Takashi Murakami 的访谈
NEW YORK, June 9, 2006—Takashi Murakami has been shaking up the art world since the early 1990s with his unconventional approach to both subject matter and artistic production.
The Japanese artist and curator first made an appearance on the global art scene with his controversial Randoseru Project, for which he constructed backpacks, of the sort typically used by Japanese schoolchildren, from the skins of endangered or exotic animals.
In the mid-’90s he provoked patrons of high- and low-brow art alike by creating life-size sculptures of ultra-sexual, anime-inspired characters.
Most recently his work has blurred traditional lines between fine art and the mass-produced object by pairing his signature, cartoon-like designs with a limited-edition series of Louis Vuitton handbags.
Never content to play the traditional role of the solitary artist, Murakami has moved into even broader areas of the art world, seeking out new talent among young Japanese artists and becoming a curator for shows at the Museum of Contemporary Art-Los Angeles and the Japan Society in New York.
For creating his own art, he has developed a unique factory-style production line in studios in Tokyo and in New York—that involves dozens of artists and assistants and runs like a well-oiled machine.
Working to promote those artists who have helped him build his KaiKai Kiki studio, Murakami established the semi-annual Geisai art fair in Tokyo in 2000. Now on the brink of the fair’s 10th edition, Murakami has announced a special sneak preview of the next Gesai fair at the Volta art fair that opens in Basel next week.
Some complain that the current art market has become too commercialized. As a market-savvy artist, what’s your perspective?
It’s always funny when people say this, because it sounds like they don’t understand what a “market” is. Isn’t it a place to buy and sell? Personally, I think that the more commercialized the art market, the easier it is to understand strategically. I do appreciate all different kinds of art, though; just like I appreciate all different kinds of people. There are some people who compete in the commercial arena and there are some who abide by more personal, spiritual or idealistic guidelines. If done well, both can be equally satisfying.
You’ve done work with Louis Vuitton and others that straddles the line between art and commercial products. Do you think there are dangers to mixing art with branding and merchandizing?
I don’t think of it as straddling. I think of it as changing the line. What I’ve been talking about for years is how in Japan, that line is less defined. Both by the culture and by the past-War economic situation. Japanese people accept that art and commerce will be blended; and in fact, they are surprised by the rigid and pretentious Western hierarchy of “high art.” In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that’s okay—I’m ready with my hard hat.
Your work has a decidedly cartoon-like or anime-inspired aesthetic that is also quite common in other Japanese artists’ work. Why do you think there is this fixation among contemporary Japanese artists on the “cute”? Can you explain this sometimes creepy fascination among many young Japanese artists (i.e. Aya Takano, Mahomi Kunikata) with images that depict prepubescent girls in sexualized situations?
Anime is a big industry in Japan and is extremely widely and evenly broadcast, so that the majority of people grow up watching the same TV shows. You could go so far as to say that anime is part of Japan’s national consciousness.
The cute obsession is a complicated problem, but I think that it’s a pleasant and not-so-intimidating aesthetic ideal, so that is why it’s very popular. It’s good for people who are introverted, which many Japanese are. Cute is so fetishized in Japan that it’s actually also sexualized. It’s just like how Americans have a fetish with steroid body builders and breast implants. Personally, I think that’s creepy.
Tell me about how and why you developed the idea to create your own “factory-style” studio.
I was originally inspired by the Walt Disney Studio, Lucas Films and [Hayao] Miyazaki’s Ghibli Studio. I was interested in this kind of hands-on, workshop-style production space that even major film companies use.
Also, it might be a Japanese characteristic, but I’m not a solitary person. I like the dynamics of a group working together towards a single goal. The eclectic mash of individual egos, brains and wills leading to harmony and discord is an exciting force to work with, and it helps me be creative.
What’s your relationship with the artists in your studio? In addition to collaborating with you on your work, do they produce their own? How much inspiration do you receive from them? How much teaching/mentoring of them do you engage in?
The relationship is one of mutual inspiration. The artists in my studio help me work on my work, and I help them work on theirs. The extent of feedback that I give depends on the situation. Specifically, Kaikai Kiki represents the work of six exhibiting artists besides myself. These artists are all actively involved in their own work, although three of them are also regular employees of the company, which means they also have management positions.
