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TAKASHI MURAKAMI © Alle Rechte Vorbehalten - Die Rechte Liegen Beim Jeweiligen Verlag TAKASHI MURAKAMI CECIL BEATON JULIA SCHER Mar y -Audre y Ramirez WINTER 2019 / 2020 EIN KUNSTMAGAZIN GIUSEPPE CASTIGLIONE Nr. 39 © Alle Rechte vorbehalten - Die Rechte liegen beim jeweiligen Verlag. Jegliche Veröffentlichung und nicht-private Nutzung exklusiv über https://www.axelspringer-syndication.de/angebot/lizenzierung BLAU--s3-beilagen-92 fdd88591bec38360f1d079b8cbf3b603 Nr. 39 / 39Winter 2019 TAKASHI – MURAKAMI 2020 © Alle Rechte vorbehalten - Die Rechte liegen beim jeweiligen Verlag. Jegliche Veröffentlichung und nicht-private Nutzung exklusiv über https://www.axelspringer-syndication.de/angebot/lizenzierung BLAU--s3-beilagen-92 fdd88591bec38360f1d079b8cbf3b603 Irgendwann, das Interview war been­ für eine lange Zeit, bis heute eigent­ AUFTAKT det, und wir waren längst durch jede lich, seinen Markt geschwächt. Eigent­ seiner fußballfeldgroßen Studiohallen lich eine Katastrophe. Aber es ist gelaufen, wollte ich dann doch noch noch komplexer: Am Ende wird Hirst einmal nachhaken. War es nicht reine für genau diese Auktion als sein größ­ Koketterie, wenn Takashi Murakami, tes Kunstwerk erinnert werden, eine ein Künstler mit weit mehr als 200 fest gigantische Performance gewisser­ angestellten Mitarbeitern (und Autor maßen, ausgerechnet an dem Tag, an von The Art Entrepreneurship Theory), dem Lehman Brothers pleitegeht. WENN AUS WEITSICHT ohne den leisesten Anflug von Ironie Wenn Damien stirbt, wird jeder darüber verkündete, er sei vieles, aber bestimmt schreiben. Ein Erfolg, der zur Nieder­ WELTSICHT WIRD. kein guter Geschäftsmann? Hatte er lage wird, und ihn am Ende, in den nicht gerade sein jüngstes Opus mag­ Nachrufen auf ihn, zu einem epoche­ Willkommen an Bord einer Kreuzfahrtflotte, num Die 500 Arhats, ein 100 Meter machenden Künstler werden lässt – die jedem Vergleich vorausfährt – mit kleinen individuellen „War es nicht reine langes Gemälde, an die Königsfamilie ist das nicht fantastisch?“ Schiffen und größter persönlicher Freiheit. Koketterie, wenn von Katar verkauft? Wie Murakami selbst erinnert „Genau dieses Bild beweist ein­ werden will, lesen sie ab Seite 36. Takashi Murakami, mal mehr, dass ich ein schlechter Ge­ Spoiler­Alert: Als „japanischer Warhol“ ein Künstler mit schäftsmann bin.“ Murakami sah mich schon mal nicht. weit mehr als 200 an, als sollte ich ihn trösten. Und er­ zählte dann, wie ihn das Bild fast an CORNELIUS TITTEL fest angestellten den Rand des Bankrotts gebracht hätte. Mitarbeitern, ohne Erst hätte er eine weitere Lagerhalle anmieten, dann dort ein Studio einrich­ den leisesten Anflug ten und schließlich eine hundert Me­ von Ironie ver kündete, ter lange Wand bauen müssen. Das habe er sei vieles, aber ihn bereits zwei Millionen Dollar ge­ kostet. Dann habe er vierzig zusätzliche bestimmt kein guter Assistenten eingestellt, die zusammen Geschäftsmann?“ ein ganzes Jahr an dem Gemälde gear­ beitet hätten. „Und jetzt stellen Sie sich vor, ich hätte das Bild nicht verkauft. Ich wäre erledigt gewesen. Handelt so ein verant­ wortlicher Unternehmer? Ich fürchte nicht. Das Ganze war wie eine Wette, die ich gut hätte verlieren können.