Kyoto’s KYOCERA Museum of Art in Japan is celebrating its 90^th anniversary with an exhibition of large-scale art by Japanese artist Takashi Murakami. The art exhibition, Takashi Murakami Mononoke Kyoto, presents around 170 artworks, mostly new, by the celebrated artist who pioneered the Superflat style. Mononoke is on view from February 3-September 1, 2024, and is co-curated by Shinya Takahashi, General Manager of Renewal Project Office, Kyoto City KYOCERA Museum of Art and Akiko Miki, Curatorial Cooperation. Takahashi joins STIR for an interview about KYOCERA’s presentation and connects Murakami’s distinct practice to Kyoto’s rich artistic history.

Murakami is a contemporary artist who is recognised for creating his trademark two-dimensional art style, known as “Superflat”. Superflat art is typically colourful and takes inspiration from the “flatness” of traditional art and manga panelling from Japan. The term rose to prominence when the artist organised the exhibition Superflat, which toured Japan and the United States between 2000 and 2001. The exhibition was accompanied by the Superflat Manifesto and had a considerable impact on the art scenes of both nations. The manifesto called for all Japanese art and culture to be viewed as a flat plane where the historic and the contemporary intermingle, and in Japan, prompted artists to blur boundaries between fine art, pop art and commercial art. Meanwhile, in the United States, Superflat brought greater attention to Japanese contemporary art amongst American audiences. KYOCERA’s presentation takes a focused look at the style’s connection to the visual art and performing arts produced in Kyoto during the Edo period (1603-1868).

To those not in the know, the exhibition’s title may seem odd, as the term “mononoke” refers to malicious spirits in Japanese art and folklore, while Murakami’s work is predominantly vibrant and cheerful. Takahashi clears up this confusion, telling STIR, "Originally, the term ‘mononoke’ in Japan signified a spirit that haunts or torments people, such as vengeful ghosts, departed souls and spirits of the living. Following the worldwide acclaim of [Studio] Ghibli’s animated film Princess Mononoke (1997) however, ‘mononoke’ has come to signify the spirits of various creatures. In this exhibition, ‘mononoke’ is perceived in a broader sense as ‘unworldly creatures’.”

Originally, the term ‘mononoke’ in Japan signified a spirit that haunts or torments people, such as vengeful ghosts, departed souls and spirits of the living. Following the worldwide acclaim of [Studio] Ghibli’s animated film Princess Mononoke (1997) however, ‘mononoke’ has come to signify the spirits of various creatures. In this exhibition, ‘mononoke’ is perceived in a broader sense as ‘unworldly creatures’. – Shinya Takahashi, General Manager of Renewal Project Office, Kyoto City KYOCERA Museum of Art

This nuance shapes KYOCERA’s offering as a vision of another world; one that is filled with colour and mirth. However, not all is happy at the art museum, as the artist has brought glimpses of his darker side to the exhibition as well: Murakami masterfully melds the grotesque with the kawaii (Japanese for cute) in many of his works, adding manic energy to them that sits in sharp contrast to the affable flowers and sprites western audiences may be more familiar with.

The Name Succession of Ichikawa Danjūrō XIII, Hakuen, Kabuki Jūhachiban (2020) eschews cuteness completely in its presentation of masked individuals with severe expressions. One might not call the protagonists of this piece grotesque, but the demeanour they project is certainly a far cry from the sunny disposition that most of the artist’s characters project. Takahashi connects this artwork to traditional Japanese theatre, saying, “This artwork depicts a fierce and spectacular performance known as Kabuki Jūhachiban (The Eighteen Kabuki Masterpieces). It developed out of an interest in the designs and depictions of kumadori makeup and costumes particular to kabuki.”

Kabuki theatre—widely recognised for its extravagance—originated in Kyoto. It was first performed by a Shinto shrine maiden in 1603, at the dawn of the Edo era. Murakami’s take on Kabuki carries the same grandiosity that is commonly associated with it, but he adds a frenzied energy by cluttering it with protagonists and through a liberal application of contrasting colours. The artwork is but one example of how Murakami’s Mononoke connects to the artistic history of Kyoto and beckons audiences to explore each more closely.

‘Takashi Murakami Mononoke Kyoto’ is on display until September 1, 2024, at The Kyoto City KYOCERA Museum of Art.