Why do you do so much work promoting emerging Japanese artists—and as an experienced artist, what do you feel it’s important to teach them?
I like the gambling aspect of working with young artists. With the right combination of talent and guidance, you can really hit the jackpot. I would say that my biggest concern for young artists is their lack of know-how, and how that leads to them being taken advantage of by institutions and the merciless gears of the art-world machine. It is important for artists to know the facts about the market, the system, and to approach the business aspect with a clear-headed, confident attitude.
What prompted you to launch the the Geisai art fair in Tokyo? What niche does it fill on the Japanese fair calendar?
I wanted to increase awareness of art among everyday Japanese people. By making it a fun event—that everyone, regardless of funds, can enjoy—I hoped to turn a variety of people on to art. I also like that it is open-participation. This gives it a more egalitarian feeling than Western art fairs, which are really exclusive and oriented to the high-end consumer. Geisai has been a huge success. Every time, 10,000 people come to the site, and we are getting more coverage in international publications.
NEW YORK, June 9, 2006—Takashi Murakami has been shaking up the art world since the early 1990s with his unconventional approach to both subject matter and artistic production.
The Japanese artist and curator first made an appearance on the global art scene with his controversial Randoseru Project, for which he constructed backpacks, of the sort typically used by Japanese schoolchildren, from the skins of endangered or exotic animals.
In the mid-’90s he provoked patrons of high- and low-brow art alike by creating life-size sculptures of ultra-sexual, anime-inspired characters.
Most recently his work has blurred traditional lines between fine art and the mass-produced object by pairing his signature, cartoon-like designs with a limited-edition series of Louis Vuitton handbags.
Never content to play the traditional role of the solitary artist, Murakami has moved into even broader areas of the art world, seeking out new talent among young Japanese artists and becoming a curator for shows at the Museum of Contemporary Art-Los Angeles and the Japan Society in New York.
For creating his own art, he has developed a unique factory-style production line in studios in Tokyo and in New York—that involves dozens of artists and assistants and runs like a well-oiled machine.
Working to promote those artists who have helped him build his KaiKai Kiki studio, Murakami established the semi-annual Geisai art fair in Tokyo in 2000. Now on the brink of the fair’s 10th edition, Murakami has announced a special sneak preview of the next Gesai fair at the Volta art fair that opens in Basel next week.
Some complain that the current art market has become too commercialized. As a market-savvy artist, what’s your perspective?
It’s always funny when people say this, because it sounds like they don’t understand what a “market” is. Isn’t it a place to buy and sell? Personally, I think that the more commercialized the art market, the easier it is to understand strategically. I do appreciate all different kinds of art, though; just like I appreciate all different kinds of people. There are some people who compete in the commercial arena and there are some who abide by more personal, spiritual or idealistic guidelines. If done well, both can be equally satisfying.
You’ve done work with Louis Vuitton and others that straddles the line between art and commercial products. Do you think there are dangers to mixing art with branding and merchandizing?
I don’t think of it as straddling. I think of it as changing the line. What I’ve been talking about for years is how in Japan, that line is less defined. Both by the culture and by the past-War economic situation. Japanese people accept that art and commerce will be blended; and in fact, they are surprised by the rigid and pretentious Western hierarchy of “high art.” In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that’s okay—I’m ready with my hard hat.
Your work has a decidedly cartoon-like or anime-inspired aesthetic that is also quite common in other Japanese artists’ work. Why do you think there is this fixation among contemporary Japanese artists on the “cute”? Can you explain this sometimes creepy fascination among many young Japanese artists (i.e. Aya Takano, Mahomi Kunikata) with images that depict prepubescent girls in sexualized situations?
Anime is a big industry in Japan and is extremely widely and evenly broadcast, so that the majority of people grow up watching the same TV shows. You could go so far as to say that anime is part of Japan’s national consciousness.
The cute obsession is a complicated problem, but I think that it’s a pleasant and not-so-intimidating aesthetic ideal, so that is why it’s very popular. It’s good for people who are introverted, which many Japanese are. Cute is so fetishized in Japan that it’s actually also sexualized. It’s just like how Americans have a fetish with steroid body builders and breast implants. Personally, I think that’s creepy.
