Perrotin Invitation Book - April- August 2018

APRIL — AUGUST 2018

NEW YORK 130 ORCHARD STREET, LOWER EAST SIDE

TAKASHI MURAKAMI Opening Saturday April 28, 6 - 8 pm April 28 – June 17

JR Opening Wednesday June 27, 6 - 8 pm June 27 – August 17

ALOALO Opening Wednesday June 27, 6 - 8 pm June 27 – August 17

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TAKASHI MURAKAMI Opening Saturday April 28, 6 - 8 pm April 28 – June 17 “What is Beauty. It is a momentary flicker of ever-vanishing youth.”

Takashi Murakami1 Perrotin New York is pleased to present a solo exhibition of the work of Takashi Murakami, the fourteenth in twenty-three years of cooperation with the artist.

Spanning two floors, the exhibition presents for the first time in New York recent works from the series Baka Paintings, Homage to Francis Bacon and the Transcendent Attacking a Whirlwind fresco, exhibited this past October at the Museum of Fine Arts Boston.

The exhibition opens with a brand new series of Baka Paintings presented as self-portraits of the artist, his face stylized like a manga at the center of the composition. Written in Japanese characters in the background is the artist’s manifesto describing different moments of his private and professional life. In the very first piece of the series, Idiot (2012), he describes the critical situation of art in Japan, the ingenuousness of an overly insular cultural sector, devoid of any progressive vision or prospects for the young generations of artists.

In response, Murakami’s text suggests developing a quality art education system to inundate the world with talented Japanese artists.

This declaration is offset by the word baka (idiot) written across the top of the painting like a watermark so the letters can only be seen from a distance. Murakami works a playful to-and-fro with the words, and even with body of the viewer who loses all bearings, caught between two messages.

He toys with his own image through ironic self-criticism. In the words of professor Hiroko Ikegami with regard to this piece: “Murakami’s rebellious spirit is best demonstrated in works like Baka”2 . Does his desire to make a clean break with the system conflict with more realistic considerations? Or is the viewer the one caught in the vice of this somewhat hazy dilemma?

Idiot 2012 Acrylic on canvas mounted on aluminum frame 57.9 × 40.3 cm 2213/16 × 157/8 in

1. Takashi Murakami and Soyeon Ahn The meaning of Superflat Always Remains Mysterious in Takashi in Superflat Wonderland, PLATEAU Samsung Museum of Art, 2013 2. Hiroko Ikegami, ARTFORUM 54, February 2016, 232-233

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Homage to Francis Bacon (Second Version of Triptych (on light ground)) 2016 Acrylic, gold and platinum leaf on canvas mounted on aluminum frame Triptych (3 panels) 197.8 × 147.5 × 5.1 cm (each) 777/8 × 581/16 × 21/16 in (each)

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N EW YOR K The strength of this intentionally off-beat piece also lies in its highly academic pictorial rendering, drawing upon traditional Japanese inking techniques to support his claims.

The exhibition continues with a new series of paintings inspired by the work of Francis Bacon. The dense compositions contain there curring motifs of the artist’s iconography - eyes, mushrooms, characters - accentuated by multiple layers of color on platinum leaf. In Murakami’s work, the representation of flesh in motion is the pretext for a cosmology of chaotic motifs and colors.

The metamorphoses of faces recall the transformations of Mr. DOB, the whimsical character - sometimes cute, sometimes monstrous and fierce - that Murakami subjects to multiple variations in his artworks.

With this series, started in 2002 and continued in 2016, the artist pursues his homage to artists - both occidental and oriental - who have influenced his work.

The exposition closes with Transcendent Attacking a Whirlwind (2017), a monumental painting 10 meters (33 feet) long, composed of ten wood panels painted in acrylic and highlighted with gold and platinum leaf. The work is a homage to Japanese artist Soga Shōhaku, whose painting by the same title created in about 1764 is now part of the Boston Museum of Fine Arts collection.

Caught in a storm, several characters in traditional dress surround a sea dragon whose coiled tail merges into the raging waves. The hypnotic motion of the colorful whirls structures the scene and emphasizes the dynamic nature of the composition. Colours and patterns - waves, scales, clothing - are delicately layered like a collage of Japanese paper beneath a shiny lacquer.

Transcending tradition through both a pop and scholarly approach to his art, Takashi Murakami brilliantly revives the principles expounded by his mentor, Professor Nobuo Tsuji: animation, ornamentation (kazari), playfulness (asobi), religiosity and eccentricity. This massive fresco calls to mind The 500 Arhats (2012), a vast panorama 100 meters (330 feet) long in which Murakami revisits the Japanese tradition of scroll paintings. Created in response to recent ecological disasters in Japan, these simultaneously realistic and hallucinatory works marked a turning point in the artist’s career.

The pieces presented in this exhibition show the importance of history and tradition in the work of Takashi Murakami, who holds a Ph.D. in Nihonga painting. Incessantly moving between the past, present and future, his oeuvre combines the most modern iconography and techniques with the precision and sophistication of tradition Japanese art.

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The artist deliberately maintains a wide gap among the immediate visual impact of his paintings, the apparent accessibility of his work, and the conceptual density of his discourse. His extensive knowledge and sense of irony are two major characteristics of his work: Murakami asserts a desire to mix high culture and popular culture indiscriminately in a “super flat� artwork devoid of prejudice or boundaries, a truly free expression of creativity.

Born in 1962 in Tokyo, Takashi Murakami lives and works in Tokyo, Japan.

In 2018, Takashi Murakami will be exhibited at the Vancouver Art Gallery, at the Modern Art Museum of Fort Worth and at the Fondation Louis Vuitton.

Since 2015 , seven high-profile international museums have hosted major Takashi Murakami personal exhibitions: Mori Museum of Tokyo, Yokohama Museum of Art, Astrup Fearnley Museet of Oslo, Museum of Contemporary Art Chicago, Museum of Fine Arts Boston, Albright-Knox Gallery, Buffalo and Garage Museum of Contemporary Art Moscou. The exhibitions all brought a record number of visitors to the museums in which they were held.

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Transcendent Attacking a Whirlwind 2017 Acrylic, gold leaf, and platinum leaf on canvas mounted on wood panel 300 × 1000 cm (10 panels) 1181/8 × 39311/16 in (10 panels)

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All artworks Š Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

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JR Opening Wednesday June 27, 6 - 8 pm June 27 – August 17 Perrotin New York is pleased to announce a solo exhibition of JR, his first at the new gallery space on Lower East Side.

