[{"id":"69764","title":"MADSAKI: Homecoming King","alias":"madsaki-homecoming-king","catid":"30","published":"1","introtext":"Subversive is a descriptive often overused in the art world, routinely referencing a brand of humor or political message, sometimes both, resulting in my hesitancy to use the term even when it's most<\/span><\/span>","fulltext":"
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MADSAKI<\/h1>\r\n

Homecoming King<\/h2>\r\n

Interview by Evan Pricco \/\/ Portrait by Chris Rudz<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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Subversive is a descriptive often overused in the art world, routinely referencing a brand of humor or political message, sometimes both, resulting in my hesitancy to use the term even when it's most apt. In MADSAKI\u2019s work, though, I can\u2019t help but feel the fascinating, overwhelming, pulse of subversion. What we see as messy, sloppy, and often caustic, is a beautiful and telling story of belonging and nostalgia told in a brutally honest conversation of what it means to be an outsider.<\/div>\r\n
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When the Osaka-born, Jersey-raised and Tokyo-based MADSAKI first garnered attention for his art, it was through his Wannabie\u2019s series, a collection of graffiti-like interpretations of the classics we commonly perceive as important works of centuries past. What made that series subversive is how it begged the question, \u201cwhy?\u201d Why are these things important? Why do cultures identify particular images as distinctly representational? Who decides? And what made the work so compellingly personal is that MADSAKI was in the process of figuring it all out for himself too.<\/div>\r\n
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It\u2019s funny, though, that my clearest understanding of MADSAKI\u2019s career came in the form of He-Man. When the artist began to dig deeper into the American pop-culture psyche, thrusting his own experiences of growing up in a culture that often presents barriers of entry, there was a breakthrough\u2014and subversive\u2014introspection of how we treat those around us. What does it feel like to be included? Or in this case, not included.<\/div>\r\n
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This spring, MADSAKI will return to NYC with Hello Darkness, My Old Friend (I\u2019ve come to talk with you again) at Perrotin Gallery, his first solo show in Manhattan, years after living in the city before returning to Japan. In our conversation, MADSAKI draws a precise picture of the larger theme of America\u2019s long, tumultuous relationship with immigration, a blurred line of humor and pain and a navigation of our memories of past trauma and triumph.<\/div>\r\n

