Education Solo Exhibitions Group Exhibitions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CHIHO AOSHIMA Born in Tokyo, Japan, 1974 Education B.Ec., Hosei
CHIHO AOSHIMA Born in Tokyo, Japan, 1974 Education B.Ec., Hosei University, Tokyo, Japan Art Pace Residency, San Antonio, TX, Fall 2006 Lives and works in Tokyo, Japan One-Person Exhibitions 2016 Rebirth of the World, Kaikai Kiki Gallery, Tokyo, Japan Rebirth of the World, Kaikai Kiki Pop-Up Gallery, Kyoto, Japan 2015 Rebirth of the World, Asian Art Museum, Seattle, WA 2014 City Glow, Center for the Arts, Virginia Tech, Blacksburg, VA 2008 Terror and Seduction, Fundació Joan Miró Barcelona, Spain 2007 City Glow, Museum of Fine Arts, Houston, TX The Giant and the Courtesans, Galerie Emmanuel Perrotin, Paris, France Baltic Center for Contemporary Art, Gateshead, UK (cat.) City Glow, Mountain Whisper, Platform for Art, Gloucester Road Tube Station, London, UK Museum of Contemporary Art, Lyon, France (cat.) 2006 City Glow, Starkwhite, Auckland, New Zealand Sandra and Gerald Fineberg Art Wall: Chiho Aoshima, Institute of Contemporary Art, Boston, MA 2005 Asleep. Dreaming of reptilian glory, Blum & Poe, Los Angeles, CA City Glow and Paradise, Installation at Union Square Subway Station, New York Public Art Fund (Part of Little Boy: The Arts of Japan’s Exploding Subculture), New York, NY DoCoMo Kyūshū Ad Campaign, NTT DoCoMo, Kyūshū and Okinawa, Japan 2004 Collaboration with Patrick Demarchelier for the May issue of Harper’s BAZAAR magazine 2003 Matrix 205, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, CA Galerie Emmanuel Perrotin, Paris, France 2002 Blum & Poe, Santa Monica, CA 2001 Collaboration with Naoki Takizawa for Issey Miyake, Tokyo, Japan Group Exhibitions 2017 Takashi Murakami's Superflat Consideration on Contemporary Ceramics, Towada Art Center, Aomori, Japan 2016 Juxtapoz x Superflat, Pivot Art + Culture, Seattle, WA 2015 Immersed, SPACE, Linda Pace Foundation, San Antonio, TX 2014 G I R L: Curated by Pharrell Williams, Galerie Perrotin, Paris, France 2011 Japan: Tradition. -
Not Just a Party Boy : How Emmanuel Perrotin Became One of the Mist Significant Dealers of the 21S Century
Perrotin Not just a Party Boy : How Emmanuel Perrotin Became One of the Mist Significant Dealers of the 21s Century June 2019 1/1 Not Just a Party Boy: How Emmanuel Perrotin Became One of the Most Significant Dealers of the 21st Century Andrew Goldstein June 26, 2019 Not Just a Party Boy: How Emmanuel Perrotin Became One of the Most Significant Dealers of the 21st Century Gallery owner Emmanuel Perrotin in Paris on May 20, 2019. (Photo: JOEL SAGET/AFP/Getty Images) These days, when people think of the Paris-born, globe-spanning dealer Emmanuel Perrotin, two notions come to mind: KAWS (aka Brian Donnelly, the cartoon-inspired former street artist championed by Perrotin whose art market has lately become a head-turning global phenomenon), and parties. In fact, the Gallic gallerist is so closely associated with the glimmering surface of the art scene that the New York Times headlined a recent profile of him “Paris Art Dealer Brings the Party to New York” and declared that Perrotin “treats the global art market like a giant soirée.” But stick around until the party is over, get to know the gallery a bit, and a surprising fact emerges: Perrotin is one of the most influential art dealers of the new millennium. In fact, he’s been a pivotal force in shaping the trajectory of the art world today as it evolves from a boutique, elite business into a global, mass industry. The dealer who gave Damien Hirst his first commercial show, Perrotin has over the past two decades turned Takashi Murakami, Maurizio Cattelan, KAWS, JR, Daniel Arsham, and others into major stars by embracing an open, experimental ethos vis-à-vis brand collaborations, slingshotting these intrepid members of his roster into a far vaster marketplace. -
TAKASHI MURAKAMI Born in Tokyo, Japan, 1962 Education Phd, Tokyo