Most people have seen the work of the celebrated French artist JR, even if they don’t know it. His rooftop mural of a giant pair of engaging eyes is impossible to miss from the terraces of New York’s Whitney Museum of American Art, nearly 20 million viewers tuned in to watch U2 perform in front of his dynamic photo during the 2018 Grammy Awards and the 2018 Oscar-nominated documentary Faces Places, which JR co-directed with the legendary Agnès Varda, has been attracting rave reviews since its release last year.

Starting out as an artist on the streets of Paris when he was still a teen, JR rose to international acclaim when he won the coveted TED Prize for his socially active art in 2011. The innovative work that got him to the prize-winning place partially came about through chance. Discovering an abandoned camera in one of the city’s Metro stations at age 17, he added photography to his creative talents when he began documenting his friends while they were tagging.

Employing the wheat pasting technique of street artists like Banksy, Shepard Fairey and Swoon, JR ambitiously started making “Sidewalk Gallery” exhibitions of his photographs, which soon grew larger-and-larger in scale. After self-publishing My Street Diary with photos of his art pals in 2005, JR was surprised to see his pasted pictures in news reports of riots in the Paris suburbs that he knew so well.

Wanting to right the unfair coverage of the neighborhood, JR photographed its young people, whom the media had been portrayed as riotous radicals, in more playful poses. He strategically posted his portraits in bourgeois areas of the city and on the walls of art centers, which made such an impact that he was soon invited to wrap the city hall of Paris with his imagery. It was then that JR began to believe that art could change the world.

Using the power of paper and glue, JR made the leap to the international stage in 2007, when he and a friend traveled to Israel and Palestine to document the conflict with his project Face 2 Face. Making 11

close-up photographic caricatures of Israelis and Palestinians doing the same jobs—such as barbers, lawyers and cooks—he pasted their jumbo portraits together on both sides of the wall to show that they were more alike than different.

As the media buzz around the artist grew, the opportunities to show his work and create new, community-based projects increased, too. Traveling to Brazil in 2008, JR inaugurated his Women Are Heroes project in the impoverished favelas of Rio de Janeiro by pasting the sides of houses and buildings with the faces of determined women in the gang controlled area.

Over the next two years he took the project global by creating actions in Africa and Asia, while displaying his powerful pictures at a massive scale on walls, bridges and rooftops in Europe and the U.S. No one had ever seen public art at this level, or with such a noble purpose. Giving a voice to the powerless, getting face to face with them, JR digitally diced up his pictures to print in sections, which made them applicable to all kinds of surfaces—from the sides of trucks and buses to the tops of moving trains.

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GIANTS, Kikito, September 7, 2017, 10:03 am, Tecate, Mexico, USA (32.579458, -116.588734) 2017 Color print, mounted on dibond, glass, oak wood frame 120 × 160 cm 471/4 × 63 in

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JR also began his ongoing Wrinkles of the City project that same year. Photographing the elderly people who had witnessed the dramatic upheavals of their urban environments, JR wove their images into the fabric of the place. Pasting their jumbo likenesses on crumbling walls and industrial areas of such cities as Shanghai, Havana and Los Angeles, he gave praise to the inhabitants who had survived tough times.

Upon winning the TED Prize, JR initiated Inside Out, a participatory art project that allows people to get their photo and paste it to promote an idea, action or project that they support. Since its inception, more than 300,000 portraits have been pasted in 140 countries worldwide—with photo booths taking the project to unpredictable places.

In New York, Inside Out actions have occupied Times Square and The High Line, while in 2014 JR collaborated with the New York City Ballet to create life-size photos of the dancers and an enormous image of their bodies forming an eye. JR’s most celebrated NYC project, however, has to be his installation of haunting photographs of immigrants in an abandoned hospital on Ellis Island. The site also serves as the backdrop for JR’s moving film ELLIS, which stars and is narrated by Robert De Niro.

The issue of immigration was also on JR’s mind in 2017 when he constructed a billboard-sized portrait of a baby boy peering over the American border from Mexico. On the final day of the provocative installation the artist threw a picnic on an extended tablecloth printed with his signature eyes that traversed both sides of the borderline— symbolically suggesting that the whole world was watching.

Although the artist has had nearly 60 solo shows in cultural capitals worldwide, New Yorkers have long anticipated a broad presentation of JR’s meaningful art, and with this exhibition of new work at Perrotin New York, the wait is happily over.

Paul Laster January 2018

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Solo shows of JR’s work have been exhibited in galleries and museums worldwide, including The Rath Museum in Geneva, Tokyo’s Watari Museum, The Contemporary Art Museum in Dallas, The Contemporary Arts Center in Cincinnati, the Museum Frieder Burda, Baden-Baden, Germany, Power Station of Arts in Shanghai. He created amonumental installation that surrounded the drum of the Pantheon’s dome until the end of its renovation in Paris, France. More recently (in 2016), he worked on a stunning temporary installation at the Musée du Louvre “JR at the Louvre”.

The same year, he showed an installation at the Château La Coste, in the South of France. This year, he will have a retrospective at the Maison Européenne de la Photographie, in Paris, France.

Mind the Gap 2017 Mirrored indian glass, wood, stainless steel 131 × 99 × 23 cm 9/16 51 × 39 × 91/16 in Collection: Château La Coste

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Aloalo Mahafaly sculptures of the Efiaimbelos Opening Wednesday June 27, 6 - 8 pm June 27 – August 17 In collaboration with André Magnin, African art expert, Perrotin New York is very pleased to present an unprecedented exhibition dedicated to Efiaimbelo, Aloalo sculptor, deceased in 2006. Efiaimbelo owes his knowledge and art to his great grandfather Soroboko.

Over the years, he developed his practice and passed it on to his son Jacques Jean Efiaimbelo, and his grandson Jean Colomb Efiaimbelo, their turn becoming “disciples” of the art. Today, only five members of the clan perpetuate this unique practice in the same style as their distinguished inspirer.

Usually sculpted out of Mendorave, a very dense, rare and sacred wood exclusively cut and handled by sculptors; the Aloalo is a vertical sculpture that reaches about 2 meters high (6.5 feet) divided in two distinct parts.