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Untitled, Acrylic paint, aerosol on canvas, 79\u201d x 59\u201d, 2020. \u00a92020 MADSAKI\/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Perrotin<\/i><\/span><\/span><\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Evan Pricco<\/i>: I would imagine that the lockdown of the past year affected you in some way, but I\u2019m getting the sense it wasn\u2019t much different than your normal day-to-day life?<\/b><\/div>\r\n
MADSAKI<\/i>: I was all chill. To me, lockdown or whatever, it didn't matter. It's just the same thing. I was already in lockdown for the past four years in my studio. Maybe I had the kids running around more? Basically, nothing\u2019s changed for me, man. It's just so weird.<\/div>\r\n
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I had this epiphany recently about your work, that somehow you were able to incorporate the toys of our childhood into your artwork and all of a sudden, boom, everything felt more serious. Does that make sense? It was like all of the things that you had been trying to talk about with your work in many different ways, like the separation between you and feeling at home anywhere, this dichotomy of being both Japanese and American and neither at the same time.<\/b><\/div>\r\n
You just fucking wrapped everything up for me.<\/div>\r\n
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Ha ha, well, the last time we sat down together, in 2019 at Beyond the Streets, you had spent the day \u201con assignment\u201d in New Jersey where you grew up, sort of looking at inspiration from your childhood that could maybe make it into the work, right? What was that like?<\/b><\/div>\r\n
I thought I was going to cry, but didn't. I was like, \"Oh, my god. I can't believe I was living here for all my life.\" Not my life, but all my teenage years from elementary school to middle school, to high school. And I thought I was going to get a flashback or get OD'd by the memories, and it was just too weird, man. That town is so small, and it's changed\u2014but it didn't change at all! Manhattan changes, you get the new buildings, but that town hasn't changed at all. It was like, \"Wow.\" It was kind of eerie.<\/div>\r\n
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Untitled, Acrylic paint, aerosol on canvas, 39\u201d x 39\u201d, 2020. Courtesy MADSAKI\/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Perrotin<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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It was a different perception when you were younger?<\/b><\/div>\r\n
I learned that word \"suburbs\" when I went to college. Oh, I was living in the suburbs. Oh, that's the word. Okay. So the suburbs, that\u2019s what I started painting. Since I was painting all that from my memory, I kind of miss it, but at the same time, I don't. And it was the same feeling when I went there two years ago to New Jersey. It was like, okay, I miss this so much and now I'm here, but I get that feeling I don't belong here or I never belonged here.<\/div>\r\n
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So what that does is force you to rethink your childhood, because you realize, \"Oh, I knew I didn't fit in back then. But now I really know I didn't fit in.\"<\/b><\/div>\r\n
Now I'm convinced that I never belonged there. I was trying to, subconsciously or consciously, belong and at least have fun. I think I was having fun, but it wasn't natural. It didn't feel natural. And going back as an adult, it still didn't feel natural.<\/div>\r\n
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In thinking about the Wannabie series, for those of us who didn't grow up around art history or art culture, you wonder about relationships with these classic paintings. There\u2019s a sort of internal clash that could be messy. But when you start tapping into  childhood and personal things, does anything change in your relationship to painting?<\/b><\/div>\r\n
Mentally, it was totally different. But I do remember something, when I was baked from doing all the He-Mans over the last few years, I thought, \u201cOkay, I can\u2019t do this any more. I need a break.\u201d And I took maybe two weeks off. I went back to the studio and I had to motivate myself. I was like, \u201cOkay. I\u2019ve got to get going.\u201d And it was during this pandemic, and I thought, \u201cAll right. I\u2019ve got to do the 9\/11 painting first.\u201d I had been waiting to do that painting for a long time. It's been inside of me for so long. So I did my 9\/11, me sitting on my bike on the East River with the Twin Towers burning in the background. I had to feel ready for it. <\/div>\r\n
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So that's the beginning of this series?<\/b><\/div>\r\n
But I still didn't see the whole picture, so I just kept going. What are the memories of my time in Jersey, in NY? And it was just like connecting the dots.  When I did maybe five or six, I started seeing the whole picture. Speaking with Perrotin and Takashi, there wasn\u2019t some big plan of what this NYC show was going to be, so I had to go through this process of just jumping into what I had in my memory bank.<\/div>\r\n
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Nighthawks II (inspired by Edward Hopper), Acrylic paint, aerosol on canvas, 60\u201d x 33\u201d, 2018. Courtesy MADSAKI\/Kaikai Kiki Co., Ltd. Courtesy Perrotin<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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So what did He-Man teach you?<\/b><\/div>\r\n
Besides English?<\/div>\r\n
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Goddamn, that's perfect. So I\u2019m right, it was a serious artistic move.<\/b><\/div>\r\n
Because when you\u2019re a kid, you turn on the TV, and you see He-Man. I didn't speak English or anything, so it was just the colors of He-Man in comics and cartoons, the colors and everything. He-Man, in particular, was just so different from what I saw in Japan, all the anime, until I was about six years old. American cartoons were just a totally different thing, and that caught my eye, this muscular, blonde dude. I didn\u2019t know what he's saying, but it was good. He was sitting on a green tiger or lion, or whatever it was. And so, I just kept on watching. I didn't know what it was, but after a year or so, I was able to speak English like He-Man.<\/div>\r\n
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As you have gone back to revisit these memories, have you asked your parents for some sort of \u201cadult\u201d context as to what was going on then? Because they also had to upend their lives, moving to New Jersey with young kids.<\/b><\/div>\r\n
Last year when I did the He-Man show and brought my parents, there was a painting of me, this third grade class photo painting. They started crying in front of the painting! And they told me, \"We're very sorry that you had to go through what you had to go through.\" I was, like, what are you talking about? And they said, \u201cBecause I know your life must have been really harsh growing up in Jersey, not speaking the language.\u201d<\/div>\r\n
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Art, drawing in particular, was how you connected with other kids in school, right? And I assume these toys were similar to?<\/b><\/div>\r\n
Common ground\u2026 He-Man. That big sculpture I made of He-Man? We all had those toys, and they were something to communicate with. But you know what\u2019s funny? I think second or third grade, I knew what kids were saying, just listening; but I couldn't speak. Around maybe late third grade, I woke up in the morning\u2014woke up and all of a sudden, this English just started pouring out.<\/div>\r\n
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Van Gogh Trippin' Hard Yo  (inspired by Vincent Van Gogh), Acrylic paint, aerosol on canvas, 21.25\u201d x 25.5\u201d, 2018. Courtesy MADSAKI\/Kaikai Kiki Co., Ltd. Courtesy Perrotin<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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So TV was your teacher?<\/b><\/div>\r\n
Yeah, because that's the only thing I did, watch MTV 24\/7, watch cartoons, Scooby-Doo, everything that was playing on TV back then. My parents were like, \"You were always, always watching TV.\" And I told them a couple of months ago, \"But that TV was what helped me.\" Everything I saw is now coming out as an artwork these days.<\/div>\r\n
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It wasn\u2019t like the typical American experience of zoning out in front of the tube, was it?<\/b><\/div>\r\n
The theme of my life, I never... It's about belonging. I never belonged anywhere. And I'm always observing shit. I'm there, but I'm not truly in there, just looking, observing everything. My life was a lot like that, and TV is like, you're sitting in front of the screen, you're just observing. And I think that became my foundation for everything.<\/div>\r\n
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How much of you do you feel is American and how much is Japanese?<\/b><\/div>\r\n
I think it's more American. My imagination is like 95% American, I\u2019d say\u2026 And culturally too. The manner part, the mannerisms are the only part that feel Japanese.<\/div>\r\n
