Exhibition Listings: Global Selections, 2018



October 13th - November 11th 2018

Tokyo Arts and Space Hongo

Tokyo, Japan


PARK Hyunki

Since its opening in 2001, Tokyo Arts and Space (TOKAS) has collaborated with overseas artists and curators, art centers, cultural institutions, and other parties to put on exhibitions and related programs. TOKAS is launching TOKAS Project in 2018, a program to explore various themes such as art and society from a multicultural viewpoint. In TOKAS Project Vol. 1, TOKAS is welcoming Victor Wang, a curator based in London and Shanghai. "The Institute of Asian Performance Art: Tokyo" exhibition introduces three pioneers in video art from Japan, China, and South Korea while considering performance art and media.

Wang, the curator of this exhibition, has researched the history and development of performance art in East Asia. When he took part in the 2017 TOKAS Residency Program, he researched the history of Japanese performance art via the avant-garde art activities, such as High Red Center and Zero Jigen. Artists of that era were investigating performance as a new type of expression that differed from traditional methods. These transient performances were also recorded as videos and photographs, making them into lasting works of art. Afterwards, they skillfully used video--a new technology at that time--for distinct aesthetics and approaches that were not bound by the context of Western art. In this way, they expanded the breadth of their expression, such as by creating works with an awareness of personal and societal transformation. Wang is also planning an exhibition with the same title to be held at the David Roberts Art Foundation (DRAF) in London in September 2018. It will include works by Jiro Takamatsu, Minoru Hirata, and Kim Ku Lim, artists from the late 1950s to 1970s. The Tokyo exhibition, which is the second edition, will focus on three artists who are video art pioneers from Japan, China, and South Korea: IDEMITSU Mako, ZHANG Peili, and PARK Hyunki. It will showcase their works from that time while looking at their links to the contemporary era.

Text: Courtesy of TOKAS, press release. Photography: Global Art Daily.


October 6th 2018 - January 14th 2019

Tokyo Metropolitan Teien Art Museum

Tokyo, Japan

Art Deco had been the epitome of its era, flourishing in France in the years between the two World Wars of the twentieth century. Inclinations towards encounters with the arts and culture of regions outside of Europe presented a significant influence on the aesthetics and formative sensibilities of Art Deco. Such as the Ballets Russe’s appearance in 1909, Josephine Baker who sailed to France in 1925, the discovery of Tutankhamun’s tomb in 1922, Citroen’s La Croisierie Noire and La Croisierie Jaune expeditions with automobiles travelling north to south across Africa and Asia for the first time, and the L'Exposition colonial internationale at the Bois de Vicennes in 1931, various topics had enlivened the streets of Paris.

Japonism, or an interest towards Asia as a whole, came to be reinterpreted as a catalyst for modernity. In the midst of such movements was the presence of Japanese artists such as Seizou Sugawara who had trained architect and designer Eileen Gray and designer Jean Dunand in the traditional techniques of lacquer, as well as the ivory sculptor Eugénie O’kin.

The exhibition introduces approximately 85 works including dynamic paintings and sculptures that draw inspiration from Africa and Asia, centering on those housed in the museum collections of the Musée des Années 30, Musée des Arts Décoratifs, Paris, and the Mobilier National, which will be presented in Japan for the first time.

Text: Courtesy of Teien Art Museum, press release. Photography: Global Art Daily.


October 5th - October 20th 2018

Kaikai Kiki Gallery

Tokyo, Japan

🌟 Highlight: MADSAKI with his copy of GAD Magazine Issue 01! We included an image of his work for our dossier on Side Core, with who he has collaborated extensively at the beginning of his career.

Kaikai Kiki Gallery is pleased to announce that from October 5th, 2018, we will be presenting MADSUCKY WUZ HERE 2018, MADSAKI’s much anticipated second solo exhibition at our gallery.

Following his fated meeting with Takashi Murakami over Instagram in 2015 and subsequent string of solo shows across Tokyo, Seoul, Bangkok, and Paris, Osaka-born New Jersey-raised MADSAKI has become unmistakably recognizable through his signature spray paint-splattered compositions and his vulgar, satirical take on mass cultural memes.

Although now almost synonymous with spray cans and swear words, MADSAKI originally painted exclusively with rollers and brushes; he had no background in street graffiti, and only began to use spray cans after returning to Japan. The original inception of his spray-can painting techniques began several years ago with his Beyond Words series— canvases with (often obscene) English slang scrawled haphazardly in spray paint, replete with curse words and jokes reminiscent of the kind of American high school banter that hovers between chummy teasing and malicious taunting. What seems at first glance to be crude and thoughtless appropriation, however, in fact stems from his dysphoria of being rejected by the two cultures that raised him, and his continued struggle to find middle ground between Japan and America.

