Pop Art Takashi Murakami Genome No 10. 2009. Mixed media with colour offset lithograph on wove paper. 68 x 67 cm. Signed and numbered. Mounted in spots on support, mounted in passepartout and framed behind glass (unopened). - Overall very good and flawless. Brilliant impression of the format-filling composition, the colour fresh and powerful. One of 300 copies. - The central motif of the present work by Takashi Murakami, an abstract structure of seemingly biological forms, is reminiscent of a DNA helix and already refers to genetic coding in the title. Murakami combines technoid precision with ornamental abundance and once again demonstrates his endeavour to translate nature, technology and culture into a common visual language. As the founder of the so-called Superflat movement, Murakami's works such as Genome No.?10 reflect the visual languages of manga, anime and pop art, which he "flattens out" formally, but adds conceptual depth. The deliberate cancellation of foreground and background, of high and pop culture, but also the consistent use of modern printing processes underline his strategy: the superficiality of Western consumer aesthetics is not only quoted, but also productively turned into a critical principle of contemporary art. Mixed media and colour offset lithography on wove paper. Signed and numbered. Mounted in spots on support, mounted in passepartout and framed behind glass (unopened). - Overall very good and flawless. Brilliant impression of the format-filling composition, the colour fresh and powerful. - one of 300 copies. - The central motif of the present work by Takashi Murakami, an abstract structure of seemingly biological forms, is reminiscent of a DNA helix and already refers to genetic coding in the title. Murakami combines technoid precision with ornamental abundance and once again demonstrates his endeavour to translate nature, technology and culture into a common visual language. As the founder of the so-called Superflat movement, Murakami's works such as Genome No. 10 reflect the visual languages of manga, anime and pop art, which he "flattens" formally, but adds conceptual depth to. The deliberate elimination of foreground and background, of high and pop culture, but also the consistent use of modern printing processes emphasise his strategy: the superficiality of Western consumer aesthetics is not only quoted, but also productively turned into a critical principle of contemporary art. 1500