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So, what do Japanese audiences think of the art you make?<\/b><\/div>\r\n
Oh, the funny thing is, Evan\u2026 on Instagram I have 100k followers, right? I think only three or four are Japanese followers.<\/div>\r\n
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[Laughs] Oh man. So what do your Japanese friends think? Or what about Takashi?<\/b><\/div>\r\n
Takashi will say, \"When I start talking to you, I realize that you're not Japanese. You're speaking Japanese, but you're not Japanese.\"<\/div>\r\n
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UNTITLED, 2020, Acrylic paint and aerosol on canvas, 182 x 260 cm | 71 5\/8 x 102 3\/8 inch,Courtesy MADSAKI\/Kaikai Kiki Co., Ltd.<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Let\u2019s go back in time to when you moved to the States in 1980. In the context of what New York City was at the time, graffiti, hip hop, all that kind of culture, do you feel like it was a good time as a kid?<\/b><\/div>\r\n
Definitely. If I wasn't living in that age, in that place, I don't think I would be doing what I'm doing right now. The 1980s and \u201990s made me who I am today. Yeah, definitely.<\/div>\r\n
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The early 1990s, especially when I was going to art school, was amazing because the grunge scene was happening. But before that, it was this fully underground scene. I wanted to do music, but to do that, I had to be in a band, which I'm not really good at. I'd rather be alone. So there were only two choices: to become a musician or artist, and I picked artist.<\/div>\r\n
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My parents told me that after high school, I was going  back to Japan for college. And I said, \"Fuck no. I can't do that.\" When they asked me, as a senior in high school, what I was going to do, I thought, \"I'm going to go to art school.\"<\/div>\r\n
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Name out of a hat!<\/b><\/div>\r\n
So I went to my art teacher in high school and said, \"Yo, I want to go to art school.\u201d and she goes, \"You need a portfolio.\" I was like, \"What's a portfolio?\" So I started making the portfolio. It wasn't really, \"I want to be an artist\u201d, but I just didn't want to go back to Japan. And I didn't want to study either.<\/div>\r\n
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But there had to be something that triggered you, not just some random thing.<\/b><\/div>\r\n
I think it was when I first saw the Basquiat retrospective at the Whitney.<\/div>\r\n
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Bingo! Now we got it.<\/b><\/div>\r\n
That must have been 1992, \u201993?  That just fucking blew my mind because I never knew about Basquiat.<\/div>\r\n
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Did you know anything about graffiti at all at that point?<\/b><\/div>\r\n
No. I'd seen graffiti in the city, but I didn't have any artist friends who did art at all in high school. And I was the only one who was drawing and painting. Even though I went to Parsons, I didn't know anything about art. I did have one professor who taught me about outsider art, so I got into that, which brought me to Basquiat. Doors started opening right after that.<\/div>\r\n
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So these things that we\u2019re talking about right now, have they been running through your mind while working on projects the last couple years?<\/b><\/div>\r\n
No! [Laughs] I\u2019m thinking it now because you asked me.<\/div>\r\n
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The Stream II (inspired by Edvard Munch), Acrylic paint, aerosol on canvas, 29\u201d x 36\u201d, 2018. ourtesy MADSAKI\/Kaikai Kiki Co., Ltd. Courtesy Perrotin<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Love it\u2014so what have you been thinking about?<\/b><\/div>\r\n
I'm just being brutally honest with myself. And I think that is something Takashi has helped with. He taught me what art is for the past four years, so I just started digging into myself. Opened up the traumas, one by one. And I think that fucking led me here. I knew I had it, but I didn't know I could express it.<\/div>\r\n
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Last time you were in the magazine, we titled the interview the \u201cStupid Serious\u201d or something like that. But it's funny to me that I actually think about your work right now as being very, very serious.<\/b><\/div>\r\n
For real?<\/div>\r\n
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Yeah, man, this is a deeply personal look at belonging, what we do to belong when we feel like outsiders. What may look like He-Man, might be a cute painting of yourself in third grade in North Jersey, but there are new, layered applications and\u2026 it\u2019s all very moving. Here in America, especially after the difficult four years and people being made to feel like they don\u2019t belong, it\u2019s important to talk about it.<\/b><\/div>\r\n
You said it exactly right. Exactly. Because I was thinking the same thing. I was laughing alone in my studio, \"What the fuck am I doing?\u201d But like I was saying, each painting I finished by starting to create a wider picture. And it was the right work to be doing.<\/div>\r\n
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Let\u2019s be honest, you have had tremendous success, career-wise, since the last time we spoke in the mag. Has it changed anything for you in terms of making art?<\/b><\/div>\r\n
I don't know what the rest of the world thinks, so, no. I\u2019ve never thought about it that way. Maybe for like two seconds, but\u2026<\/div>\r\n
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What about those two seconds?<\/b><\/div>\r\n
I think once, at a gallery opening, I had a feeling of finally making it. And that felt really good. I thought, \"Hey, I get to make another show. And that's cool.\"<\/div>\r\n
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Untitled, 2020 Acrylic paint, aerosol on canvas 160 x 119.3 cm. \u00a92021 MADSAKI\/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Perrotin<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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What does Japan mean to your work now?<\/b><\/div>\r\n
It's funny because every time I go to LA, New York or Hawaii, there\u2019s no inspiration making me want to paint. But if I come back to Tokyo, I'm like, \"Okay, let's paint.\" Japan is the only country that makes me want to paint. <\/div>\r\n
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Why do you think that is?<\/b><\/div>\r\n
I still haven\u2019t figured it out.<\/div>\r\n
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Do you pay attention to a lot of what\u2019s going on in the art world?<\/b><\/div>\r\n
Tunnel vision, it\u2019s my own fucking world. It's not like I'm not interested. I'm here, but I'm not here. I think it goes back to all the questions you asked me. It's like everywhere I go, I still don't feel I belong.<\/div>\r\n
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So what does the Perrotin show tackle? What memories?<\/b><\/div>\r\n
It\u2019s 1980\u20132004. When I did the He-Man show, I had paintings of Sesame Street and McDonald's, those things that opened a new door for me, places I could explore. That sort of gave me confidence to go a bit further, tap into childhood, my time in America, maybe create something a bit more personal.<\/div>\r\n
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Do you consider a show in NY as a homecoming show?<\/b><\/div>\r\n
I was thinking about that too, man. New York, capital of the arts. So it's kind of scary to go there as an artist to show my paintings. But, yes, I\u2019m going back. I'm going home. I feel like going home. Finally.<\/div>\r\n
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MADSAKI\u2019s<\/a> solo show, Hello Darkness, My Old Friend (I\u2019ve come to talk with you again), will be on view at Perrotin<\/a> in NYC through June 5, 2021 <\/i><\/b><\/div>\r\n
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Subversive is a descriptive often overused in the art world, routinely referencing a brand of humor or political message, sometimes both, resulting in my hesitancy to use the term even when it's most apt. In MADSAKI\u2019s work, though, I can\u2019t help but feel the fascinating, overwhelming, pulse of subversion. What we see as messy, sloppy, and often caustic, is a beautiful and telling story of belonging and nostalgia told in a brutally honest conversation of what it means to be an outsider.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"69386","title":"Takashi Murakami Releaseing New Limited Edition "Melting DOB" Figure via Perrotin Hong Kong","alias":"takashi-murakami-releaseing-new-limited-edition-melting-dob-figure-via-perrotin-hong-kong","catid":"26","published":"1","introtext":"We always talk about iconic characters and storylines in paintings here at Juxtapoz, and one of the most legendary figures that has appeared and reappeared in contemporary art is Takashi Murakami's \"<\/span><\/span>","fulltext":"