The base of the sculpture is a pole. It’s upper middle part is carved into eight (the number of wholeness) successive geometric motifs painted in vivid colors.The first seven motifs are an alternating succession of diamond-like or half-moon-like figures that respectively represent, according to tradition, a Zebu’s forehead and a sleeping dog. The last symbol of the pole is a full moon adorned with sun rays that evokes light and life.

This pole is topped with a horizontal platter of varying dimensions, on which stands a figurative scene, sculpted in the round. Practiced by the Mahafaly in the great South of Madagascar since the 18th century, the Aloalo is typically sculpted in memory of the deceased while celebrating the living with prestige.

Efiaimbelo was one of the first to modernise the Aloalo, by painting it and diversifying its figurative scenes combining knowledge and traditional stories.

Jean Colomb Efiaimbelo Couple eating zebu (Mjandrasa henampranas varanga) 2011 Mendorave wood, paint 193 × 37 × 25 cm 76 × 149/16 × 913/16 in

Every Aloalo depicts a moment of daily life, a tale, a legend, ancestral wisdom, or a stories shared by members of the Termaromainte clan and their benefactor, Soroboko Avisoa.

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N EW YOR K To quote the anthropologist Paul Rabibisoa Rovoay: “The Mahafaly artist Efiaimbelo has placed the Aloalo at the center of his art.

In addition to contributing the endless inventiveness of his carvings to this art form, he has also played a significant part in the introduction of color and the revitalizing of themes. Reoccurring elements in Efiaimbelo's Aloalo are: a brightly colored (or black and white) ox known as a zebu, which expresses passion and prestige; a warrior, who conveys sovereignty; a couple of birds, which symbolize love and faithfulness; a policeman, who embodies the law and the strength of the new regime; a bush taxi, a motorcycle, and an airplane, which materialize travel, the city, progress, and technology.”

The descendants of Efiaimbelo, members of the Temaromainte clan live on the land of their Ancestors, amongst the “invisible”, in Androka.

Their homes consist of a couple shacks protected by thorn trees and cactuses. The sculptures of Efiaimbelo were exhibited for the first time in 1989 in a show entitled “Magiciens de la terre” at the Grande Halle de la Villette, in Paris. André Magnin’s pursuit of Efiaimbelo’s work, while spending time alongside the artist's children, family and the Temaromainte clan that he became a member of, has allowed the exposure of these Aloalos; notably at the Galeries nationales du Grand Palais, Paris (2011); the Guggenheim Museum, Bilbao (2007); the Museum of Fine Art, Houston (2005); at the Grimaldi Forum (2005); La Caixa foundation, Palma de Majorque; at the Palais de la Virreina in Barcelone (1994-1995); Groningen Museum (1992); Centro de Arte Contemporáneo, Mexico (1992); Saatchi Gallery, London (1992), Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria (1991).

10% of the revenue of each sale will be donated to the Azé Charity www.aze-asso.org that supports the underprivileged and deprived children of Tuléar, in the South West of Madagascar, through education.

Portrait of Efiaimbelo in Androka, 1993 Jean Terry Soccer Team (Mpanao baolina kitma) 2012 Mendorave wood, paint 226 × 53 × 28 cm 89 × 207/8 × 111/16 in

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XXX 201X Mirrored indian glass, wood, stainless steel 131 × 99 × 23 51 9/16 × 39 × 9 1/16 in

PAR I S 76, R U E D E TU R E N N E, MAR AI S

IVÁN ARGOTE Opening Saturday June 2, 4 - 9 pm June 2 – July 28

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IVÁN ARGOTE Deep Affection Opening Saturday June 2, 4 - 9 pm June 2 – July 28 The exhibition of Iván Argote at Perrotin Paris is conceived as an essay composed of sculpture, text, video and sound, in which the artist proposes a poetic, sociological and political discussion about the idea of “other”.

From very early ages to today, western civilization has considered the “other” as different, focusing on what divides and separates us.

Under this conception, which we know from the bottom of our hearts is simply arbitrary, we have as a civilization historically and scientifically justified discrimination and domination. Argote brings us to diametrically opposite places like two towns in Colombia and Indonesia, that happen to be exact antipodes (a rare geographical relationship that only 6 pairs of cities share in the world), to Cameroun, creating a dialogue between French past and present colonization (A brief history of a square). He simply moves us through Paris (Le fond de Paris), literarily touching us and making us reconsider our perspective towards history, geography and politics.

Massive and delicate architectural interventions in the space serve as support for a writing system that put in friction political and sentimental statements, a strategy that the artist has used in recent large-scale interventions in Bogotá, Mexico and Douala. Argote uses affection and tenderness to disseminate political tension in urban environments like parks, sidewalks, sewers, billboards and large-scale outdoor building screens. The gallery itself serves as a guide, gently encouraging us to flow through the space and acknowledge the various narratives that the art presents.

Ni olvido ni rencor 2018 Fibered concrete, paint, steel 123 × 106 × 5.5 cm 487/16 × 413/4 × 315/16 in

In the show, both in the films and in the sculptures, the concept of bodily contact is omnipresent. We see bodies touching, connecting, over lapping. Some sculptures function as devices that suggest body rapprochements (A place to meet, to pass, to jump, to cross). Tension and suspension float around the space, and the idea that we are all connected to the same point by gravity is used formally and conceptually in relation to equilibrium, divergence and closeness.

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Born in 1983 in Bogotá, Colombia, Iván Argote lives and works in Paris. His work has been featured in many international exhibitions, including “BienalSur” at Museo de Arte Moderno de Bogotá - MAMBO, Bogota and at the Immigrantes Hotel - Museo de la Inmigración, Buenos Aires; “Song for my hands”, curated by Marta Mestre, Bienal Internacional de Curitiba, Curitiba; “Somos Tiernos” (solo), Museo Universitario del Chopo, Mexico (2017); “Future Generation Art Price”, Victor Pinchuk Foundation, Kiev, 2017; “Ideologue”, Utah Museum of Contemporary Art, Salt Lake City, 2016; “Intersections”, Cisneros Fountanals Foundation, Miami, 2015; “Between the Pessimism of the Intellect and the Optimism of the Will”, 5th Thessaloniki Biennale, Thessaloniki, 2015; “Buildering: Misbehaving the City”, Blaffer Art Museum, Houston and CAC Contemporary Arts Center, Cincinnati in 2014; “La Estrategia” (solo), Palais de Tokyo, Paris, 2013; The 30th Sao Paulo Biennial, Sao Paulo, 2012, among others.

