村上隆・Versailles・Jeff Koons・Kings of Kitsch 1/3

Jeff Koons ジェフ・クーンズ氏 & Takashi Murakami 村上隆氏
美術手帳の２００３年 Vol.55 No.840の表紙とBRUTUSの２０１０年６月１５日号のページ１６/１７
cccs - courtesy creative common senses

海外から「King of Kitsch」と呼ばれている総合商社のカイカイキキの村上隆「社長」（４８歳）は今年も日本の現代美術を代表する一人になっています。

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村上隆・Versailles・ベルサイユ宮殿・Kings of Kitsch 2/3

http://www.art-it.asia/u/sfztpm/7mOB2qf1UChP8uMskxRH/

村上隆 ・オタク・ニッポン万歳・Kings of Kitsch 3/3

http://www.art-it.asia/u/sfztpm/Rid1w2zJVc4a7WSnHsbk

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前に書いた記事を参考：

2010 = 村上隆の年
http://www.art-it.asia/u/sfztpm/Vt0Y16hxUsmXZF2uNyHO?lang=ja

ご存知のように、日本の若いアーティスト達に非常に大きな影響を与えています。つまり、美術家として成功するために企業を作らなければなりません。その考えはBT (美術手帳)も賛助し、BT特集や表紙に村上隆社長のために宣伝として行動しました。


美術手帳の２００３年 Vol.55 No.840の表紙とBRUTUSの２０１０年６月１５日号の表紙
cccs courtesy creative common senses

ちなみに、私と四谷シモン氏との対談（全部１６ページ）はこちらの美術手帳にも載せられてあります。


村上隆「社長」の名前を美術史に残すために、さまざまな派閥や団体 （日展・院展所属などご参考）を誕生しました：Geisai、Geisai Museum、Geisai University、Geisai artist、Geisai TV、Geisai Miami、Geisai Taiwanなど。しかし、今年のBTのchoiceで日本アーティスト達のTop Runnerの７４人の中で、Geisaiの影響はほとんど見えませんでした。

ご参考：
日本美術界の若手Top Runner
http://www.art-it.asia/u/sfztpm/UHgcdTbBiAyJRG7eC9tm



「村上隆の企業化」について私は他の国内外アーティスト達、評論家達、ライター達や元ＢＴ編集者達と今日まで議論していました。つまり、「自分の会社との奴隷関係」、「アーティストとの社会の役割」や「アーティストの幸せ」の課題です。



L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs - courtesy creative common senses



L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs - courtesy creative common senses





ちなみに、村上隆社長の会社のHPは御覧のように：
http://www.kaikaikiki.co.jp/

面白く読まさせて頂いたのは事業の仕事：


1. 国内外の展覧会、イベント、現代美術の講座の企画および製作
2. 美術作品の企画、制作及び販売並びに輸出入
3. 書籍の企画、装丁デザイン、編集、発行、販売並びに輸出入
4. 美術教育用及び美術製作に関する教材の企画、製作、販売及び輸出入
5. 衣料用繊維製品の企画、デザイン、製作、販売及び輸出入
6. 日用品雑貨の企画、デザイン、製作、販売及び輸出入
7. 包装容器などの梱包用品のデザイン、製作、販売及び輸出入
8. 広告の企画、製作
9. インターネットホームページの企画、製作
10. 古美術品などの古物売買
11. 著作権、出版権、翻訳権等の管理及び売買
12. 芸術家及びタレントに対するテレビ・ラジオ番組等への出演及び公演、イラスト制作、原稿出筆等の依頼に関するマネージメント業務
13. キャラクターの企画、開発、デザインの販売
14. 放送番組、キャラクター商品の販売促進等の供するための映像の企画、製作並びにその映像を収録したフィルム・ビデオテープ等の販売亜予備貸与
15. 美術講師の派遣、紹介
16. アニメーションの企画、制作、販売、並びに輸出入
17. 動物・植物の飼育及び販売
18. 上記各号に付帯する一切の業務

・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・

良く見れば、なんでもやる会社です。



村上隆 Takashi Murakami @ ART BASEL MIAMI 2008


しかし、会社の歴史、つまり、村上隆社長ではなく、有限会社カイカイキキの歴史には次のように書かれてあります。気になる所は東京都現代美術館での個展、いわゆる、curator達、都民の税金と有限会社カイカイキキのcollaborationです。