To celebreate DOB's birthday, Takashi and Perrotin Hong Kong are set to release the Melting DOB<\/em> vinyl sculpture, exclusive to Asia but sure to be one of the most sought after collectibles on the market in 2021. The work is about a foot wide and ten inches tall and sold in a very limited quantity of 300. The work features a \u201c\u00a9TM\/KK MADE IN JAPAN\u201d etched on the bottom of the figure as well. As Hypebeast reported, the \"Melting DOB<\/em> figure is priced at $16,800 HKD (approx. $2,167 USD) apiece and will be available this January 28 at Perrotin Hong Kong\u2019s store<\/a>.\" <\/p>","video":null,"gallery":"{gallery}69386{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" ","created":"January 19, 2021","created_by":"18541","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2021-01-19 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kashi murakami","published":"1","link":"\/tag\/takashi-murakami\/"},{"id":"24110","name":"perrotin","published":"1","link":"\/tag\/perrotin\/"},{"id":"1419","name":"hong kong","published":"1","link":"\/tag\/hong-kong\/"},{"id":"26746","name":"dob","published":"1","link":"\/tag\/dob\/"},{"id":"510","name":"sculpture","published":"1","link":"\/sculpture\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_XS.jpg?t=1611094721","imageSmall":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_S.jpg?t=1611094721","imageMedium":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_M.jpg?t=1611094721","imageLarge":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_L.jpg?t=1611094721","imageXLarge":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_XL.jpg?t=1611094721","imageGeneric":"\/media\/k2\/items\/cache\/cda74907309e03a7669f32cef8b434f1_Generic.jpg?t=1611094721","cleanTitle":"Takashi Murakami Releaseing New Limited Edition \"Melting DOB\" Figure via Perrotin Hong Kong","numOfComments":"0","text":"