Iván Argote won the CIFO Cisneros Fontanals Foundation Prize in 2015, the Audi talents Award in 2013, and the SAM Art Projects Prize in 2011.

Oui ma vie, 2018 Concrete slabs for sewers Public space installation, Douala, Cameroun Ongoing project

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H ON G KON G 17F, 50 C O N NAU G HT R OAD C E NTR AL

NI YOUYU Opening Thursday May 24, 6 - 8 pm May 24 – June 29

JOSÉ LEÓN CERRILLO, JOSE DÁVILA, GABRIEL RICO, MARTÍN SOTO CLIMENT, Opening Friday July 6, 6 - 8pm

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NI YOUYU Opening Thursday May 24, 6 - 8 pm May 24 – June 29 Perrotin Hong Kong presents Ni Youyu's first solo exhibition at the gallery. Ni Youyu’s practice does not apply demarcation to antiquity and modernity, nor does it concern itself with the task of reinventing paradigms. This principle is grounded in Ni’s studies at the Fine Arts College of Shanghai University, where he specialized in Chinese paintings. Whilst the genre emphasizes engagement with – or even resuscitation of – antiquity, Ni’s works are pivoted on the ways we can access the space between all temporalities and material objects as a repository of universal cognizance.

Regardless of questions about the relations assumed between Ni’s Dust series and the cosmology of Five Dynasties and Northern Song Dynasty (907 – 1127) landscape paintings, an awareness of life is evident in his work populated with astronomical tropes.

Cosmology, after all, comes down to temporality in the sense that it is at once a temporal dimension – lodged in ephemerality – and a spatial concept. Through the almost scientific technique of grid division, which might be redolent of Renaissance Scandinavian landscape paintings, Ni maps out the various intersections between Chinese and Western cosmologies. A case in point is his Waterfall & Rockfall (2016) wherein he deconstructs the paragon of Chinese landscape by superimposing paradoxes, conflicts and resonance onto one another. From repetitive, experimental gestures thus emerges a highly idiosyncratic expression: using the water-wash technique, Ni applies pressurized water to wash away layers of paint, and repeats the process until the painterly trace and texture appear as wulouhen, a type of Chinese calligraphic stroke that likens the trailing of ink to rainwater trickling through the crevices of dilapidated walls. From afar, the work contains the pattern and wrinkled texture of landscape paintings; upon closer examination, then, the work is in fact a tactile manifestation of the Expressionist discursive structure, indicating a superimposition of two different drawing methods and their visualities.

Waterfall & Rockfall 2016 Acrylic on canvas 200 × 120 (each) 783/4 × 471/4 in (each)

At the heart of Ni’s creative process is a displacement of social modalities such as identity, nationality, race, and class. The subjects in his work, be they constellations or dust, collectively embody life (and death) within the universe. Essentially, Ni is interested in 27

tracing the fundamental cognizance that conditions and makes accessible the interplay between antiquity and modernity, between the Chinese and the West – embodied by dust. In Ni’s previous works, such cognizance takes on the form of transparent cubicles as an allusion to the modern way of looking at things, conditioned by logic and reason, whilst the bonsai contained within the tanks hints at a miniature universe in its own right. Following from this discursive structure, Ni’s new canvas work Relic (2017) replaces the three-dimensional cubicles with a transparent perspective. At once literal and figurative, transparency points towards the influence of formal analysis and iconology on our understanding of traditional Chinese landscape paintings. Ni questions the kind of “image inertia” and art historical self-consciousness we take for granted, and visualizes them as specimens of historical remnants. Occasionally, Ni would embellish the margins of the canvas with a hand-drawn frame, whence a metacognitive moment emerges to indicate the duality of the work as a painting-within-a-painting.

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H ON G KON G Often, the notion of universality is manifest in Ni’s work as a single line or an abstract shape, such as the void shared between image and bonsai in The Endless Second series. In another instance, Freewheeling Trip combines images sourced from multiple obscure photographers on almost the same subject, resulting in a collage contra the kitsch perfection of Photoshop: the margins, indicative of manipulation, are retained as points of contact between clusters of subjects. In the installation series Pagoda, lotus seats of varying sizes are combined through an axis into a single composition. Here, lines and shapes figure as universality, or rather, a unit of measurement reflective of Ni’s aesthetics.

Such interest in geometry also extends to Ni’s frequent use of rulers à la readymade. The handmade rulers in the Inches of Time series, for instance, crudely exemplify the futility of subjective intervention more than any practical purposes. Nonetheless, they stand in as a unit of measuring time, or our experience of time in terms of introspection, emotions, and space. Exposing norms, perception and cognizance as constructed, Inches of Time questions their susceptibility to human sensibility whilst also highlighting the latter’s semantic grey areas for our attention. Thus, what is being problematized in Ni’s practice is not the order of things per se but the principles and abstract reasoning that enable such an order. After all, their universality is the place of origin whence power and violence emanate. One observes the same will to power and potency embedded in the act of “washing away” – brought to the fore as the true nature of aesthetics’ seeming abstinence.

Lu Mingjun January 2018

Pagoda No.8 2017 Wood, steel 207 × 63 × 63 cm 811/2 × 2413/16 × 2413/16 in

Born in 1984 in Jiangxi, China, Ni Youyu currently lives and works in Shanghai. His work has been shown in many international art institutions, including Kunstverein Konstanz (solo), 2017; Yuz Museum, Shanghai, 2017; M+ Museum, Hong Kong, 2017; the 5th Singapore Biennale, 2016; Kunstmuseum Bern, 2016; Power Station of Art Museum, Shanghai, 2015; Museum of Contemporary Art, Tapei (solo), 2015; Art Museum of Nanjing University of the Arts, Nanjing (solo), 2014; Gwangju Museum of Art, 2012; Shanghai Art Museum (solo), 2012; and Kunstmuseum Luzern, 2011, among others.

He was also awarded the Contemporary Chinese Art Award as “Best Young Artist” in 2014.

