村上隆のインスタグラム(takashipom) - 11月11日 08時02分

I produced this painting in 2001, so 17 years ago now—I could not have predicted then that this work would now be sitting calmly on the main stage of art auction, at Christie’s NY. Such was the reality for an artist working in the contemporary art genre in Japan at the time.
What motivated me into making this painting was that my first large-scale solo exhibition, Summon Monsters? Ope the Door? Heal? Or Die?, was going to be held at the Museum of Contemporary Art Tokyo (MOT) and I had to make a number of large works to fill its vast space. I didn’t yet have the leverage of loaning existing works from those who had purchased them, so I had to fill the huge space in its entirety with new works alone. I believe this was around the time when I started to incorporate the workshop system into my practice in earnest.
Looking back, however, the “workshop system” at the time was a total mess, and I worked 24/7 with 20 or so young people producing my works. This painting is something akin to a self-portrait in which such a state of madness is engraved.
Hélène Kelmachter, the then-Chief Curator of Fondation Cartier pour l’art contemporain, saw the exhibition, and as a result it became a stepping stone for my solo exhibition, Kawaii! Vacances d’éte, at the said museum the following year. Given that Marc Jacobs @マーク・ジェイコブス saw the exhibition at the Cartier Foundation in turn, which led to my collaboration with Louis Vuitton, the MOT show marked the start of my career that has led me to where I am now, and this painting was its main feature.
It’s now a total mystery to me as to through what kind of thinking process this imagery had emerged. @loicgouzer @rottweilernyc @kojiinoue1 @ajkiyoi
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