We always talk about iconic characters and storylines in paintings here at Juxtapoz, and one of the most legendary figures that has appeared and reappeared in contemporary art is Takashi Murakami'<\/a>s \"Mr DOB.<\/a>\" It's one of the rare and instantly recognizable identities in the influential artist's practice, and has been part of his work for the past 28 years. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"69373","title":"Josh Sperling Brings "Paradise" to Perrotin, Shanghai","alias":"josh-sperling-brings-paradise-to-perrotin-shanghai","catid":"22","published":"1","introtext":"Perrotin Shanghai is pleased to announce Paradise, a solo exhibition by New York based artist, Josh Sperling. This is his sixth show with the gallery, and his first in China.<\/span><\/span>","fulltext":"

Sperling draws on the language of minimalist painting from the 1960s and 1970s, working primarily with shaped canvases. He crafts intricate plywood supports over which canvas is stretched and painted in an extending series of signature palettes. In their three-dimensionality, his works blur the lines between painting and sculpture, image and object. Mining a wide range of sources, from design to art history, Sperling has crafted a unique visual vocabulary remarkable for its expressive quality and irrepressible energy.

Paradise<\/em>, Sperling\u2019s largest exhibition to date, introduces numerous innovations to his honed repertoire. Sperling here announces both formal and technical developments that signal a bold and exciting direction. New to this exhibition\u2014the addition of stylistic treatments and, in some occurrences, the stark removal of all color, a gesture that reveals the shaped forms in their natural states.

On display throughout the exhibition is a range of Sperling\u2019s recurrent forms\u2014Squiggles<\/em>, Composites<\/em>, and Double Bubbles<\/em>. Squiggles<\/em>, as the name denotes are canvases that resemble large scale doodles but constructed with a beguiling sense of complexity.

Composites<\/em> mark the meeting point of many of Sperling\u2019s forms. Here, clusters of shaped canvases nestle in and over each other, jostling for position and calling our attention from all directions. Elsewhere in the show are distinct formations of Double Bubbles<\/em>, small dumb-bell shaped tiered canvases arranged to form larger geometric structures. In certain instances, these double bubbles appear in strict square grids that recall minimal art.

Sperling debuts new circular mandala-like arrangements this time. Throughout these forms on display, Sperling experiments with minimal tones, gradients, and also the entire removal of color. Without tones, the viewer is left to examine the formalist puzzle-like ingenuity of the component constructions without interruption\u2014a striking advancement that\u2019s impossibly bold and contemplative in equal measure.<\/p>","video":null,"gallery":"{gallery}69373{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Paradise\"},{\"id\":\"3\",\"value\":\"Josh Sperling\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2020-11-10\"},{\"id\":\"2\",\"value\":\"2021-01-16\"},{\"id\":\"10\",\"value\":\"Perrotin\"},{\"id\":\"9\",\"value\":\"Shanghai\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"4\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Paradise Josh Sperling Perrotin Shanghai Asia ","created":"January 14, 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Perrotin Shanghai<\/a> is pleased to announce Paradise<\/em>, a solo exhibition by New York based artist, Josh Sperling<\/a>. This is his sixth show with the gallery, and his first in China.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"69045","title":"Aya Takano "Let\u2019s make the universe a better place" @ Perrotin, Seoul","alias":"aya-takano-let-s-make-the-universe-a-better-place-perrotin-seoul","catid":"19","published":"1","introtext":"Perrotin Seoul is pleased to present new works by Aya Takano this fall. Comprising sixteen drawings and ten works on canvas, Let\u2019s make the universe a better place explores new themes and approache<\/span><\/span>","fulltext":"