http://www.kaikaikiki.co.jp/company/history/


1996
「ヒロポンファクトリー」設立。埼玉県朝霞市上内間木493丸沼芸術の森内。
1998
「ヒロポンファクトリーNYスタジオ」設立。NY Brooklyn。
1999
４月、村上隆個展「ふしぎの森のDOB君」展開催（渋谷パルコギャラリー）。
2000
３月、HIROPON FACTORY ホームページ開設。
４月、村上隆キュレーションによる「スーパーフラット展」開催（渋谷パルコギャラリー）。
2001
1月、村上隆キュレーションによる「Superflat」展開催（L.A. Moca Gallery）。9万5000人を動員。
４月、「有限会社カイカイキキ」設立。資本金300万円。ヒロポンファクトリーの業務がスライド。
５月、立体物専門製作工房「アトリエ４号館」を設立。埼玉県志木市。
６月、丸沼芸術の森内に「アトリエ３号館」を設立。
７月、i-modeサイト「芸術道場GP」を開設。
８月、村上隆個展「召喚するかドアを開けるか回復するか全滅するか」展開催。（東京都現代美術館）
９月、村上隆個展関連イベント「芸術道場GP（グランプリ）」開催。
2002
３月、「GEISAI＃１」開催（東京タワーアミューズメントホール）。3006人動員。
６月、村上隆キュレーションによる「Coloriage（ぬりえ）」展開催（パリ、カルティエファウンデーション）。
村上隆個展「かわいい夏休み」展開催（パリ、カルティエファウンデーション）。
８月、「GEISAI＃２」開催（東京ビッグサイト西４ホール）5332人動員。
2003
３月、「GEISAI＃３」開催（パシフィコ横浜展示ホールA）6981人動員。
９月、「GEISAI＃４」開催（東京ビッグサイト西４ホール）5332人動員。
12月、「GEISAIミュージアム」開催（六本木ヒルズ森タワー２４階特設会場）4824人動員。
2004
３月　「カイカイキキアニメーションスタジオ」を設立。東京都 渋谷区 代官山町 4-1
「GEISAI＃５」開催（パシフィコ横浜展示ホールA）7798人動員。
９月、「GEISAI＃６」開催（東京ビッグサイト東４ホール）7244人動員。
１２月「カイカイキキアニメーションスタジオホームページ」開設。
2005
３月、「GEISAI#７」開催（東京ビッグサイト東４ホール）7591人動員。
６月、村上隆キュレーションによる「LITTLE BOY」展開催（NY、ジャパンソサエティ）。


２００５年以上の活動について何も書かれてありませんが。

ご存知のように、Damien Hirst、Jeff Koons、Andy Warhol、Disneyland やアニメ企業から村上隆社長は仕事のために「hint」や「idea」をもらいました。
当然、Jeff Koonsの知名度を憧れ、尊敬するアーティストの一人の事をBRUTUSの２０１０年６月１５日号にも証明しました。


BRUTUSの２０１０年６月１５日号のページ１６/１７
ジェフ・クーンズの「マネ」所蔵作品と村上隆 @ 丸の内の三菱一号館美術館

cccs - courtesy creative common senses



L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs courtesy creative common senses




L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs courtesy creative common senses




L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs courtesy creative common senses




L'UOMO VOGUE, Maggio/Giugno 2007, N.381
cccs courtesy creative common senses





Jeff Koonsは2008年にChateau de Versaillesで個展して、

Jeff Koons à Versailles: kitsch vs rococo
http://arts.fluctuat.net/blog/32174-jeff-koons-a-versailles-kitsch-vs-rococo.html


今年は有限会社カイカイキキの村上隆社長の「Murakami Versailles」（９月１２日〜１２月１４日）になります。

Promotionのために海外ニュースmediaを呼んでいるところで、これから色んな記事が表すはずです。
さて、日本のオタク達は観光客としてヴェルサイユ宮殿まで自分の「代表者」の作品群を観に行くかしら？


村上隆 Takashi Murakami「My Lonesome Cowboy (1998)」
cccs - courtesy creative common senses

日本現代美術界で一番高く売れた作品

Francois Pinault Foundation for Contemporary Art, Venice

New York, Sotheby's Contemporary Art Evening
Sale: N08441
Wednesday May 14, 2008, 7:00 pm, Lot 9
US $ 13,500,000

http://oneartworld.com/auctions/with?sale=S40&lot=9



今年秋、New Yorkで昔のJeff Koonsの作品が展示される予定です。



Jeff Koons, 「Fingers Between Legs」 1990. Oil inks silkscreened on canvas, 95.8 x 144.1 inches, Courtesy Luxembourg & Dayan, New York
cccc - courtesy creative common senses




Jeff Koons, work from 「Made in Heaven」1990. Oil inks on canvas.
cccc - courtesy creative common senses

御覧のように、この作品群「Made in Heaven」はJeff Koonsの名前をscandal的に広げました。
つまり、scandalを起こして、自分の人生を面白く、話題を浴びるnarrativeを企画しました。
Cicciolinaと離婚になり、「背広」の姿に変化して、「世界一」の有名な現代美術アーティストになる事を目指すところです。

with kind courtesy via

http://www.stumbleupon.com/su/8NBHLf/blogs.artinfo.com/artintheair/2010/08/25/porny-jeff-koons-xxxhibition-comes-to-the-upper-east-side//r:f