TAKASHI MURAKAMI Born in Tokyo, Japan, 1962 Education PhD, Tokyo National University of Fine Arts and Music, Tokyo, Japan MFA, Tokyo National University of Fine Arts and Music, Tokyo, Japan BFA, Tokyo National University of Fine Arts and Music, Department of Traditional Japanese Painting (Nihon-ga), Tokyo, Japan Lives and works in Tokyo, Japan and New York, NY One-Person Exhibitions 2018 Heads<->Heads, Galerie Perrotin, New York, NY Change the Rule!, Gagosian, Hong Kong Takashi Murakami in Wonderland, Galerie Perrotin, Shanghai, China 2017 Murakami by Murakami, Astrup Fearnley Museet, Oslo, Norway The Octopus Eats Its Own Leg, MCA Chicago, Chicago, IL; traveled to Vancouver Art Gallery, Canada; Modern Art Museum of Fort Worth, TX Takashi Murakami's Superflat Consideration on Contemporary Ceramics, Towada Art Center, Aomori, Japan Lineage of Eccentrics, Ann and Graham Gund Gallery, Museum of Fine Arts, Boston, MA Under the Radiation Falls, Garage Museum of Contemporary Art, Moscow, Russia The Deep End of the Universe, Albright-Knox Gallery, Buffalo, NY 2016 Galerie Perrotin, Paris, France Takashi Murakami's Superflat Collection: From Shōhaku and Rosanjin to Anselm Kiefer, Yokohama Museum of Art, Yokohama, Japan 2015 Art Projects Ibiza, Lune Rouge, Ibiza Gran Hotel, HEART (exhibition at four venues), Ibiza, Spain Takashi Murakami: The 500 Arhats, Mori Art Museum, Tokyo, Japan Ensō (Pop-up show organized by Galerie Perrotin), Kaikai Kiki Gallery, Tokyo, Japan 2014 In the Land of the Dead, Stepping on the Tail of a Rainbow, Gagosian Gallery, -
Pharrell Williams Rob Pruitt “Studio Loveseat (Pharrell)” 2014, Markers and Pens on Canvas Couch, Chromed Feet
curated by PHARRELL WILLIAMS Rob Pruitt “Studio Loveseat (Pharrell)” 2014, markers and pens on canvas couch, chromed feet. Courtesy of the Artist. « G I R L », curated by Pharrell Williams “G I R L” is an exhibition which brings together 48 artworks 27 May - 25 June 2014 – including 10 specially produced works. The exhibition Galerie Perrotin / Salle de Bal will be presented in Galerie Perrotin’s new space, the Salle de Bal, a former ballroom at the Hôtel du Grand Veneur, a When Emmanuel Perrotin met Pharrell Williams in Miami during 17th century Hôtel Particulier in the Marais area of Paris. 2007 and asked him to come up with his very first design object, This selection of artists close to the gallery and the musician he never imagined that this musical genius, super-producer and form a kind of operatic opus, where muses have come fashion designer would carry the adventure with a sculpture together to pay tribute to femininity through the vision of created with Takashi Murakami. To mark the release of the album 37 artists / including 18 women. G I R L, Pharrell Williams and Emmanuel Perrotin continue their artistic collaboration seven years later with an exhibition curated The 48 artworks presented in this exhibition, coordinated especially for Galerie Perrotin in Paris. by Ashok Adicéam, Senior Advisor at Galerie Perrotin, aim to celebrate women who are above all free, liberated by artists and their boundless, unfettered imagination! “I have always mixed artworks into my music, clothing, jewelry and my entire way of life. They stimulate creativity, mutual curiosity, and simply happiness!” Pharrell Willliams declares. -
Tokyo to LA Story How Southern California Became the Gateway for a Japanese Global Pop Art Phenomenon
ADRIAN FAVELL Tokyo to LA Story How Southern California became the Gateway for a Japanese Global Pop Art Phenomenon An analysis of the demographic and geographic conditions that have enabled Los Angeles (LA) to become a gateway for imports of Japanese contemporary cultures in the West, illustrated with the case of Japanese contemporary art, and the international success stories of Takashi Murakami and Yoshitomo Nara. By Adrian Favell National Cool” was anointed by the American Globalization’s most enthusiastic proponents (Lash and journalist Douglas McGray (2002), as an alternative Urry 1994, Appadurai 1996, Friedman 2005) often talk source of international “soft power” for a Japan facing about global culture as if, with new technology and steep industrial and financial decline in the post-80s’ ubiquitous media and internet saturation, cultural bubble era, the Japanese government has sought to forms are now effortlessly mobile, and simply flash seize all possible opportunities to promote these around the planet at the speed of light. Space and time cultural products in the West as a way of restoring the have collapsed, and we are all allegedly consuming the brand image of the nation (Shiraishi 1997, Watanabe same global cultural products from Beijing to Bratislava, and McConnell 2008). or Los Angeles to Kuala Lumpur. Trace the actual movements of any particular product, however, and it Interestingly, the national self-promotion that can easily can be seen it often took many years and any numbers work with popular forms of culture such as of entrepreneurial hands and minds for a local cultural manga /anime , is also often linked with certain forms of phenomenon to turn into a global success. -