Takano has been creating figures akin to anime characters to compose science-fictional or mythologically peculiar scenes from her imaginary world. The artist, standing amidst shifts in Japanese contemporary painting\u2014which is deeply affected by anime both in mainstream culture and subculture\u2014 has shown a tendency to take inspiration and subject matter from classical literature, mythology, and legends. However, our perception of Takano\u2019s work must not be restricted to an emphasis on flatness and the incorporation of manga as defined by the sensational exhibition Superflat (Parco Gallery, Tokyo and Nagoya, 2000). Instead, we may turn our focus to Takano\u2019s utilization of artistic language from the Edo period to construct a futuristic world of her own. Rather than simply returning from abstraction to figuration, since the mid- 2000s, Japanese art has evoked motifs from traditional art using illustrative techniques. In Takano\u2019s work in particular, traces of distinct compositions from eighteenth-century Japanese ukiyo-e paintings are evident, as are flat, deformed animals redolent of the paintings of Ito Jakuchu.<\/p>\r\n

The works in Let\u2019s make the universe a better place<\/em> focus on the underlying possibilities of constructing an identity developed in girls\u2019 schools. Rather than fatigue and helplessness, the works reveal Takano\u2019s perspective on minor mythologies and the utopian world of personal happiness, identity, and independence. Instead of focusing on the hardships of womanhood, such as alienation from society, Takano\u2019s work expresses the small yet important personal experiences making up one\u2019s identity and one\u2019s idea of self. Presented in Takano\u2019s unique style, the girls in her work exhibit an androgynous facet that prevails at the age of learning, which would later define femininity or gender roles. Instead of being confined by regulations as their personal and societal relationships break apart, the characters are actualized within fragments of a narrative of joyful, innocent encounters of friendship, desire, deviation, and equality. This new series of work is a departure from the artist\u2019s interest in mythological and geographical points of view, turning instead to emotional and interpersonal relationships. It is a compilation of narratives amidst pathways leading to the present, past, and future in Takano\u2019s oeuvre. In this exhibition, Takano\u2019s paintings create a single universe where human beings and nature, the self and the other, coexist. Her continuous effort to connect internality with externality and vice versa goes beyond the defined identities of gender, forging a path toward a futuristic world where humanity as a whole are equal.

Text excerpt by Serena Sungah Choo<\/em><\/p>\r\n

All images: \u00a9Aya Takano\/Kaikai Kiki Co., Ltd. All Rights Reserved. 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Perrotin Seoul<\/a> is pleased to present new works by Aya Takano<\/a> this fall. Comprising sixteen drawings and ten works on canvas, Let\u2019s make the universe a better place<\/em> explores new themes and approaches in her practice.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"69040","title":""Our Tears Shall Fly Off Into Outer Space": Chiho Aoshima @ Perrotin, Hong Kong","alias":"our-tears-shall-fly-off-into-outer-space-chiho-aoshima-perrotin-hong-kong","catid":"19","published":"1","introtext":"Chiho Aoshima is part of a generation of Japanese artists who can expertly combine elements of fantasy and myth with contemporary language. Through a mix of digital animation, sculptures, and ha<\/span><\/span>","fulltext":"

As the gallery notes: Aoshima\u2019s deep interest in Japan\u2019s religious traditions, Shinto in particular, is evident in her work. She believes in something spiritual that transcends the \u201csad but unescapable realities of this world,\u201d and in the cycle of death and rebirth. Takaamanohara, where Japanese Shinto deities reside, is one such heavenly place where the world is reborn. When asked about her inspiration for this, Aoshima answered: \u201cThe evolution of human civilization is great; humankind thinks nature precious, but it is difficult for humankind and nature to coexist. I represented these two souls that cannot understand each other through images of buildings and mountains.\u201d