IN THE AIR HOME
AUGUST 25, 2010, 5:24 PM
Porny Jeff Koons XXXhibition Comes to the Upper East Side
IN THE AIR was surprised, though not necessarily unamused, to discover a portrait of a very naked, very young Jeff Koons in our email inbox this morning. But what, we wondered, was the reason for this unexpected and highly unusual pleasure? After composing ourselves, we decided to read the attached email, from public-relations mistress Andrea Schwan, and learned that Upper East Side gallery Luxembourg & Dayan is planning to show paintings from Koons’s notoriously pornographic “Made in Heaven” series in October.


The works depict the artist and his then-wife, Italian porn star Cicciolina, in a variety of suggestive poses that, despite our feigned excitement up above, are actually rather unpleasant. In the image that IN THE AIR received, “Fingers Between Legs,” Cicciolina wears a crown of flowers, heels, and fishnets, and covers her genitals with her hand, while Koons is completely and gloriously nude, his penis dangling just below his wife’s heels. It will take a special collector to embrace such a work. Reached by IN THE AIR, Schwan confirmed that some of the paintings in the nine-work show would be for sale. No one is naming prices, but one piece from the series, “Silver Shoes,” fetched $937,000 at Christie’s New York back in the halcyon days of November 2007.

The works first debuted at the 1990 Venice Biennale before embarking on a tour through the leading galleries of Europe at the time, including Max Hetzler in Cologne, Christophe Van de Weghe in Antwerp, and Galerie Lehmann in Lausanne, Switerland. When they were shown at the Sonnabend Gallery in 1991, they received a rather hostile critical reception. “Mr. Koons delivers an unabashedly cynical message,” New York Times critic Michael Kimmelman declared. “His works continue to celebrate the emptiness, meaninglessness and Disneylike unreality of contemporary life.” Kimmelman ended his review with a comparison and a prediction. Koons is following the path of like Salvador Dalí, the critic wrote, “an opportunistic publicity monger whose conflation of himself and his work precipitated the self-destruction that already seems Mr. Koons’s fate.”

Though Cicciolina would later abscond to Italy with their son, Ludwig, Koons is, of course, still standing strong, “Made in Heaven” paintings and all.

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http://flavorwire.com/122442/jeff-koons-born-through-porn-nsfw

Jeff Koons: Born Through Porn (NSFW)
4:00 pm Tuesday Oct 5, 2010 by Paul Laster
Controversial when first exhibited at the Venice Biennale in 1990, Jeff Koons’ Made in Heaven series is still shocking viewers today. Consisting of large photos printed on canvas, Murano glassworks, and marble sculptures, the series flaunts Koons and his wife at that time, celebrated Italian porn star and politician Ilona Staller (aka La Cicciolina), as a modern-day Adam and Eve, caught in staged moments of carnal foreplay and lustful lovemaking. Referencing a variety of art history sources — from the realist paintings of Courbet and Manet to the fanciful canvases of Fragonard and Boucher — the work pushed the act of portraying sexual relations in art to a new height, or new low, depending on your point of view.

Marking the 20th anniversary of the work’s release, the New York gallery Luxembourg & Dayan has gathered together nine of the unique paintings and a glass sculpture for an exhibition in its stylish Upper East Side townhouse. The show starts out fairly tame with Hand on Breast and Fingers Between Legs on the second floor, but ends on a bolder note with Dirty Ejaculation and Exaltation on the gallery’s upper level.
In her essay for the accompanying catalogue, Guggenheim Museum adjunct curator Alison Gingeras suggests, “In the process of making Made in Heaven from 1989 to 1992, Jeff Koons became Jeff Koons,” while summarizing, “The markers of his current successes — the auction records, his decoration of Frances Legion d’honneur, the glowing magazine profiles — are all legitimized by the sincerity he proved with Made in Heaven. Jeff Koons as we know him today was born through porn.”
Jeff Koons: Made in Heaven Paintings is on view at Luxembourg & Dayan October 6, 2010 through January 21, 2011.