Tell me about how and why you developed the idea to create your own “factory-style” studio.
I was originally inspired by the Walt Disney Studio, Lucas Films and [Hayao] Miyazaki’s Ghibli Studio. I was interested in this kind of hands-on, workshop-style production space that even major film companies use.
Also, it might be a Japanese characteristic, but I’m not a solitary person. I like the dynamics of a group working together towards a single goal. The eclectic mash of individual egos, brains and wills leading to harmony and discord is an exciting force to work with, and it helps me be creative.
What’s your relationship with the artists in your studio? In addition to collaborating with you on your work, do they produce their own? How much inspiration do you receive from them? How much teaching/mentoring of them do you engage in?
The relationship is one of mutual inspiration. The artists in my studio help me work on my work, and I help them work on theirs. The extent of feedback that I give depends on the situation. Specifically, Kaikai Kiki represents the work of six exhibiting artists besides myself. These artists are all actively involved in their own work, although three of them are also regular employees of the company, which means they also have management positions.
Why do you do so much work promoting emerging Japanese artists—and as an experienced artist, what do you feel it’s important to teach them?
I like the gambling aspect of working with young artists. With the right combination of talent and guidance, you can really hit the jackpot. I would say that my biggest concern for young artists is their lack of know-how, and how that leads to them being taken advantage of by institutions and the merciless gears of the art-world machine. It is important for artists to know the facts about the market, the system, and to approach the business aspect with a clear-headed, confident attitude.
What prompted you to launch the the Geisai art fair in Tokyo? What niche does it fill on the Japanese fair calendar?
I wanted to increase awareness of art among everyday Japanese people. By making it a fun event—that everyone, regardless of funds, can enjoy—I hoped to turn a variety of people on to art. I also like that it is open-participation. This gives it a more egalitarian feeling than Western art fairs, which are really exclusive and oriented to the high-end consumer. Geisai has been a huge success. Every time, 10,000 people come to the site, and we are getting more coverage in international publications.
这种帖,我不顶,谁顶?!!
____________________
钱,钱,钱!!
____________________
钱,钱,钱!!
http://www.ringtones-dir.com/get/ ringtones site. Download ringtones FREE, Best free samsung ringtones, Cingular ringtones and more. From website .
funny ringtones
http://www.ringtones-dir.com/get/ ringtones site. ringtones download: Download ringtones FREE, Best free samsung ringtones, Cingular ringtones and more. samsung ringtones From website .
报告楼主看8懂因个利息
报告金山糍粑，这里有活干了！
报告金山糍粑，这里有活干了！
[quote]引用第3楼guest于2006-06-13 22:59发表的“”:
报告金山糍粑，这里有活干了！[/quote]
告金山糍粑出差了我来顶替!
[s:78]
以下为翻译文章>>>>>>>>>>>>>>
纽约 , 2006 年六月 9 日— Takashi Murakami 自从 1990 年代早期以後有用～摇动艺术世界他的达成～的非传统的方式～两者的主题物质和艺术的制造。
日本的艺术家和馆长首先使外表在全球的艺术现场上用 他的争论 Randoseru 计画 , 哪一他构造了挑运 , 典型地被日本的学生用的种类 , 从皮肤濒临绝种或异国的动物。
在 19 90 年代中内，他激怒了高的赞助人 而且低眉毛艺术相似的藉由创造过度的-性生活- 大小雕刻， anime- 得到灵感的个性。
最近最他的工作有使在成对的好艺术和大量生产的物体之间的传统线他的签字模糊,有路易斯 Vuitton 手提包的限量发行版系列的像卡通一样的设计。
不要使扮演孤独的艺术家的传统角色满足 ,Murakami 有搬进艺术世界的甚至更宽广,在年轻的日本艺术家之中寻求外面的新才能而且在纽约的同时代的艺术-洛杉矶的博物馆和日本社会为表演变成一个馆长。
为创造他的自己艺术，他有在东京和包括几十个艺术家和助手和奔跑像一部井- 涂油的机器纽约—的工作场所发展一条独特的工厂- 风格制造线。
工作促进那些在 2000 年在东京帮助他建立他的 KaiKai Kiki 工作场所 , Murakami 建立 semi- 年刊 Geisai 艺术展览会的艺术家。 现在在展览会的第 10 版的边缘之上， Murakami 有在伏打艺术下个星期在巴塞尔中打开的展览会宣布下个 Gesai 展览会的一个特别的预告片。
一些抱怨现在的艺术市场已经也变得开放买卖。 如一个市场- 理解能力艺术家，你的远景是什么?