After moving to America as a child and experiencing discrimination because of his Japanese ancestry, his return to Japan paradoxically left him feeling equally as alienated, this time because of his Americanized childhood.

Text: Courtesy of Kaikai Kiki, press release. Photography: Global Art Daily.


October 3rd - January 14th 2018

Fondation Louis Vuitton

Paris, France

The work of Jean-Michel Basquiat, one of the most significant painters of the 20th century, is spread over four levels of Frank Gehry’s building.

The exhibition covers the painter’s whole career, from 1980 to 1988, focusing on 120 defining works. With the Heads from 1981-1982, gathered for the first time here, and the presentation of several collaborations between Basquiat and Warhol, the exhibition includes works previously unseen in Europe, essential works such as Obnoxious Liberals (1982), In Italian (1983), and Riding with Death (1988), as well as paintings which have rarely been seen since their first presentations during the artist’s lifetime, such as Offensive Orange (1982), Untitled (Boxer) (1982), and Untitled (Yellow Tar and Feathers) (1982).

Text: Courtesy of Fondation Louis Vuitton, press release. Photography: Global Art Daily.


September 9th - October 18th 2018

Fosun Foundation

Shanghai, China

Photography: Global Art Daily.


September 28th - November 25th 2018

König Gallery

Berlin, Germany

In the jargon of professional photography, the term “light double” refers to people with whose help photographers optimize lighting conditions before the actual photo session. This method is often used when time is short, with only a few minutes are available for the shoot. In the studio, on the other hand, the method allows photographers to take their time trying out and playing through various lighting scenarios.

The photographic double portrait by Annette Kelm from which this exhibition takes its title shows the artist, musician and publisher Sonja Cvitkovic and the gallerist Johann König. Since they are both wearing the same orange bomber jacket and have adopted a similar pose, it remains unclear whether someone acted as a light double. But the distribution of light and shadow in the lower half of the images actually point to diverging lighting conditions – the difference between hard artificial and softer natural light. In the juxtaposition of two corresponding images, hierarchical constructions and their effects become visible.

Text: Kito Nedo, Courtesy of König Gallery, press release. Photography: Global Art Daily.


September 6th - November 11th 2018

König Gallery

Berlin, Germany

Everything that surrounds us as human beings—all the things and objects we consider to be solid, firm matter—is, strictly speaking, composed of nothing. The surface of Carrara marble, or a diamond, for instance, may appear to have hard and massive structures, but only a series of atoms form them, which in turn contain: nothing. If you imagine a single atom inflated to the size of a football stadium, it is only the size of a grain of rice in the middle of the playing field—the core nucleus—that has a mass. The remaining area is nothingness. As put forward by Goethe’s Faust, the universal question remains: what is it that “binds together the world's innermost core?” What exactly happens in the midst of infinite emptiness that encompasses everything? If the findings of physics contribute only marginally to the definite understanding of the world, we are left to question a realm only somewhat comprehensible by our limited human senses. We therefore require alternative ways of understanding that reach far beyond the arenas of science. The work of Berlin-based artist Alicja Kwade repeatedly explores a transferral of scientific questioning into artistic concepts. Her exhibition ENTITAS offers poetic, intuitively comprehensible responses to the conundrum of what transpires in the invisible plenums of knowledge; what is it that happens between two blinks of an eye, between two glances? Kwade’s exhibition title ENTITAS (Latin: entity) alludes to enquiries about the essence of things: what is the world made of? And further even: what information is available for us to attempt an answer to this question?

Text: Timon Karl Kaleyta, Courtesy of König Gallery. Photography: Global Art Daily.


September 2018

Rockbund Art Museum

Shanghai, China

Photography: Global Art Daily.



August 4th - September 17th 2018

Power Station of Art

Shanghai, China

Power Station of Art (PSA) presents ‘Franklin Chow: Zigzagging my way home’, the Chinese-Swiss artist’s debut solo exhibition in China, from August 4th to October 17th 2018. ‘Zigzagging my way home’ is titled for the diverse experiences and confluences of cultures that Chow has known in his life and art as he eventually meandered his way home to his roots in Shanghai. The exhibition brings together Chow’s representative work of paintings, installations, objects, sculptures and videos from different stages of his career, along with Journal, a series of ink drawings and writings from his daily life. Also on view are four ancient Chinese artefacts from the Shanghai Museum’s collection which greatly inspires his art. They provide a crossover between traditional and contemporary art forms, and the hybridity between East and West in Chow’s work.

