村上隆6月30日於Instagram的IGTV公布一則影片，親自揭露其經營的公司Kaikai Kiki正面臨「破產危機」，引發各大媒體大肆報導。在15分鐘的長片中村上隆痛心表示耗費九年的電影《Jellyfish Eyes Part 2: Mahashankh》，因2020年遇上疫情公司資金缺乏困頓，若將電影上架，公司恐怕無法負擔巨額的稅金，在商業顧問以及稅務律師的建議下，必須捨棄電影上映來節稅，村上隆也說明其電影作品也將轉為幕後紀錄片的形式持續努力，在未來如果有足夠的資金，會繼續完成電影後期製作並正式上映。此外，村上隆也說明道雖然站在商業角度來看他的電影是並不是成功的案例，但是希望藉由紀錄片的上映給予新銳藝術家一些勇氣和啟發。
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This spring, I streamed a series of cooking show of a sort on Instagram Live. I’m sure those who watched them were utterly confused, but I was trying to buoy my own thoroughly sunken feelings through these streamings. With the sudden swoop of COVID-19 pandemic, my company faced bankruptcy and I had to give up on a number of projects, the most symbolic of which being the production of my sci-fi feature film, Jellyfish Eyes Part 2: Mahashankh. For nine long years, I had persevered! It was a film that was to realize my childish dreams! The enormous budget I poured into this project, as well as my tenacious persistence, put a constant and tremendous stress on my company’s operation for the past nine years. But at the same time, I was able to endure various hardships because I had this project. Faced with the current predicament, however, I was persuaded by both my business consultant and tax attorney that I must, simply must try and drastically reduce our business tax by filing the film’s production cost as tax-exempt expenditure. To that end, I am going to produce and release a series of videos to publicly announce the discontinuation of the film’s production. (To be clear, this is an entirely legitimate procedure—I’m not trying to evade tax!) These videos will be released against the backdrop of our struggle to avoid an economic catastrophe, but perhaps it may have a cathartic effect on the viewers/my followers to see the story of stupid Murakami’s failure. Long story short, I’m a silly human being for whom the moment of bliss is when I am thinking my truly childish sci-fi thoughts. I don’t know how many episodes the series will end up being, but a series it will be, so please come along with me on this journey for a little while.
然而此一村上隆近乎破產的消息傳出後，也不乏令人聯想到村上隆的花錢習慣。在2019年4月，自1997年代理村上隆的畫廊Blum & Poe即可能是因為資金規劃的歧異才導致雙方長年的合作終止。根據Artnet報導指出，村上隆的野心與畫廊的規劃不符導致資金衝突，最終引發了長期合作關係的終結。村上隆有著眾所皆知的商業頭腦，但賺得多的同時也花得多，最為人詬病的是村上隆的畫作無論是版畫、海報等作品，皆是一出再出，光是在藝術市場上流通的作品就有逾7,000件，但是只要收藏群眾繼續買單，村上隆的市場就會存在。
因媒體大肆報導村上隆「破產」的消息，讓藝術家在7月10日於IGTV中發布第二則影片，澄清前一支影片使用的「破產」一詞，是言之過重，即便在成立公司20年以來，都存在著財務壓力，而財務規劃上確實是將大部分的收入再投入其創作中，會使用到「破產」一詞僅是表達自身內心感受，第一支的影片重點主要是向電影製作團隊道歉與分享自身心境。兩部影片村上隆都未提及Kaikai Kiki未來的經營走向，電影《Jellyfish Eyes Part 2: Mahashankh》也暫時無法上映，但是村上隆的影音創作並未停歇，與Kanye West和 Kid Cud合作推出的動畫《KIDS SEE GHOSTS》第一集已在6月26日上架，後續村上隆將會有什麼驚奇的動向，值得我們共同關注與觀察。
is about my painstaking staging of the police forced entry sequence and the reporting on the actual filming. For each scene, I had the exact image in my head of how it should look. We would go location hunting and visit many potential sites before settling on a one, and on the day of the filming, we mobilized as a huge team. Each time, however, we would encounter various troubles such as unexpected weather or a breakdown of a rented car, and we would have to circumvent them in order to achieve the desirable picture. The entire process required such perseverance. When I managed to film a complicated scene, hiring and coordinating a large number of people, I became ecstatic with euphoria, feeling simultaneously the elation of organizing a festival and the nervousness about the huge budget draining out tearing at my heart. This would pushed me into the state of oblivion and before I realized, I had poured an enormous budget into the project. Since I posted Episode 1, a number of media outlets have written articles focusing on my potential bankruptcy. But the truth is that since I have founded my company 20 or so years ago, it has never once had an easy time financially. This is because whenever I have any profit whatsoever, I always inject that money into a new project in order to spread my energy and the possibilities of creative expressions as far and wide as possible. So while I wouldn’t say it’s business as usual, this dire situation is nothing entirely new, either. I am making this documentary series by way of properly expressing my apologies to the countless people who have participated in the production of my film and, as such, I wanted to frankly and truthfully express everything I felt. That is why I went ahead and used the word “bankruptcy” in the episode, which probably didn’t need to be discussed in something I post publicly. On the other hand, thanks to this incident, people now have a better understanding of how seriously I engage in creating my art, so perhaps that was the unexpected benefit for me. Or maybe that’s just sour grapes, because my name now seems to be inextricably associated with the word bankruptcy. Ha ha.