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JOSÉ LEÓN CERRILLO, JOSE DÁVILA, GABRIEL RICO, MARTÍN SOTO CLIMENT Opening Friday July 6, 6 - 8 pm Perrotin Hong Kong is pleased to present an exhibition featuring José León Cerrillo, Jose Dávila, Gabriel Rico and Martín Soto Climent, four artists selected from “¿Cómo te voy a olvidar?” (‘How could I forget you?’, Perrotin, Paris, 2016), a seminal group exhibition of sixteen Mexican and Mexico-based artists curated by Peggy Leboeuf, Director of Perrotin New York, and Anissa Touati.

This new presentation explores their use of deconstruction and re-contextualization to express ongoing complexities, influence and contradictions within Mexican art. This show marks the first time each of them are showing in Hong Kong.

The exhibition weaves personal narratives across installation, photography and collage to challenge the tensions inherent in notions of modernity, identity, citizenship and rituals. Some of the works reconsider sociocultural landscapes through architecture, the legacy and ideologies of modernism, as well as systems of graphic languages.

José León Cerrillo’s often site-specific installations investigate notions of perception and the failures of abstraction. Cerrillo also utilizes language and its representation, recognizing it as a system with implied power structures and inherent flaws. With allusions to Russian constructivism and the Bauhaus school, Cerrillo plays on juxtaposition of forms and symbols.

Jose Dávila’s practice appears as a visual and material aporia where fragility and resistance, geometry and chaos are elegantly hinged to achieve a harmonious whole. Interested in the failure and limitations of modernist architectural principles, and the dialogue between the pictorial and sculptural, he explores the interplay between elements often using untouched materials, gravity and physics to achieve a rare poise and beauty.

Also working to surpass the codes of modernism, Gabriel Rico’s site-specific installations create poetic, uneasy juxtapositions through found objects, neon lighting, and taxidermied animals. Using these 31

materials with humor and irony, he explores relations between humans, nature and environment, attempting to reveal the complexities of the current human condition.

Jeans, crushed beer cans, cereal boxes and car-tyre inner tubes; these are but elements of Martín Soto Climent’s practice centring on the understated sensuality of everyday objects. Using minimal gestures, Soto Climent re-choreographs and anthromorphosizes the objects he uses to flesh out the semantic nuances that are always already inscribed in them. In this sense, his works map out a desire-inflected constellation of human reality; neither adding to nor subtracting from the material world, but merely modifying it temporarily.

José Léon Cerrillo From left to right Subtraction screen POEM (having to do with undoing the absoluteness of an absolute) 2016 Tempered glass, acrylic paint, iron, electrostatic paint 195 × 195 × 2 cm 763/4 × 763/4 × 013/16 in New Psychology (8) 2016 Copperplated iron, electrostatic paint 195 × 306 × 2 cm 763/4 × 1201/2 × 013/16 in Speaker (2) 2015 Ink sublimation on waterproof fabric, zippers, draw strings on wood and acrylic frame 100 × 80 × 4.5 cm 393/8 × 311/2 × 13/4 in

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Martín Soto Climent Untitled 2017 Tights on canvas 160 × 160 cm 63 × 63 in Gabriel Rico UNO (from the series Conjunto Compacto) 2016 Brass, branches, porcelain plate, glass fruit, stone, neon 42 × 130 cm 169/16 × 513/16 in

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Jose Dávila Untitled 2016 Concrete blocks, rocks, one-way mirror and ratchet strap 200 × 140 × 170 cm 783/4 × 551/8 × 6615/16cm

S E OU L 1F, 5 PALPAN- G I L J O N G N O - G U

XU ZHEN® Opening Thursday May 10, 5 - 7 pm May 10 – July 8

ZACH HARRIS Opening Thursday July 12, 5 - 7 pm July 12 – September 9

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XU ZHEN® Opening Thursday May 10, 5 - 7 pm May 10 – July 8 Xu Zhen's first solo exhibition with Perrotin Seoul will showcase Xu’s important series of works since 2013 when he started a brand in his own name. Iteration refers to the way of achieving a desired result through repeated feedback. The exhibited series shows how an artist, amidst increasing globalization and networking of art, can approach the future of art with his own formula.

As early as 2001, Xu participated in the 49th Venice Biennale, then the youngest Chinese artist to exhibit works at this international art event.

Having made a name at 20 as an artist, he has since created a large number of works based on his own consciousness. The passage from one century to the next brought with it not only socio-economic but also cultural changes, the latter deeply influencing Xu as an artist. The great divide of his career came in 2009 when he established the art creation enterprise MadeIn Company in Shanghai. Since then his works have been produced in a corporate fashion and his “artist” identity has been plunged into the center of controversy. Meanwhile, Xu’s creative focus has begun to shift to the relationship between art and business.

Monika Szewczyk, a curator of the 2017 Kassel Documenta, once said, “To be sure, Xu Zhen is not the first artist to transform himself into a company, and countless others incorporate more quietly to maximize their income and maneuverability. But MadeIn may be special in at least one respect: The company’s production could be understood increasingly to contemplate the notion of heaven – not offering up a clear picture the way religious authorities might, yet keeping this abstraction in focus as a question.”1 The title of the Under Heaven series echoes heaven as a metaphor. The paintings appeared in the 2014 Armory Show in New York to serve the commercial campaign for the fair itself. Layers and layers of oil paint form an ornate “landscape”, and with the skillful depiction and figuration of a cream piping bag (not a paint brush!), they make up an enticing visual banquet.

1. Monika Szewczyk, MadeIn Heaven, Parkett, Vol. 96, 2015, 20.

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The series manages to transcend the opposition between art and business, which exemplifies Xu’s creative strategy: rather than addressing the big spectacle issue head on, one might as well turn it into a positive account by creating a new approach of one’s own. This way of thinking explains why Xu is so fluent in using visual symbols from popular culture.

Because of their creamy landscapes, Xu’s works have been classified as pop art, even though the label apparently can apply only to some of his works. In terms of creative logic and cultural appropriation, Xu has no doubt gone beyond pop art. For instance, his series Eternity and Evolution all reference a far more expansive, long-lasting civilized world than the consumer society. Ancient art pieces, Dunhuang frescoes from the Silk Road’s heyday, representative modernist sculptures of the West...when we see these cultural symbols repeatedly change shape or re-combined in new ways, we cannot help but feel an implosion of meaning set off by the accumulated spiritual force of culture.

This force comes not only from the cultural symbols being used; it is in a way more the cultural changes induced by the globalizing Internet.