All images: \u00a9Chiho Aoshima\/Kaikai Kiki Co., Ltd. All Rights Reserved. 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Chiho Aoshim<\/a>a is part of a generation of Japanese artists who can expertly combine elements of fantasy and myth with contemporary language. Through a mix of digital animation, sculptures, and hand-painted works, Aoshima is also at the forefront of mixing mediums and practices into a singular vision and aesthetic, where childlike imagery comes into focus with sophisticated and mysterious darkness. Her new show, Our Tears Shall Fly Off Into Outer Space<\/em>, is on view now at Perrotin in Hong Kong <\/a>through November 14, 2020. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68915","title":"Betrayal (Sweet Blood): GaHee Park @ Perrotin, NYC","alias":"betrayal-sweet-blood-gahee-park-perrotin-nyc","catid":"19","published":"1","introtext":"At the beginning of the global stay-at-home mandate, an odd sense of disquiet pervaded our lives, especially when it came to the homefront. As each of us spent countless hours, day after day, embedde<\/span><\/span>","fulltext":"

In her recent body of works, most recently on display at Perrotin in Seoul in late 2019, these bold, domestic scenes became precursors to 2020, subconscious and almost daydream-esque moments of private life. Now, in her newest solo show, Betrayal (Sweet Blood),<\/em> opening this fall at Perrotin NYC <\/a>feel more desperate for connection, intimacy is more need than desire. Such intimate urgency has always been presented in Park\u2019s oeuvre, yet as we collectively experience days bleeding into each other, Park\u2019s individual works stand alone, even as each piece bleeds into the next. This is a wonderful ploy in her newest show where the narrative of days looking the same are processed in canvas after canvas. 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ny","published":"1","link":"\/tag\/perrotin-ny\/"},{"id":"25709","name":"gahee park","published":"1","link":"\/tag\/gahee-park\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_XS.jpg?t=1597879606","imageSmall":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_S.jpg?t=1597879606","imageMedium":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_M.jpg?t=1597879606","imageLarge":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_L.jpg?t=1597879606","imageXLarge":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_XL.jpg?t=1597879606","imageGeneric":"\/media\/k2\/items\/cache\/2b43132ff5c739da310e3ef28a09e106_Generic.jpg?t=1597879606","cleanTitle":"Betrayal (Sweet Blood): GaHee Park @ Perrotin, NYC","numOfComments":"0","text":"

At the beginning of the global stay-at-home mandate, an odd sense of disquiet pervaded our lives, especially when it came to the homefront. As each of us spent countless hours, day after day, embedded in the same rooms with routines set even before awakening, who didn\u2019t travel through different stages of reimagining one\u2019s household settings? Art history is full of depictions of domesticity, and in recent years, one artist who has painted these scenes of quiet isolation with fantasy and bright surrealism is Seoul-born, New York-based artist, GaHee Park.<\/a><\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68780","title":"Mark Ryden Debuts in China with New Body of Work "Anima Animals" @ Perrotin, Shanghai","alias":"mark-ryden-debuts-in-china-with-new-body-of-work-anima-animals-perrotin-shanghai","catid":"19","published":"1","introtext":"Some people find it alluring. For others, a little macabre. But if there is an artist who creates a haunting meticulous universe quite like Mark Ryden, we have yet to find them. To call him a master <\/span><\/span>","fulltext":"

After a delay caused by the global Coronavirus pandemic, it feels special then that Ryden will be showing his newest body of work, freshly named Anima Animals<\/a><\/em>, at Perrotin<\/a> Shanghai from July 3\u2014August 22, 2020. Ryden channels nostalgia and a spiritual present, combining the grandeur of Western art traditions with his own Americana that fits the programming that Perrotin has created in Asia in recent years. Anima Animals<\/em> will feature over 40 new works (19 paintings and a series of works on paper)  that border on mythical scale, nestled in wooden frames that imbue each character with an almost sinister grandeur saved for the Old Masters.

\u201cI have been including creatures like these in my work for some time,\u201d Ryden told us. \u201cThey are originally inspired by vintage rubber faced plush dolls made in the 1940\u2019s and 1950\u2019s. These strange old stuffed animals have intriguing expressions that have a quality of cuteness that is often disturbing. Their individual personalities provide a starting point for me to create new characters with whom I try and instill with as much authentic spiritual life as I can.\u201d \u2014Evan Pricco

