At London’s Gagosian, the world-renowned Takashi Murakami draws from ancient Japanese artworks and blends them with his signature branding of kawaii culture and pop art. Recognisable cartoon characters emerge out of epic historical scenes of seventeenth-century Kyoto, blending tradition with modernity.
However, the question arises of whether the constant reappearances of Murakami’s perfectly cute video game-like figures bring something new to his latest exhibition, or rather exemplify the commercialisation of one of Japan’s most infamous artists.
The artworks are indeed fun to look at; shimmering gold leaf on a grand scale pulls the eye into detailed diorama-like landscapes and intricately formed, flowery dragons. Look closer, and visitors will uncover embossed images of smiley-faced flowers and cartoonish skulls in the backgrounds.
In the larger-scale works such as Rakuchū-Rakugai-zu Byōbu: Iwasa Matabei RIP (2023-24), which is mounted over three enormous panels, there is always something to discover as the viewer stands small before paintings of grand proportions. They are certainly impressive to behold.
Other works like Black Tortoise and Arhats (2024) almost feel AI-generated with their clashing colours, psychedelic patterns and creepy-looking cartoon creatures. These are perhaps less successful in Murakami’s mission to honour and reimagine the ancient art he is so inspired by.
“Japanese Art History à la Takashi Murakami” is worth a visit. Engaging for both fans and for those who are unfamiliar with his art, the exhibition showcases the continuity of and coherence in Murakami’s work. Yet this may leave viewers speculating over the future of Murakami and the direction he will take in art, since thus far, his work is yet to be diversified.