Damien Hirst 桜





この「ダミアン・ハースト 桜」展はアーティス自身が展示を監修し、美術館の壁の前にもう一つの白い壁を立て巾木を無くし人が通る開口部がミニマルになるようにインテリアを再構築したとのこと。これにより空間の中で「桜」と「鑑賞する人々」以外の要素が消え、桜に囲まれた「花見の感覚」を創出することに成功しています。




The exhibition of Damien Hirst's cherry blossom series (a curated selection of 24 works) was first held at the Cartier Foundation in Paris and has now come to the Tokyo National Art Center.

Upon entering the exhibition space, I inwardly remarked, "This wall feels like MOMA (Museum of Modern Art in New York)."

Spotting the walls, as pristine as freshly laid white sheets, I had a positive premonition that this would be a splendid exhibition.

I've often felt that the issue with contemporary art exhibitions in Japan is the "space." The noticeable rails for ceiling spotlights or the details like baseboards where the wall meets the floor diminish the quality of the space, making it inappropriate for displaying modern art.

In this "Damien Hirst - Cherry Blossom" exhibition, the artist himself supervised the display. They constructed an additional white wall in front of the museum's walls, removed the baseboards, and minimized openings where people pass through. This allowed for all elements other than the "cherry blossoms" and "the viewers" to disappear, successfully creating an ambiance akin to "flower viewing" surrounded by cherry blossoms.

Spaces for viewing the paintings of Mark Rothko or Jackson Pollock must be minimalistic. Hirst's paintings, influenced by these artists, demand the same.

After the exhibition, I realized the spatial experience felt reminiscent of Monet's "Water Lilies" rooms at the Orangerie Museum, deeply related to abstract expressionism. Indeed, it felt as though I had stepped into an illusion created by the artist.

Just as one virtually experiences "Monet's gardens at Giverny" at the Orangerie Museum, visitors who finished viewing the temporary cherry blossom showcase, synchronized with the short cherry blossom season, felt a lingering sadness knowing they would never see the same blossoms again.