“ Kein Wunder, sagt er, dass er in Fällen wie diesen selbst einen Käufer sucht, auf seine Galerien könne er sich da nur bedingt verlassen. „Überhaupt ist es oft so, dass ich in dem einen Monat nicht weiß, wie ich im nächsten die laufenden Kosten bedienen soll. Und dann geht es doch irgendwie, wenn man sich selber ans Telefon klemmt.“ Erfolg sei für Künstlerunternehmer immer relativ. „Schau dir Damien Hirst an, den ich sehr respektiere. 2008 hat er als erster Künstler eine große Auktion mit sei­ nen eigenen Werken gemacht und über 200 Millionen verdient, ein riesiger Er­ folg. Aber gleichzeitig hat diese Auktion Mehr über unsere Luxus- und Expeditionsreisen erfahren Sie unter: www.vor-uns-die-welt.de 5 © Alle Rechte vorbehalten - Die Rechte liegen beim jeweiligen Verlag. Jegliche Veröffentlichung und nicht-private Nutzung exklusiv über https://www.axelspringer-syndication.de/angebot/lizenzierung BLAU--s3-beilagen-92 fdd88591bec38360f1d079b8cbf3b603 APÉRO 57 cm. 10 CONTRIBUTORS / × TO BREAK THE RULES, IMPRESSUM 13 ESSAY YOU MUST FIRST MASTER Hans-Joachim Müller EIN KUNSTMAGAZIN TAKASHI CECIL BEATON Nr. 39 / Winter 2019 – 2020 17 NEUES, ALTES, BLAUES THEM. MURAKAMI Baba Beaton als Cover Art for 6HP: Heloise in 20 DICHTER DRAN , 2005, FKV, Stahl, Acryl und The Character The Great Lovers, Teresa Präauer References and 1927 J., Tinte und Farbe auf Papier, 27 Drawings, Vol. 2, 22 BEWEGTBILD Cherries , o. Illustration: mebae Andy Hope 1930 22 DIE SCHNELLSTEN SKULPTUREN DER WELT „Sie verstehen meine Volvo Amazon 28 BLITZSCHLAG TAKASHI MURAKAMI Position in Japan nicht. Kasper König Japanische Kritiker 34 UM DIE ECKE Reitender Ayusi mit einer Lanze haben verkündet, Sarajevo, Miljacka-Ufer dass ich die westliche Kunstwelt betrüge. Von oben im Uhrzeigersinn: Sie sagen, ich stehle cm. 100 von ihrer Kultur, × ich sei nur ein Broker, TAKASHI MURAKAMI DER SUPERSTAR ÜBER SEINE LIEBE ZU DEUTSCHER KUNST, der ihre Kultur nach SEINE BEGEGNUNG MIT BEUYS UND WAS MCKINSEY-BERATER Europa, Amerika VON SEINEM GESCHÄFTSIMPERIUM HALTEN WÜRDEN: und China verkauft“ EIN GESPRÄCH s.36 — TAKASHI MURAKAMI MARY-AUDREY RAMIREZ 2001, Acryl auf Leinwand (montiert auf Holz), 100 TENTAKELMONSTER, KILLERAMEISEN UND MEMORY CRAFT: WARUM BEI DIESER FRAU STOFFTIERE UND STICKBILDER ALLES ANDERE ALS BRAVE HANDWERKSKUNST SIND Melting DOB E., s.30 INFRAROTFOTOGRAFIE | cm. MARY-AUDREY RAMIREZ fotografiert von FRÉDÉRIC SCHWILDEN für BLAU. GIUSEPPE CASTIGLIONE 71 × TAKASHI MURAKAMI 100 × IM AUSSENDIENST KNAPP 400 JAHRE IST ES HER, DASS DER BAROCK- MALER GIUSEPPE CASTIGLIONE NACH CHINA Kioskcover-Flappe: AUDEMARS PIGUET VERKAUFSSTELLEN AUSWANDERTE. WO ER FORTAN, WEN WUNDERT +49 89 262 049 399 | AUDEMARSPIGUET.COM +49 89 262 049 399 | AUDEMARSPIGUET.COM MÜNCHEN: MAXIMILIANSTRASSE | FRANKFURT AM MAIN: GOETHESTRASSE Urethan-Lack, 200 ES, NICHT EINE KREUZABNAHME MEHR MALTE s.24 © Alle Rechte vorbehalten - Die Rechte liegen beim jeweiligen Verlag. Jegliche Veröffentlichung und nicht-private Nutzung exklusiv über https://www.axelspringer-syndication.de/angebot/lizenzierung BLAU--s3-beilagen-92 fdd88591bec38360f1d079b8cbf3b603 „Mein Vater war erst ENCORE Fotomodell, der 74 WERTSACHEN Von oben im Uhrzeigersinn: Was uns gefällt MIT GOLDAMULETT, 2.Jh. sich mit hübschen, 78 BLAU