因为它听起来像他们一样不 了解 "市场" 是什麽 , 所以当人们说这的时候 , 它总是好笑的。 它不是一个地方买而且卖吗? 自己，我认为愈更开放买卖了艺术市场,愈比较容易它要战略的了解。 但是,我确实感激所有的不同类型 艺术; 正直的像我感激所有的不同类型 人们。 有一些人们在商业的竞技场中和在那里竞争一些谁遵守 更个人的, 精神上的或理想主义的指导方针。 如果完成了很好地, 两者的可能是相等地满意。
你有用～做工作路易斯 Vuitton 和在艺术和商业的产品之间跨立线的其他人。 你在那里想吗是危险到用～混合艺术打上烙印和 merchandizing?
我当做跨立不 觉得 它。 我当做变更线觉得 它。 我所有谈论达数年之久的是 , 那条线是比较少量多麽的在日本定义。 两者的藉着文化和藉着过去- 战争经济的情形。日本的人们接受那种艺术，而且商业将会被混合；而且事实上，他们是感到惊讶被 "纯艺术" 的硬和自负的西方阶级组织.在西部方面，它确定地是危险混合的那二因为人们决意投所有的石头。 但是我所对～感到准备好的好—我的安全帽。
你的工作有一确定的像卡通一样或 anime 激发的美学在其他的日本艺术家的工作中那也相当通常。 你为什么想在 "可爱的" 上的同时代的日本艺术家之中有这个定置? 你能在有在使有性的情形中描述 prepubescent 少女的图像许多年轻的日本艺术家 (也就是 Aya Takano,Mahomi Kunikata) 之中有时解释这爬着走的魔力吗?
Anime 在日本是一种大的工业并且是极端地广泛地而且平均地广播,所以多数的人们长大 看相同的电视表演。 你可以变如此远对於说 anime 是日本国家的意识部份。
可爱的固执是一个复杂的问题，但是我认为它是一愉快的和不-如此-威胁美学的理想, 所以是它为什麽很流行。 它对人们是好的是生性内向, 许多日本人是。 可爱的是也实际上如此 fetishized 在日本以致於它是使有性。 它很正直像美国人如何有一个物神由于类固醇身体建立者而且胸部深植。 自己，我认为是爬着走的。
告诉我关於如何而且你为什麽发展了主意产生你的自己 "工厂-风格" 工作场所。
我本来被华德狄斯耐工作场所， Lucas 电影和 Miyazaki's Ghibli 工作场所激发。我对～感兴趣这种手-之上,工作室- 风格制造隔开甚至主要的电影公司使用。
也，它可能是一个日本的特性，但是我不是一个孤独的人。 我喜欢团体向一个单一目标一起工作的动力学。 个别的自我，智力和意志导致协调的选择碎麦芽和不调和是令人兴奋的力量工作由于, 而且它帮助我是有创造力的。
在你的工作场所中你和～的关系艺术家是什么? 除了在你的工作上和你合作，他们生产他们的自己吗? 你从他们接受多少灵感? 你专注多少教学/ 他们良师?
关系是相互的灵感之一。 艺术家在我的工作场所中帮助我处理 我的工作, 和我帮忙他们在他们的之上工作。 我给的回应范围仰赖情形。 明确地， Kaikai Kiki 除我自己之外表现六个 exhibiting 艺术家的工作。 这些艺术家全部是积极地积极叁与在他们的自己工作中,虽然他们中的三个也是公司的一般职员, 也意谓他们有管理位置。
你为什么做如此很多工作促进初现的日本艺术家—而且如一个富有经验的艺术家，你感觉什么教他们是重要?
