museum, Tokyo, reproduces a composition of hollyhocks and peacocks. The tondo features aqueous patterns, or “Kōrin Water,” and repeating chrysanthemums, motifs developed by Kōrin that sometimes also appear on kimono fabric. In this bridging of art and fashion, Kōrin, who was the son of a kimono merchant, could be considered Murakami’s creative forerunner.
Also opening on 10 December, and on view concurrently with the exhibition, Murakami is taking over Gagosian Burlington Arcade. Six new paintings featuring the artist’s smiling flowers are on view in the gallery, while the Shop offers prints and merchandise. The artist will also be in conversation with Hans Ulrich Obrist at 4pm on Wednesday 11 December, at the Benjamin West Lecture Theatre at the Royal Academy of Arts, London.
Japanese Art History à la Takashi Murakami: December 10, 2024–March 8, 2025
Opening reception: Tuesday, December 10, 6–8pm
Grosvenor Hill, 20 Grosvenor Hill, London W1K 3QD
Hours: Tuesday–Saturday 10–6
Further Information: Japanese Art History à la Takashi Murakami, Grosvenor Hill, London,