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.
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.
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 (Architecture
Anomalies), 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
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); Musée
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.