NEW YORK INAUGURATION September 18, 2013
NEW YORK INAUGURATION September 18, 2013 Galerie Perrotin is pleased to announce the September 2013 opening of a du 44 rue de Turbigo” (aka Thursdays at rue de Turbigo) in an apartment new contemporary art gallery - its third after Paris and Hong Kong - on the in the Marais nearby the Centre Pompidou. Since 1989, he has moved to Upper East Side in Manhattan. larger locations in Paris nine times, with the aim of maintaining and giving increasingly stimulating environments for its artists. The 4,300-square-foot/400 sq. meters space occupies the ground floor and below-street-level floor of a heritage building on Madison Avenue. Its In 1991, Perrotin gave Damien Hirst his first commercial gallery show with inaugural show will be a solo exhibition of never seen before sculptures and “When Logics Die”. Two years later, in 1993, he met Takashi Murakami on photographs by the Milan-born contemporary artist Paola Pivi. the occasion of the NICAF in Yokohama and then he gave him his first presentation outside of Japan in Gramercy international contemporary art “New York continues to be the capital of the art market, “ said Emmanuel fair in 1994 and then in Art Basel in 1995. Notably, he once dressed in a Perrotin, who opened his first Paris gallery in 1989 at the age of 21 and pink phallus suit with rabbit ears for a 1995 show opening of another one was ranked the ninth most powerful player in the international art world on of his early discoveries, Maurizio Cattelan with whom he has been col- Art & Auction’s Power 2012 list. -
Emmanuel Perrotin Wall Street Journal
PRESSBOOK Emmanuel Perrotin Wall Street Journal March 2017 1/1 ART HOUSE For years, dealer Emmanuel Perrotin has been a mover and shaker who lives as energetically as he sells art. Now he’s settling into a Paris apartment and a new five-story gallery in New York City. BY JOSHUA LEVINE PHOTOGRAPHY BY FREDERIK VERCRUYSSE OR MOST OF THE 25 or so years that Emmanuel 2014. On a recent winter evening, as on so many others, Perrotin was building his Paris art gallery waiters were setting up for a bash, rolling large gas heat- into a global operation, he never really had ers onto the terrace; Perrotin is renowned for his swinging a proper place to call home. When he started parties, where pop-star pals like the duo behind Daft Punk BEAR MARKET out in 1989, he bunked down in a tiny back might be cajoled into playing a little something. Right: Emmanuel Perrotin in his Paris home with room off his gallery on the rue de Turbigo. The apartment itself seems almost like another gallery O.T., a painting by Thilo Sixteen years later, when he moved the gallery to the rue annex. It is very elegant, to be sure, but it’s difficult for the Heinzmann, whom he F de Turenne, he slept in a kind of “ship’s cabin” of a place Vladimir Kagan sofa or the Paul Frankl dining room set to represents. Left: Work by Perrotin’s artists fills the over what is now the gallery’s bookstore. If he wasn’t command attention when a giant blue bear by Paola Pivi living room, where a foam there, you could probably find him crashing in hotels looms overhead and a tattooed, taxidermied pig by Wim and feather sculpture on the international art fair circuit—from Art Basel in Delvoye squats nearby. -
Perrotin New York Inaugurates Its New Gallery on the Lower East Side with Iván Argote Solo Show April 27Th, 2017