KALENDER schwulen Männern Unsere Termine EIN KUNSTMAGAZIN im Winter umgab. Später Nr. 39 / Winter 2019 – 2020 verkaufte er Werbe- 81 BILDNACHWEISE 82 DER AUGENBLICK JULIA SCHER schilder aus seinem Chris Killip Kofferraum heraus. nach Chr Meine Mutter war Security By Julia XLV: Security Landscapes ., Hausfrau und Wachsfarbe oder Tempera auf Holz. CECIL BEATON extrem übergewich- tig. Und sie war Voyeurin. Ihre Augen blickten in zwei verschiedene Rich- tungen, sodass man (Installationsansicht in der Andrea Rosen Galerie, New York), 2002 nie wusste, wohin JULIA SCHER sie sah“ VON KALIFORNIEN NACH KÖLN: EIN BESUCH BEI DER FRAU, DEREN KAMERAS ALLES VORAUSSEHEN – UND Teresa „Baby“ Jungman (später Cuthbertson) und Zita Jungman (später James) —JULIA SCHER DER WIR DOCH NICHTS GLAUBEN DÜRFEN s.56 DER HELLSTE WIE DER FOTOGRAF CECIL BEATON ERST SICH SELBST ERFAND – UND DANN DIE GEGENWART. EINE KLEINE KULTURGESCHICHTE VON JAN KÜVELER , s.48 Mixed Media . MUMIENPORTRÄT EINES JUNGEN , späte 1920er-Jahre Gesichter für die Ewigkeit DIRK SCHÜMER ÜBER DIE FAYUMPORTRÄTS, DIE IM ALTEN ÄGYPTEN MIT DEN MUMIEN BEGRABEN WURDEN s.64 © Alle Rechte vorbehalten - Die Rechte liegen beim jeweiligen Verlag. Jegliche Veröffentlichung und nicht-private Nutzung exklusiv über https://www.axelspringer-syndication.de/angebot/lizenzierung BLAU--s3-beilagen-92 fdd88591bec38360f1d079b8cbf3b603 www.museum-ludwig.de CONTRIBUTORS Keizo KITAJIMA IMPRESSUM Redaktion Keizo Kitajima ist selbst eine Le- CHEFREDAKTEUR gende. In den Siebzigern und Acht- Cornelius Tittel (V. i. S. d. P.) MANAGING EDITOR/CVD zigern fotografierte er das wilde Helen Speitler STELLV. CHEFREDAKTEURIN Leben auf den Straßen Tokios und Swantje Karich New Yorks in körnigem Schwarz- ART DIRECTION Mike Meiré Weiß. 1976 gründete er CAMP, ei- Meiré und Meiré: 2020 ner der ersten experimentellen Philipp Blombach, Sarah Abdelbaky TEXTCHEF Ausstellungsorte Tokios. Später schoss er ikonische Bilder für Hans-Joachim Müller Blinky Palermo Comme des Garçons, und Helmut Lang nahm ihn 2017 in seine BILDREDAKTION Die eDitionen David Dörrast, Isolde Berger Schenkung ulrich Artist Series auf. Als Kitajima nun auf Takashi Murakami traf, REDAKTION reininghauS Gesine Borcherdt (Ltg.) 18.1.–3.5.2020 fotografierte er ihn in dem Pappkarton, der Japans größtem Dr. Christiane Hoffmans (NRW), Boris Pofalla, Künstler als Schlafplatz dient. Für einen, der seinen Blick stets Marcus Woeller Fotoraum SCHLUSSREDAKTION Stille ruinen auf den urbanen Raum gerichtet hat, ist so etwas kaum der Rede Karola Handwerker, Claudia Kühne F. a. oPPenheim wert. Wir lieben das Bild dafür umso mehr. (Seite 36) REDAKTIONSASSISTENZ FotograFiert Svenja Paulsen Die antike Autoren dieser Ausgabe 15.2.—14.6.2020 Jan Küveler, Svenja Paulsen, Ulf Poschardt, Teresa Präauer, Frédéric Schwilden, Teresa PRÄAUER Dirk Schümer, Stefanie Unternährer, Betye Saar Ulf Erdmann Ziegler WolFgang-hahn- Sie ist eine der bedeutendsten Fotografen dieser Ausgabe PreiS 2020 Yves Borgwardt, Vedad Divović, 22.4.–26.7.2020 Schriftstellerinnen nicht nur Öster- Keizo Kitajima, Mathias Schmitt, reichs, im Land von Elfriede Jelinek Frédéric Schwilden, Saskia Uppenkamp maPPing Sitz der Redaktion BLAU the collection
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