Perrotin and Kasmin are delighted to announce a jointly organized exhibition of new works by American painter Mark Ryden. Featuring over forty works from the artist\u2019s latest series, Anima Animals. This also marks the artist\u2019s first solo show in China.<\/strong>
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ryden","published":"1","link":"\/tag\/mark-ryden\/"},{"id":"24110","name":"perrotin","published":"1","link":"\/tag\/perrotin\/"},{"id":"23747","name":"perrotin gallery","published":"1","link":"\/tag\/perrotin-gallery\/"},{"id":"2256","name":"shanghai","published":"1","link":"\/tag\/shanghai\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_XS.jpg?t=1593621607","imageSmall":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_S.jpg?t=1593621607","imageMedium":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_M.jpg?t=1593621607","imageLarge":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_L.jpg?t=1593621607","imageXLarge":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_XL.jpg?t=1593621607","imageGeneric":"\/media\/k2\/items\/cache\/be978ba3557e10c27af0a5ec300915e6_Generic.jpg?t=1593621607","cleanTitle":"Mark Ryden Debuts in China with New Body of Work \"Anima Animals\" @ Perrotin, Shanghai","numOfComments":"0","text":"

Some people find it alluring. For others, a little macabre. But if there is an artist who creates a haunting meticulous universe quite like Mark Ryden<\/a>, we have yet to find them. To call him a master of his craft is an understatement, and his brew of kitsch, subcultural legacies and storytelling are so rare that he doesn\u2019t quite fit into one category of contemporary art. Takashi Murakami<\/a>, long an admirer of the Portland-based artist, has said of Ryden and his generation, \u201cOnce we had full command of both of these (art history and technique), we succeeded in combining historical painting methods with subculture. That, in a nutshell, is our generation.\u201d<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68309","title":""Men Are Different, Though They Look Alike": Cinga Samson @ Perrotin, NY","alias":"men-are-different-though-they-look-alike-cinga-samson-perrotin-ny","catid":"19","published":"1","introtext":"Perrotin in NY just recently opened Amadoda Akafani, Afana Ngeentshebe Zodwa (men are different, though they look alike), an exhibition of 28 new paintings by Cape Town based artist Cinga Samson<\/span><\/span>","fulltext":"

Cinga Samson was born in Cape Town in 1986, and grew up between the city and the rural region of Transkei. Originally a photography student, it was fifteen years ago that Cinga began to pursue fine art painting. This medium shift was inspired by two factors: his discovery of the Isibane Creative Arts studio and his mother. In 2006, he stumbled into Isibane Creative Arts in Khayelitsha, Cape Town \u2013 an art studio that was home to artists whose work explored black life in the townships. The group took Samson in and under their tutelage he began to experiment with paint \u2013 initially mimicking the group\u2019s different styles, and eventually authoring an artistic language of his own. His mother also played a large role in his transition towards painting. The artist recalls how, when he was young, his now late mother would plant a hedge of Cannas along the fencing of their house, and how this flower acted as inspiration for nearly all of his initial works.
\"Screen
\"Screen

Similar to previous work, the new series of paintings are lush with nature. This stylistic approach again points to those earlier, historical portraits of black men posing amongst ferns.

\"There are a couple of things in nature that fascinate me and I\u2019m trying to develop a language that can cope with that. For instance, you look at a fish and you think it\u2019s silver or greyish, but when that fish bends you see 6, 7, 8, 9, 10 colors in a split second. Look at it again, and you\u2019ll find that what you just saw is no longer there. As a painter, as someone who works with colors, that just blows my mind away. For instance, in some of the works I prepared for this show, I used 6 colors. You get a bit of burnt amber, some Parisian blue, a slight green but it still all looks like one uniform tone. If you look closely, you can distinguish these different colors. These are just some of my attempts to develop a language that mimics colors in nature. I\u2019ve been trying for years, but it\u2019s only now that I\u2019ve used colors this way \u2013 that they give more than one color at once.\"

\"Screen

The title of the exhibition \u2013 Amadoda Akafani, Afana Ngeentshebe Zodwa (men are different, though they look alike)<\/em> \u2013 are words from Samson\u2019s father. His father had expected him to pursue a profession that would be financially stabilizing. Considering the legacies of colonialism and apartheid \u2013 the vast inequality that dogs South Africa to this day and the transience of black life \u2013 his father\u2019s concerns weren\u2019t without cause. His father, the artist says, said those words to affirm him and his choices, to affirm his individual humanity and his decision to pursue art. Samson comments on the new body of work: \u201cI want the work to make you feel like you\u2019re intruding. I want the painting to own the space you stand in, the space you occupy when you look at it. I want it, the painting, to be aware of your presence, inasmuch as it is aware of itself. The painting is not for you. The painting is for itself.\"

The text is an excerpt from writing by Lwandile Fikeni for Perrotin<\/strong><\/em>

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