Born in 1946 in Shanghai, Chow moved to Hong Kong when he was three years old. At the age of 17, he arrived in Parison a one-way ticket to study art at the Académie de la Grande Chaumière, beginning his life as an artist. During his time as a student, Chow became acquainted with the abstract art of French artist Georges Mathieu and Chinese-French artist ZaoWou-Ki. The lyrical and abstract works of both artists crossed cultural aesthetics, which resonated with Chow. He travelled frequently between Paris and London where he took on several jobs which included film production, creative and management roles in multinational companies as well as leading his own marketing communications consultancy. Chow has lived in Switzerland since the early 1970s. Swiss culture and minimalist aesthetics have inspired much of his art.

Text: Courtesy of PSA official press release. Photography: Global Art Daily.


August 18th - October 14th, 2018

Power Station of Art

Shanghai, China

Power Station of Art presents “Hon: Niki de Saint Phalle & Shen Yuan” from August 18th to October 14th, 2018. Looking back on representative works from across the careers of Niki de Saint Phalle and Shen Yuan, this exhibition strives to establish a dialogue that crosses time, space, and even medium; highlighting the connections and inner resonance of their creations. At the current time, while gender issues are once again rising to the fore; their works infuse the “Power Station,” a symbol of patriarchy, with an energy that goes beyond gender. Their experiences will inspire us to ponder the various debates revolving around femininity, along with unfolding the complexity of language, identity and immigration.

The exhibition title, “HON” (pronoun of “she” in Swedish language), is a tribute to Niki de Saint Phalle’s 1966 work of the same name. This massive spatial installation of a reclining female form contained facilities of an automatic vending machine, movie theater, gallery, and bar. It also combined the different functions of production, entertainment, education and social interaction. It was open, self-sufficient, all encompassing, and indicative of the enormous potential of women being hidden within the “subordinated sex”. Hon was dismantled immediately, after three months on display. Even though it was never to be seen again, it remains remarkable in history.

Text: Courtesy of PSA official press release. Photography: Global Art Daily.


September 8th - November 14th 2018

Power Station of Art

Shanghai, China

From September 8 to November 14, 2018, power station of Design, a creative extension of the Power Station of Art, and British Council are pleased to present the premiere solo exhibition of British artist David Shrigley. Entitled Lose Your Mind, the exhibition showcases more than 400 pieces of Untitled Drawings, a 1:1 scale inflatable version of Really Good, and other signature works over the past 30 years representative of Shrigley’s irreverent take on the intersections between art, design and popular culture. The exhibition hopes to shake up our assumptions by breaking down existing understandings of contemporary art.

Shrigley is known for his clever use of puns, satirical play-on-words, to present his unique black humour and absurd surrealist depictions of everyday situations. What is behind the seeming cynicism is the artist's insight into the human condition and his criticism of the ‘cliché’. The artist sets up multiple rousing hurdles for the upcoming exhibition. Audiences must enter through a “Death Gate” and a“展覧会” neon sign that is deliberately mis-spelled; adjacent to a wall installation exclaiming "I Am A Person". There are also other playful, misleading signage such as a "No Photograph" sign and an actual photograph which tells the viewer to "Imagine the Green is Red". Even remaining vigilant, it will seem, as the exhibition title indicates, you will have inevitably, “lost” your mind. Perhaps this is the purpose of the exhibition: to allow people to empty the contents of their brain and get enlightened and replenished by the likeness of chaos.

Text: Courtesy of PSA official press release. Photography: Global Art Daily.


July 7th - August 26th 2018

Various locations

Shanghai, China

On view this month is the first edition of the Condo Shanghai, a new form of international art viewing which has already had past success in London, New York and Mexico City. Condo takes its name from ‘condominium’ and is a large-scale collaborative exhibition of international galleries. The concept, led by Vanessa Carlos from Carlos-Ishigawa Gallery, is fresh and is an alternative to the usual and very commercial art fair circuit. Host galleries share their spaces with visiting galleries – either by co-curating an exhibition together, or dividing their galleries and allocating spaces. As Condo puts it: "the initiative encourages the evaluation of existing models, pooling resources and acting communally to propose an environment that is more conducive for experimental gallery exhibitions to take place internationally."


