　六本木ヒルズの中庭に、今月、村上隆の立体作品が登場する。高さ10メートルの金色のこの像は、同ビルの象徴ともいえる巨大なクモの立体作品、ルイーズ・ブルジョワ《Maman》（2002）のほど近くに設置される。

　村上のInstagramによれば、この像は「お花の親子の像」とのことで、《Haha Bangla Manus》と呼ばれており、設置作業が続いている。

　Instagramでの投稿で村上はこの新たな立体作品について、2020年の新型コロナウイルスに端を発する経営的な危機を踏まえたうえで、次のようにコメントしている。

「倒産寸前の状況のなかでもプロジェクトを中止せず、製作者への支払いを続けるという決断をしたことは、自分の内臓が口から出てくるかと思うほどの大決断でした。なんとか倒産はまぬがれ、プロジェクトは着々と進んでいますが、本当に苦渋の決断でした」「私の作品には笑顔のハッピーなキャラクターが描かれているので、私自身の性格や現場も明るくハッピーなものと勘違いされがちです。しかし、夢を描くためには、吐き気を催すような苦悩と隣り合わせで仕事をしなければなりません。この作品が事故なく無事に設置されることを心より願っています」（ともに原文は英語）。

この投稿をInstagramで見る

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

Takashi Murakami(@takashipom)がシェアした投稿 - 2020年11月月10日午前5時31分PST

村上隆の巨大立体作品、六本木ヒルズに登場へ