我喜欢用 年轻的艺术家工作的 gambling 方面。 藉由才能和指导的正确组合，你能真的撞上了累积奖金。 我会说为年轻的艺术家的我最大的关心是他们的实际知识的缺乏，而且那如何对他们带领在带利益被机构和带艺术- 世界机器的无慈悲心的齿轮。 它对艺术家是重要的知道有关市场 , 系统的事实, 和用～接近生意方面一清楚的-带领,有信心的态度。
什么激励了你在东京发射 Geisai 艺术展览会? 它在日本的展览会日历上填充什么适当地方?
我想要在每天的日本人们之中增加对～的注意艺术。 藉由使它成为有趣的事件—那每个人,不管基金,能享受我希望对艺术把多种人们打开的—。 我也喜欢它是开着的-分享。 这给它比较平等主义的感觉胜於西方艺术展览会, 真的独家并且对高结束消费者定向。 Geisai 有是极大的成功。 每一次， 10,000个人到达 位置，而且我们正在变得国际的出版较多的报导。
报告金山糍粑，这里有活干了！[/quote]
告金山糍粑出差了我来顶替!
[s:78]
以下为翻译文章>>>>>>>>>>>>>>
纽约 , 2006 年六月 9 日— Takashi Murakami 自从 1990 年代早期以後有用～摇动艺术世界他的达成～的非传统的方式～两者的主题物质和艺术的制造。
日本的艺术家和馆长首先使外表在全球的艺术现场上用 他的争论 Randoseru 计画 , 哪一他构造了挑运 , 典型地被日本的学生用的种类 , 从皮肤濒临绝种或异国的动物。
在 19 90 年代中内，他激怒了高的赞助人 而且低眉毛艺术相似的藉由创造过度的-性生活- 大小雕刻， anime- 得到灵感的个性。
最近最他的工作有使在成对的好艺术和大量生产的物体之间的传统线他的签字模糊,有路易斯 Vuitton 手提包的限量发行版系列的像卡通一样的设计。
不要使扮演孤独的艺术家的传统角色满足 ,Murakami 有搬进艺术世界的甚至更宽广,在年轻的日本艺术家之中寻求外面的新才能而且在纽约的同时代的艺术-洛杉矶的博物馆和日本社会为表演变成一个馆长。
为创造他的自己艺术，他有在东京和包括几十个艺术家和助手和奔跑像一部井- 涂油的机器纽约—的工作场所发展一条独特的工厂- 风格制造线。
工作促进那些在 2000 年在东京帮助他建立他的 KaiKai Kiki 工作场所 , Murakami 建立 semi- 年刊 Geisai 艺术展览会的艺术家。 现在在展览会的第 10 版的边缘之上， Murakami 有在伏打艺术下个星期在巴塞尔中打开的展览会宣布下个 Gesai 展览会的一个特别的预告片。
一些抱怨现在的艺术市场已经也变得开放买卖。 如一个市场- 理解能力艺术家，你的远景是什么?
因为它听起来像他们一样不 了解 "市场" 是什麽 , 所以当人们说这的时候 , 它总是好笑的。 它不是一个地方买而且卖吗? 自己，我认为愈更开放买卖了艺术市场,愈比较容易它要战略的了解。 但是,我确实感激所有的不同类型 艺术; 正直的像我感激所有的不同类型 人们。 有一些人们在商业的竞技场中和在那里竞争一些谁遵守 更个人的, 精神上的或理想主义的指导方针。 如果完成了很好地, 两者的可能是相等地满意。
你有用～做工作路易斯 Vuitton 和在艺术和商业的产品之间跨立线的其他人。 你在那里想吗是危险到用～混合艺术打上烙印和 merchandizing?
我当做跨立不 觉得 它。 我当做变更线觉得 它。 我所有谈论达数年之久的是 , 那条线是比较少量多麽的在日本定义。 两者的藉着文化和藉着过去- 战争经济的情形。日本的人们接受那种艺术，而且商业将会被混合；而且事实上，他们是感到惊讶被 "纯艺术" 的硬和自负的西方阶级组织.在西部方面，它确定地是危险混合的那二因为人们决意投所有的石头。 但是我所对～感到准备好的好—我的安全帽。
你的工作有一确定的像卡通一样或 anime 激发的美学在其他的日本艺术家的工作中那也相当通常。 你为什么想在 "可爱的" 上的同时代的日本艺术家之中有这个定置? 你能在有在使有性的情形中描述 prepubescent 少女的图像许多年轻的日本艺术家 (也就是 Aya Takano,Mahomi Kunikata) 之中有时解释这爬着走的魔力吗?