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That Was No Lady, That Was My Wife

By Roberta Smith, 2010/10/14, New York Times

There are several ways to look at Jeff Koons’s so-called sex pictures from nearly 20 years ago, a series known more formally as “Made in Heaven Paintings,” which is currently ensconced in the town-house gallery of Luxembourg & Dayan on the Upper East Side of Manhattan. All are equally interesting and, in different ways, aesthetically unfulfilling.
One approach is to consider the images of Mr. Koons having various forms of sex with his soon-to-be (and later ex-) wife, the Italian porn star and politician Ilona Staller, a k a Cicciolina, simply as bad art.
The grainy inkjet images printed on canvas are repellent, offering a mix of startling anatomical detail and a kind of diffuse mechanical Pointillism in which grainy dots of color mingle confusingly with goose bumps and signs of irritated, freshly defoliated skin. They give you nothing as objects, and little as images except a kind of ghoulish, elaborately gussied-up miming of the sex act. Typical of the lowest common denominator of heterosexual convention, it is Cicciolina who does most of the gussying, wearing an array of bustiers, red patent leather boots, garters and wreaths of flowers and pearls. (A persistent question: What is with her red eyebrows? Are they supposed to be minxlike?)
Another possibility is to decide they are not art at all but elaborately staged documents of sex that didn’t actually happen, a cross between a scaled-up centerfold and a downsized billboard advertising underwear. (Since Mr. Koons’s face is never visible within images that feature his supposed erection, rumors of a body double have been, well, rampant for years.)
Occupying some no woman’s land of female objectification, they are visual train wrecks. They get credit for making you look at them, but they do not accomplish the kind of transformation — not of their materials, not of the viewer — that we expect from art, whether it’s Handel’s “Messiah” or Tino Sehgal’s weird walk up the Guggenheim ramp.
Perhaps the most intriguing view is of the “Made in Heaven” pictures as emblems of their moment. The years 1990 and 1991 were a particularly volatile time in the art world and a crucial point in the career of a prominent — considered by many to be overhyped — artist.
Certainly they reflect a fin-de-siècle grandiosity that is still too much with us (and that can be seen too in their current surroundings, a relatively narrow town house of a sort that a Gilded Age millionaire might have used to stash his mistress). And they can also be read as a flagrant, possibly hilarious reassertion of white straight male privilege in an era when identity politics were ascendant. They are in step with an aggressive political incorrectness pursued in the same period (albeit to very different effect) by Kara Walker and Sue Williams, who addressed racism and sexism in similarly inflammatory ways.
As artifacts of Mr. Koons’s own development, the inkjet monstrosities of “Made in Heaven” are notable as his first, failed attempt to make paintings. (He later went on to devise an almost perversely complex form of Photo Realism, executed by assistants but with his constant oversight, that is often strangely gripping — and, it should be mentioned, full of sexual references and centerfold images, spliced and diced.)
But, interestingly, they were immediately followed by, and maybe even precipitated, some of Mr. Koons’s best work, in sculpture. One was the monumental flower-covered “Puppy” (1992), an exuberance of innocence that many have viewed as an attempt at redemption from the sex pictures. Others include the brightly colored, highly reflective balloon dogs, whose implicitly polymorphous shapes and apertures can be seen as endlessly erotic and far sexier than the hard-core blatancy on view here.
The Cicciolina suite forms a kind of bookend with a wonderful self-portrait from a decade earlier: the 1980 “New Jeff Koons,” an enlarged light-box photograph of the artist in grade school looking squeaky clean with a freshly opened box of crayons and coloring book at the ready. The contrast between the unspoiled child and the knowing, even jaded adult of the sex pictures is extreme, and yet even more disturbing is the notion that they are not all that far apart.
The innocence of the child is replaced by the cluelessness of the man, one who confuses posing and empty exhibitionism with emotional vulnerability. Seen today these images exemplify a kind of tone-deafness that was also evident in “Skin Fruit, the exhibition of works from the collection of Dakis Joannou that Mr. Koons selected and installed at the New Museum last winter. In this sense they put us in touch with Mr. Koons’s out-of-touchness and the innocence that abounds in much of his art. Perhaps the truth is that Mr. Koons makes a better child than adult, and that for all his genius, he is a kind of naïf.

“Made in Heaven Paintings” continues through Jan. 21 at Luxembourg & Dayan, 64 East 77th Street, Manhattan; (212) 452-4646, luxembourgdayan.com.

http://www.nytimes.com/2010/10/14/arts/design/14koons.html?_r=1&emc=eta1


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そのほかの村上隆の関連記事：


村上隆の新しい絵 @ Gagosian

http://www.art-it.asia/u/sfztpm/kpEPHt97DS1bUF3roYCv/



Paul Schimmel & Takashi Murakami @ MOCA

http://www.art-it.asia/u/sfztpm/CyDkWuvf3ViFE4eQzGtx/



今日、第53回ヴェネチアビエンナーレは終了 2/2

http://www.art-it.asia/u/sfztpm/JegCQlIBtfwuoE7NszOh/



ART BASEL 41

http://www.art-it.asia/u/sfztpm/bdmN9rFO5VehvS0E1QI8?lang=ja






亜 真里男 「美人画」個展 @ Bunkamura Gallery, 2010

Japanese Anime Love (隆) (Takashi), 2009年
油彩・キャンヴァス・M120
2009, oil on canvas