村上隆さんのインスタグラム写真 - (村上隆Instagram)「I am sure everyone has been living through the 2020 pandemic with complex feelings. I, for one, having gone to the precipice of my company’s collapse for a moment, found it almost unbearable and wished to die many, many times. For a few months, I didn’t want to wake up in the morning and hoped I would just die in sleep. But since I live in my studio, by the time I wake up, the company is already in motion for the day; I had no choice but to turn the switch on every morning and, with no time to wallow in suicidal thoughts, immersed myself in solving the problems. On November 26, my 10-meter-high Flower Parent and Child sculpture (Haha Bangla Manus) will be revealed in the courtyard of Roppongi Hills in Tokyo. I had to make the decision not to halt the project and to continue paying the fabricator in the midst of our near-bankruptcy drama, and it was a tremendous decision to make—I thought my innards would come out of my mouth. We did manage to avoid bankruptcy and the project is steadily moving forward, but that was a truly painful decision to make. For the past two weeks or so, the preparations for the installation have finally been underway. The Mori Building staff, the installers, and the shippers are on site, while the fabricators from the Walla Walla Foundry participate remotely from Washington State, with Kaikai Kiki’s Exhibition Director, Shin Kitahara, representing me on the ground. But sever wind and rain, as well as the pandemic preventing the fabrication team from joining in person, have made the process tremendously difficult. My artworks generally feature happy characters full of smiles, so most people mistakingly assume both my personality and our worksite to be also cheerful and happy. But in order to create a dream, we have to constantly work side by side with vomit-inducing agony. I sincerely hope that this work will be installed safely and without any accidents. photo: @mosomota translation: @tabi_the_fat」11月10日 22時31分