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Evolution-South Wall of Mogao Cave No.003, Ivory Coast Mask / 進化－莫高窟003窟主室南 壁、科特迪瓦面具 2017 Oil on canvas 115 × 170 cm 451/4 × 6615/16 in

S E OU L In a modern context, we tend to identify Greek sculptures solely by their greyish white plaster, forgetting that they were originally divine statues with colors. The truth behind cultural relics is ever elusive to the museum visitor. People even turn to the Net, using search engines to make up their own pictures of the origins of civilization. Between the colorful Greek statues and the modern white plaster versions, and the Acropolis in Athens and sculpture photos on electronic screens, is the loss of a common context.

And it is because we are so accustomed to this cultural reality that the two contrasting series Eternity and Evolution appear all the more harmonious and splendid to us.

From the “individual artist period” when he concerned himself with the consciousness of identity, to “Xu Zhen brand”, Xu has moved on to repeatedly examine the current culture. The transition is nothing less than a reflection of the tremendous changes in human history over the past decades. Admittedly, the extension of consciousness unleashed by the Internet has eliminated temporal and spatial disparity. Yet, in the process, cultural learning in the traditional sense has been destroyed by

information overload, giving way to recurrent cultural stagnation and dysfunctional standards. The information highway makes one feel unreal, so much so that the boundaries between meaning, values and reality gradually blur. Living in this “post-truth” age, one begins to see why Xu should uphold “iteration” as an effective way of responding to a postmodern society.

For in the course of time, after endless destruction and reconstruction, the boundless reformulations are sure to open up a new paradigm for civilization in the present.

Xu Zhen was born in 1977, he lives and works in Shanghai.

The artist has been considered as an iconic figure in Chinese contemporary art. In 2004, Xu won the prize for ‘Best Artist’ at the China Contemporary Art Award. His practice covers various media such as installations, video, painting and performance, etc.

Xu Zhen has exhibited internationally, at museums and biennales, such as, Venice Biennale (2001, 2005), The Museum of Modern Art (New York, 2004), Mori Art Museum (Tokyo, 2005), MoMA PS1 (New York, 2006), Tate Liverpool (2007), Hayward Gallery (London, 2012), Lyon Biennial (2013), Armory Show (New York, 2014), Long Museum (Shanghai 2015), Al Riwaq Art Center (Qatar, 2016), Sydney Biennial (2016), Guggenheim Museum (New York, 2017), among others.

Aside from being an artist, Xu Zhen is also a curator. He co-curated together with other artists major exhibitions in Shanghai and was one of the initiators of Art-Ba-Ba, a leading online forum for discussion and critique of contemporary art in Shanghai, in 2006. In 2009, Xu Zhen established ‘MadeIn Company’, a contemporary art creation corporate, focused on the production of creativity, and devoted to the research of contemporary culture’s infinite possibilities. In 2013, MadeIn Company launched XU ZHEN® which is committed to art creation and cutting-edge culture development. In 2014, MadeIn Company established MadeIn Gallery and in November 2016 launched the first “Xu Zhen Store” in Shanghai.

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Evolution-North Wall of Mogao Cave No.172, Mma Ji Mask / 進化－莫高窟172窟主室北 壁、瑪基面具 2017 Oil on canvas 120 × 170 cm 471/4 × 6615/16 in

S E OU L

ZACH HARRIS Opening Thursday July 12, 5 - 7 pm July 12 – September 9 Perrotin Seoul is happy to announce Zach Harris’ first show in Asia and his second with the gallery.

Zach Harris’ carved panel paintings unfold complex utopian and dystopian worlds. His psychedelic visions, which almost verge on abstraction, immerse the viewers into the unfathomable depths of mysterious cosmologies. In a way similar to that of late-nineteenthcentury symbolism, the art-historical density of his aesthetics is haunting.

While the bright coloring of his obsessively detailed paintings is reminiscent of the highly demanding art and ornamental quality of Persian miniature, his intricate hand or laser-engraved frames also evoke the elaborate woodwork of Christian altarpieces.

The meticulous repetition of painted and carved motifs in his painting operate as mantras for this fervent practitioner of meditation.

It further creates a hallucinatory play between the materiality of the relief and its optical illusion, which brings to mind the radial vibrancy and the spiritual dimension of Tibetan mandalas. Zach Harris’s syncretic art suggests timeless rituals, which, whether lost or prescient, have yet to be deciphered.

Silver Sky 2014 - 2017 Carved wood, water-based paint, ink 91.4 × 61 cm 36 × 24 in Next spead: Zodiac Calendar (detail) 2017 Water-based paint, archival ink, linen, carved wood 163.8 × 114.3 × 2.5 cm 641/2 × 45 × 1 in

Born in 1976 in Santa Rosa, California, Zach Harris lives and works in Los Angeles. Harris’ work is included in several public collections, including The Hammer Museum, The Santa Barbara Museum of Art, Princeton University Art Museum and in many prominent private collections such as The Rachofsky Collection, Dallas, TX and Marciano Collection, Los Angeles, CA. Past solo exhibitions include “Echo Parked In A No Vex Cave” at David Kordansky Gallery, Los Angeles, CA in 2013; “Central Park In A No Vex Cave,” at Zach Feuer, New York, NY in 2013, “Must Chill,” at Feuer/Mesler Gallery, New York, NY in 2015 and “Purple Cloud” at Perrotin Paris in 2017. Past group exhibitions include “Made in L.A,” at the Hammer Museum, Los Angeles, CA in 2012 and “Unorthodox” at the Jewish Museum, New York, NY in 2015.

Zach Harris’ first comprehensive monograph has been published in 2017.

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TOKYO P I R AM I D E B U I LD I N G, 1F, 6-6-9 R O P PO N G I, M I NATO -K U

DANIEL ARSHAM Opening Wednesday May 23, 5 - 9 pm May 23 – June 30

PIETER VERMEERSCH Opening Wednesday July 11, 5 - 7 pm July 11 – August 18

TOKYO

DANIEL ARSHAM カラー・シャドウ, Perrotin Tokyo アーキテクチャー・アノマリーズ, Nanzuka, Tokyo

Opening Wednesday May 23, 5 - 9 pm May 23 – June 30 Perrotin Tokyo, in collaboration with Nanzuka, is pleased to present two concurrent solo exhibitions by New York-based artist Daniel Arsham. This show marks the artist's first exhibition at Perrotin Tokyo and fourteenth solo show since joining Perrotin gallery in 2005.