PERROTIN NEW YORK INAUGURATES ITS NEW GALLERY ON THE LOWER EAST SIDE WITH IVÁN ARGOTE SOLO SHOW APRIL 27TH, 2017 Since 2013, Perrotin New York has been housed in a historic building on the Upper East Side’s iconic Madison Avenue. After three successful years there, Perrotin will expand to a 25,000 sq. foot (2,300 sq. meters) space in New York City’s most dynamic arts neighborhood, the Lower East Side. Perrotin’s new location at 130 Orchard Street will open its first exhibition on April 27th with Colombian- born artist Iván Argote on the ground floor. The entire gallery, with its multiple exhibition spaces, will be unveiled in November of 2017 with a show by Jean-Michel Othoniel. Along with the Paris, Hong Kong, Seoul and forthcoming Tokyo-based galleries, this new location will offer greater flexibility and will enable Perrotin to continue staging ambitious projects and large-scale exhibitions for its world-renowned artists. The new space will offer great flexibility to the gallery’s varied group of artists for their exhibitions. The move affirms the gallery’s loyal to its programming and passion towards discovering new talent since its establishment in Paris in 1989. The new location will serve as the base for a growing New York team. Facade of Perrotin gallery, 130 Orchard Street, New York Simulation: P.R.O. - Peterson Rich Office PRESS CONTACTS Coralie David, Perrotin press officer, [email protected] Natacha Polaert, Nouvelle Garde, [email protected] THE BUILDING Originally erected in 1902, the building will retain the painted facade and signage from its former use as a Beckenstein fabric factory in the 1940s. -
“The Jelly Civilization Chronicle” Aya Takano
Aya Takano “The present day, and then..” 2017. Work in progress. Oil on canvas. 72.7 × 91cm / 28 5/8 × 35 13/16 in ©2017 Aya Takano/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Galerie Perrotin Aya Takano “The Jelly Civilization Chronicle” Aya Takano “The Jelly Civilization Chronicle” Galerie Perrotin, Paris / 16 mars - 13 mai 2017 Galerie Perrotin, Paris / 16 March - 13 May 2017 Vernissage : Jeudi 16 mars 16h-21h Opening Reception: Thursday 16 March 4-9pm La Galerie Perrotin est heureuse de présenter une exposition personnelle The Galerie Perrotin is pleased to present Aya Takano’s personal exhibition, d’Aya Takano, “The Jelly Civilization Chronicle ”, du 16 mars au 13 mai 2017. The Jelly Civilization Chronicle, from 16 March to 13 May 2017. The artist L’artiste y expose environ 26 peintures et plusieurs dessins sur celluloïd, will exhibit about 26 paintings and several drawings on celluloid, all œuvres préparatoires à un manga de 178 pages, dévoilé ici dans son preparatory studies for a 178-page manga, unveiled here in its entirety. intégralité. A painter, illustrator, sci-fi writer and manga artist, Aya Takano belongs Peintre, dessinatrice, auteure de science-fiction et de manga, Aya Takano to Kaikai Kiki, the artistic production studio created in 2001 by Takashi fait partie de Kaikai Kiki, le studio de production artistique créé en Murakami. Inspired by all art forms, from erotic stamps of the Edo 2001 par Takashi Murakami. Inspirée par tous les arts, des estampes Period to impressionism, from Osamu Tezuka to Gustav Klimt, the artist érotiques de la période Edo à l’impressionnisme, d’Ozamu Tezuka à has built a universe all her own. -
Tokyo to LA Story How Southern California Became the Gateway for a Japanese Global Pop Art Phenomenon
ADRIAN FAVELL Tokyo to LA Story How Southern California became the Gateway for a Japanese Global Pop Art Phenomenon An analysis of the demographic and geographic conditions that have enabled Los Angeles (LA) to become a gateway for imports of Japanese contemporary cultures in the West, illustrated with the case of Japanese contemporary art, and the international success stories of Takashi Murakami and Yoshitomo Nara. By Adrian Favell National Cool” was anointed by the American Globalization’s most enthusiastic proponents (Lash and journalist Douglas McGray (2002), as an alternative Urry 1994, Appadurai 1996, Friedman 2005) often talk source of international “soft power” for a Japan facing about global culture as if, with new technology and steep industrial and financial decline in the post-80s’ ubiquitous media and internet saturation, cultural bubble era, the Japanese government has sought to forms are now effortlessly mobile, and simply flash seize all possible opportunities to promote these around the planet at the speed of light. Space and time cultural