Anime 在日本是一种大的工业并且是极端地广泛地而且平均地广播,所以多数的人们长大 看相同的电视表演。 你可以变如此远对於说 anime 是日本国家的意识部份。
可爱的固执是一个复杂的问题，但是我认为它是一愉快的和不-如此-威胁美学的理想, 所以是它为什麽很流行。 它对人们是好的是生性内向, 许多日本人是。 可爱的是也实际上如此 fetishized 在日本以致於它是使有性。 它很正直像美国人如何有一个物神由于类固醇身体建立者而且胸部深植。 自己，我认为是爬着走的。
告诉我关於如何而且你为什麽发展了主意产生你的自己 "工厂-风格" 工作场所。
我本来被华德狄斯耐工作场所， Lucas 电影和 Miyazaki's Ghibli 工作场所激发。我对～感兴趣这种手-之上,工作室- 风格制造隔开甚至主要的电影公司使用。
也，它可能是一个日本的特性，但是我不是一个孤独的人。 我喜欢团体向一个单一目标一起工作的动力学。 个别的自我，智力和意志导致协调的选择碎麦芽和不调和是令人兴奋的力量工作由于, 而且它帮助我是有创造力的。
在你的工作场所中你和～的关系艺术家是什么? 除了在你的工作上和你合作，他们生产他们的自己吗? 你从他们接受多少灵感? 你专注多少教学/ 他们良师?
关系是相互的灵感之一。 艺术家在我的工作场所中帮助我处理 我的工作, 和我帮忙他们在他们的之上工作。 我给的回应范围仰赖情形。 明确地， Kaikai Kiki 除我自己之外表现六个 exhibiting 艺术家的工作。 这些艺术家全部是积极地积极叁与在他们的自己工作中,虽然他们中的三个也是公司的一般职员, 也意谓他们有管理位置。
你为什么做如此很多工作促进初现的日本艺术家—而且如一个富有经验的艺术家，你感觉什么教他们是重要?
我喜欢用 年轻的艺术家工作的 gambling 方面。 藉由才能和指导的正确组合，你能真的撞上了累积奖金。 我会说为年轻的艺术家的我最大的关心是他们的实际知识的缺乏，而且那如何对他们带领在带利益被机构和带艺术- 世界机器的无慈悲心的齿轮。 它对艺术家是重要的知道有关市场 , 系统的事实, 和用～接近生意方面一清楚的-带领,有信心的态度。
什么激励了你在东京发射 Geisai 艺术展览会? 它在日本的展览会日历上填充什么适当地方?
我想要在每天的日本人们之中增加对～的注意艺术。 藉由使它成为有趣的事件—那每个人,不管基金,能享受我希望对艺术把多种人们打开的—。 我也喜欢它是开着的-分享。 这给它比较平等主义的感觉胜於西方艺术展览会, 真的独家并且对高结束消费者定向。 Geisai 有是极大的成功。 每一次， 10,000个人到达 位置，而且我们正在变得国际的出版较多的报导。
<a href='http://www.yahoo.com'></a> http://www.ringtones-dir.net/download/ <a href='http://www.ringtones-dir.net'>download ringtones</a>. <a href="http://www.ringtones-dir.net ">nokia ringtones</a>: Best free samsung ringtones, Cingular ringtones and more, Ringtones for free. [url]http://www.ringtones-dir.net/free/ [link=http://www.ringtones-dir.net]ring tones[/link] From site .
http://www.ringtones-dir.net/get/ ringtones site. ringtones download: Best free samsung ringtones, Cingular ringtones and more, Ringtones for free. samsung ringtones From website .
http://www.ringtones-dir.net/get/ ringtones site. Best free samsung ringtones, Cingular ringtones and more, Ringtones for free. From website .