Daniel Arsham, since 2013, has transformed a variety of modern cultural objects – with obsolescence built into their DNA – into crumbling relics.

Through the evolution of his Fictional Archeology series, Arsham established his signature sculptural style which employs a unique casting technique to produce objects made from earthly substances including volcanic ash, obsidian, carbon dust and rose quartz. カラー・シャドウ (Color Shadow) groups together a series of cast sculptures made from geological materials, plaster and metal, and, for the first time, bronze, a new format for the artist. Consistent with Arsham’s broader practice and his relationship to architecture, these cast works of childlike stuffed animals are placed strategically on the ground in careful relation to one another within the gallery’s exhibition space. Taking this a step further, the artist has covered the walls of the gallery from floor to ceiling so that they appear eroded and degraded, creating an atmosphere in which the entire architectural space is being engaged.

Cookie Monster Patch (Purple) 2018 Plaster, metal, paint 114.3 × 123.2 × 5.1 cm 45 × 481/2 × 2 in

Alongside these pieces, Arsham will exhibit a new body of work introducing a renewed focus for the artist. Using original fabric patches pulled from his past of Cookie Monster, Batman, and a smiley face, Arsham has scaled these objects up in size, creating shaped wall works that uncover new information in fascinating detail. In the artist’s words, “These works are all typical pop culture ideas, similar to the selection of Fictional Archeology pieces.

They were always selected because they were cross-culturally iconic and recognizable. The works, for me, should exist in Japan in the same way they would in New York or Chicago.”

In this new series, Arsham explores the visceral material qualities seen in his earlier pieces while taking the process a step further.

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TOKYO The color chiaroscuro found in Arsham’s patch pieces, and referenced by the show’s title, provide a new added dimension to the works.

An earlier experience with a pair of EnChroma glasses used to correct the artist’s colorblindness led this a new articulation of color.

Removing all the original colors and replacing it with one pigment where the shadows naturally should fall, Arsham re-creates the illusion of a single light source but in an unfamiliar, hyper-realized way.

This idea evolved from specific moments in which the artist encountered colors in either bright or very dim light that appeared indistinguishable and difficult to identify on the color spectrum.

Simultaneously, and in complement to the Perrotin show, Arsham presents アーキテクチャー・アノマリーズ (Architectural Anamolies), a solo show at Nanzuka gallery in Tokyo, which features a separate body of work from his show at Perrotin, with the exception of Falling Clock. Created out of fiberglass, a simple clock tilts to one side, appearing dramatically caught within the soft folds of white fabric falling down the wall. Interacting directly with the architecture of the gallery, Arsham creates embedded forms which appear to reach out towards viewers, much like the pieces he made for his recent show at the VDNH Museum in Moscow, Russia in the Fall of 2017.

Born in 1980 in Cleveland, Ohio, and raised in Miami, Florida, Daniel Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Solo exhibitions of his work have been organized at the VDNH Museum, Moscow, Russia (2017); the High Art Museum, Atlanta, GA (2017); the SCAD Museum of Art, Savannah, GA (2016); the Contemporary Art Center, Cincinnati, OH (2015); the Fabric Workshop, Philadelphia, PA (2012); and Storefront for Art and Architecture, New York (2011). Select group exhibitions and biennials include the Yichuan Biennial of Contemporary Art, Nigxia, China (2016); the OCA Museum, Sao Paulo, Brazil (2015); Musee d’Art Moderne, Saint Etienne, France (2014); the Museum of Contemporary Art, Chicago, IL (2013); the New Museum, New York (2011); the Athens Biennial in Greece (2009); and MoMA P.S.1, New York (2005); amongst others.

Arsham’s work is featured in numerous international public and private collections, including the Blanton Museum of Art at the University of Texas, Austin; the Centre Pompidou, Paris; DIOR Collection, Paris; The Four Seasons, Miami; the Museum of Contemporary Art, Miami; the Pérez Art Museum Miami (PAMM); and the Walker Art Center, Minneapolis.

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Cookie Monster Patch (Purple) (detail) 2018 Plaster, metal, paint 114.3 × 123.2 × 5.1 cm 45 × 481/2 × 2 in

TOKYO

PIETER VERMEERSCH Opening Wednesday July 11, 5 - 7 pm July 11 – August 18 The gallery is happy to present Pieter Vermeersch's first solo exhibition at Perrotin Tokyo.

Pieter Vermeersch’s artistic research into painting expands beyond the confinement of the canvas. His work often consists of large spatial interventions subverting space, either conceived for exhibition spaces or adjusted to architectural contexts.

Next to these immersive, painterly installations or gradient wall paintings his oeuvre includes ephemeral zero degree paintings on canvas wether or not brought back to a concrete reality by the irreversible act of scraping or by the superposition of a natural stone.

These are complemented with series of photographic prints or marble pieces reactivated with a few blots of paint, a stroke of the brush or gradual color planes.

With representation and abstraction set as parameters, his oeuvre triggers infinitesimal perceptual experiences, which allow us to move in a sense of colour that calls into being the gap between appearance and disappearance, in which the divisions between two and three dimensional, immaterial and tangible, time and space are blurred.

Untitled (C-Series) 2017 Oil on canvas 230 × 170 cm 557/8 × 393/8 × 013/16 in

Born in 1973 in Kortrijk, Belgium, Pieter Vermeersch lives and works in Torino, Italy. Since his solo exhibition at the S.M.A.K in Ghent 15 years ago, Pieter Vermeersch has been featured in more than 30 solo exhibitions as STUK Kunstencentrum, Leuven (2006); White Box, New York (2009); Londonewcastle Project Space, London (2011) and recently Blueproject Foundation, Barcelona (2016).

His work has been shown, amongst others, in group exhibitions at S.M.A.K, Ghent (2017), Fondation Etrillard, Paris (2016); Kenopoku Festival, Japan (2016); MSK, Museum of Fine Arts, Ghent (2015); Parasol Unit, London (2015); L’Espace de l'Art Concret, Mouans- Sartoux (2015); Redcat, Los Angeles (2014); MAC’s, Grand-Hornu (2014); Logan Center Gallery, Chicago (2013); Urdaibai Arte (2012); Casino Luxembourg, Luxembourg (2011); S.M.A.K, Ghent (2010); Mu.ZEE, Ostend (2010); Kunstverein Medienturm, Graz (2009); South London Gallery, London (2009) Bozar, Brussels (2007); M HKA, Antwerp (2006).