products in the West as a way of restoring the have collapsed, and we are all allegedly consuming the brand image of the nation (Shiraishi 1997, Watanabe same global cultural products from Beijing to Bratislava, and McConnell 2008). or Los Angeles to Kuala Lumpur. Trace the actual movements of any particular product, however, and it Interestingly, the national self-promotion that can easily can be seen it often took many years and any numbers work with popular forms of culture such as of entrepreneurial hands and minds for a local cultural manga /anime , is also often linked with certain forms of phenomenon to turn into a global success. -
Aya Takano “The Jelly Civilization Chronicle” Aya Takano “The Jelly
Aya Takano “The present day, and then..” 2017. Work in progress. Oil on canvas. 72.7 × 91cm / 28 5/8 × 35 13/16 in ©2017 Aya Takano/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy Galerie Perrotin Aya Takano “The Jelly Civilization Chronicle” Aya Takano “The Jelly Civilization Chronicle” Galerie Perrotin, Paris / 16 mars - 13 mai 2017 Galerie Perrotin, Paris / 16 March - 13 May 2017 Vernissage : Jeudi 16 mars 16h-21h Opening Reception: Thursday 16 March 4-9pm La Galerie Perrotin est heureuse de présenter une exposition personnelle The Galerie Perrotin is pleased to present Aya Takano’s personal exhibition, d’Aya Takano, “The Jelly Civilization Chronicle ”, du 16 mars au 13 mai 2017. “The Jelly Civilization Chronicle”, from 16 March to 13 May 2017. The L’artiste y expose une séléction de 26 peintures et plusieurs dessins artist will exhibit a selection of 26 paintings and several drawings on sur celluloïd, œuvres préparatoires à un manga de 186 pages, dévoilé celluloid, all preparatory studies for a 186-page manga, unveiled here ici dans son intégralité. in its entirety. Peintre, dessinatrice, auteure de science-fiction et de manga, Aya Takano A painter, illustrator, sci-fi writer and manga artist, Aya Takano belongs fait partie de Kaikai Kiki, le studio de production artistique créé en to Kaikai Kiki, the artistic production studio created in 2001 by Takashi 2001 par Takashi Murakami. Inspirée par tous les arts, des estampes Murakami. Inspired by all art forms, from erotic stamps of the Edo érotiques de la période Edo à l’impressionnisme, d’Ozamu Tezuka à Period to impressionism, from Osamu Tezuka to Gustav Klimt, the artist Gustav Klimt, l’artiste a construit un univers qui lui est propre. -
Before and After Superflat Before And
Before and After Superflat Yoshitomo Nara, Harmless Kitty (1994) Contemporary Art 1990 - 2011 Contemporary Art 1990 A Short History of Japanese Talk of Japanese contemporary art and everyone inevitably thinks of the pop culture fantasies of Takashi Murakami, along with Yoshitomo Nara and others connected to Murakami’s “Superflat” movement. Meanwhile, Japan has stumbled through a series of economic, social and ecological Before and After Superflat crises since the collapse of its “Bubble” economy in the early 1990s. How did Murakami, Nara and “Superflat” rise to become the dominant artistic vision of Japan today? What lies behind their image A Short History of of a childish and decadent society unable to face up to reality? Before and After Superflat tellstells thethe Japanese Contemporary Art truetrue storystory ofof thethe JapaneseJapanese artart worldworld sincesince 1990,1990, itsits strugglestruggle toto findfind aa voicevoice amidstamidst Japan’sJapan’s declinedecline andand thethe riserise ofof China,China, andand thethe responsesresponses ofof otherother artists,artists, lessless wellwell knownknown outside,outside, whowho offeroffer alternativealternative 1990-2011 visions of its troubled present and future. Adrian Favell Adrian Favell is a Professor of Sociology at Sciences Po, Paris. He has also taught at UCLA, Aarhus University and the University of Sussex. In 2007 he was invited to Tokyo as a Japan Foundation Abe Fellow, and has since Favell Adrian then been closely involved as an observer, writer and occasional curator on the Japanese contemporary art scene, both home and abroad. He writes a popular blog for the online Japanese magazine ART-iT, as well as catalogue essays, reviews and contributions to magazines such as Art Forum and Art in America.