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TOKYO Over the past two years, he has realized monumental murals for the Schuman station in Brussels and the Galeries Lafayette in Biarritz, as well as a major site-specifc work at Solo House Office KGDVS in Matarraña, Spain and Silos à sel, site de la Voirie, Genève, Switzerland.

The works of Pieter Vermeersch are part of the collections of Dexia Art Collection, Brussels; European Central Bank, Frankfurt am Main; Flemish Community Art Collection, Brussels; Flemish Parliament, Brussels; ING Art Collection, Brussels; M HKA, Antwerp; National Bank of Belgium, Brussels; S.M.A.K., Ghent, amongst others.

Untitled 2017 Oil on marble 53.6 × 40 × 2 cm 211/8 × 153/4 × 013/16 in Right page: Untitled 2017 Oil on marble 142 × 100 × 2 cm 557/8 × 393/8 × 013/16 in

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ART FAI R S

AM E R I CA Armory Show

Opening March 7 March 8 - 11, 2018

Dallas Art Fair

Opening April 12 April 13 - 15, 2018

Frieze New York Opening May 1 May 3 - 6, 2018

TEFAF New York Opening May 3 May 4 - 8, 2018

E U R OPE TEFAF Maastricht Opening March 8 - 9 March 10 - 18, 2018

Art Monte-Carlo Opening April 27 April 28 - 29, 2018

Art Basel

Opening June 12 - 13 June 14 - 17, 2018

AS IA Art Fair Tokyo

Opening March 8 March 9 - 11, 2018

Art Basel Hong Kong Opening March 27 - 28 March 29 - 31, 2018

ARTI ST N EWS Selection of solo shows

Daniel Arsham

Jesper Just

Takashi Murakami

“Moon Stone” Wall House Museum, Saint Barth Through June, 2018

“Coordenadas” Through April 15, 2018 Museo Anahaucalli, Coyoacán, Mexico City, Mexico

“Takashi Murakami: the octopus eats its own leg” Touring exhibition : Through May 6, 2018 Vancouver Art Gallery, Vancouver, British Columbia, Canada June 10 – September 16, 2018 Modern Art Museum of Forth Worth, Fort Worth, USA

Sophie Calle “Here lie the secrets of the visitors of Green-Wood Cemetery” A 25-year long public artwork commissioned by Creative Time Through April 30, 2042 Green-Wood Cemetery Brooklyn, New York, USA Solo show Château La Coste, Le Puy Ste Réparade, France June 23 - August 15, 2018

Johan Creten

Bharti Kher “Bharti Kher : Sketchbooks and Diaries” Through September 10, 2018 Isabella Stewart Gardner Museum Boston, Massachusetts, USA “Point de départ, Points qui lient” Montreal QC / DHC Foundation for Contemporary Art April 20 - September 9, 2018, Montreal, Canada

Gianni Motti “EX-POSITION”

Solo show April 23 - September 16, 2018 Palais Provincial du Gouverneur Arlon, Luxembourg “Naked Roots” (“Naakte Wortels”) Summer 2018 Beelden Aan Zee, ​S​cheveningen, The Hague, The Netherlands

Jens Fänge “Drömmarna”

Bonniers Konsthall, Stockholm, Sweden Through April 1, 2018

Hans Hartung “Hans Hartung : Malerei als Experiment - Werke von 19621989” May 24 - August 19, 2018 Kunstmuseum Bonn, Germany

May 24 - June 27, 2018 Helmhaus - Zurich, Switzerland

Jean-Michel Othoniel “Facing Darkness” May 26 - September 16, 2018 Musée d’art moderne et contemporain de Saint-Etienne, France Solo show June 19 - October 10, 2018 Montréal Museum of Fine Arts, Canada

“L’artiste, créateur de mondes” April - August, 2018 Fondation Louis Vuitton, Paris, France

Paola Pivi “I did it again – Define Art Program” Through August 19, 2018 Savannah College of Art and Design, Savannah, USA

Xavier Veilhan “Studio Buenos Aires” Summer 2018 Buenos Aires, Argentina

PE R R OTI N ARTI STS

Iván Argote Daniel Arsham Hernan Bas Sophie Calle Maurizio Cattelan Chen Fei Chung Chang-Sup Johan Creten Wim Delvoye Elmgreen & Dragset Ericson & Ziegler Erró Lionel Esteve Jens Fänge Bernard Frize Gelitin Laurent Grasso Zach Harris Hans Hartung Thilo Heinzmann John Henderson Leslie Hewitt Gregor Hildebrandt JR

Jesper Just Izumi Kato KAWS Bharti Kher Klara Kristalova Julio Le Parc Heinz Mack Farhad Moshiri Gianni Motti Mr. Takashi Murakami Jean-Michel Othoniel Park Seo-Bo Paul Pfeiffer Paola Pivi Claude Rutault Michael Sailstorfer Jesús Rafael Soto Pierre Soulages Aya Takano Xavier Veilhan Pieter Vermeersch XU ZHEN®

F OR ANY PR E S S I N QU I R I E S communication@perrotin.com

PH OTOG RAPHY

COVE R

Stéphane Aboudaram | WE ARE CONTENT(S), Studio Iván Argote, Claire Dorn, Courtesy ProjecteSD, Studio Ni Youyu, Guillaume Ziccarelli, Courtesy XU ZHEN © All artworks Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. © JR-ART.NET © ADAGP, Paris / ARS, New York / SACK, Seoul, 2018.

Courtesy the Artists & Perrotin

Front: Takashi Murakami, Transcendent Attacking a Whirlwind (detail) 2017. Acrylic, gold leaf, and platinum leaf on canvas mounted on wood panel, 300 × 1000 cm / 118 1/8 × 393 11/16 in (10 panels) © 2018 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

Back: Iván Argote, Someone else’s lips skin, 2018.

Concrete, paint, steel, 177 x 123 x 5,5 cm / 69 11/16 × 48 7/16 × 3 15/16 in © Argote / ADAGP, Paris 2018 / Studio Iván Argote

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N EW YOR K

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