Unit 106, Building 7, 50 Moganshan Road莫干山路50号7号楼106室

Tue–Sun 10:00–18:30

hosting JOSÉGARCÍA ,MX Mexico City


Unit 102, Building 17, 50 Moganshan Road莫干山路50号17号楼102室

Mon–Sun 10:30–18:00




No. 2, Lane 19, M. Wulumuqi Rd, Jing’an District静安区乌鲁木齐中路19弄2号

Tue–Sat 10:00–18:00

hosting MISAKO & ROSEN Tokyo, Japan


Unit 302, 2879 Longteng Avenue, Xuhui District徐汇区龙腾大道2879号302室

Tue–Sat 10:00–18:00, Sun 13:00–18:00

hosting GHEBALY GALLERY Los Angeles, USA


Unit 2202, 2879 Longteng Avenue, Xuhui District徐汇区龙腾大道2879号2202室

Tue–Sun 10:00–18:00

hosting KÖNIG GALERIE Berlin, Germany

&ESTHER SCHIPPER施博尔画廊 Berlin, Germany


Unit 106, 2879 Longteng Avenue, Xuhui District徐汇区龙腾大道2879号106室

Tue–Sun 11:00–19:00

hosting CARLOS/ISHIKAWA卡洛斯/石川 London, UK

⑦ AIKE艾可

Building 6, 2555 Longteng Avenue, Xuhui District徐汇区龙腾大道2555号6号楼

Tue–Sun 10:00–18:00

hosting PERES PROJECTSBerlin, Germany


&SOY CAPITÁN Berlin, Germany


Building 3, 2555 Longteng Avenue, Xuhui District徐汇区龙腾大道2555号3号楼

Tue–Sun 11:00–18:00

hosting MAI 36 GALERIE Zurich, Switzerland


2555-10 Longteng Avenue, Xuhui District徐汇区龙腾大道2555号10号楼

Tue–Sun 11:00–18:00

hosting SADIE COLES HQ赛迪HQ画廊 London, UK

🎨 SIDE CORE presents

Playing Outside: From Picnics to Skateboards

July 14th - September 17th 2018

Ichihara Lakeside Museum

Chiba, Japan

SIDE CORE is participating as co-curators in an exhibition titled "Playing Outside -From Picnics to Skateboards", held at the Ichihara Lakeside Museum in Chiba Prefecture, Japan. Artists on show include: EVERYDAY HOLIDAY SQUAD, Taku Obata, Ryota Kikuchi, Takahito Kimura, snipe1, Seppuku Pistols, Hikaru Takata, Rintarou Takahashi, Chim↑Pom, Tokyo Picnic Club, Takahiro Miyahara, Takahiro Morita, Taichi Moriyama and Rojo Kansatsu Gakkai.

"Playing Outside -From Picnics to Skateboards-" is an exhibition consisting of works by 14 artist groups and will be held at the the Ichihara Lakeside Museum, a feel-good venue surrounded by nature. Art inspired by or deriving from outdoor play such as picnics, observing things on the street (Rojo Kansatsu), fishing, rock climbing and skateboarding will be on display. From SIDE CORE, many artists whose work stems from play will be participating and creating experimental new artworks on "outside" and "play".

O​rganizer:​The Ichihara Lakeside Museum.

​Designated Manager: Art Front Gallery Co., Ltd.

Co-curator: SIDE CORE

Text: Courtesy of SIDE CORE and Ichihara Lakeside Museum official press release. Photography: SIDE CORE Instagram.


Clothes Line

July 19th - August 4th 2018

White Rainbow

London, UK

White Rainbow is delighted to present Clothes Line – a solo exhibition of drawings and films of performances by Aki Sasamoto (b. 1980, Kanagawa, Japan). This is the artist’s first presentation at a UK gallery.

At White Rainbow, Sasamoto presents a selection of drawings realised during three of her major performance installations to date. These are: Wrong Happy Hour, JTT, New York (2014); Yield Point, The Kitchen, New York (2017), and Delicate Cycle, SculptureCenter, New York (2016). While all originating in New York, where the artist lives and works, iterations of these projects subsequently travelled to art institutions in Japan and Brazil, among others, where Sasamoto also realised performances and drawings. During her performances, Sasamoto draws on whatever she has to hand. These works, referred to by the artist as diagrams, are almost akin to musical notations or a score – a way of getting her ideas down while thinking aloud. Typically, during the course of an exhibition by Sasamoto, she will stage a number of performances, realising a drawing each time, which then will go on to form part of the installation. While similar, the drawings contain the particularities of each performance. As physical objects, they outlast the performance or installation of which they become part.

White Rainbow publishes a new catalogue on Aki Sasamoto in July 2018, which includes images of her performance works and drawings, alongside a newly commissioned text by the writer and critic Chris Fite-Wassilak, and a new conversation between Aki Sasamoto and Jennifer Krasinski, writer and Senior Editor, Artforum.

Text: Courtesy of White Rainbow Gallery. Photography: Aki Sasamoto, 'Clothes Line', installation view at White Rainbow, London, 2018 Copyright Aki Sasamoto, courtesy of White Rainbow, London and Take Ninagawa, Tokyo Image: Damian Griffiths.


Sorayama Explosion

July 7th - August 11th, 2018


Tokyo, Japan

NANZUKA is pleased to announce "Sorayama Explosion" an exhibition of new works by Hajime Sorayama (1947-). This show marks the artist’s third presentation with the gallery, as the first time in two years of his new works to be shown at the gallery.

Hajime Sorayama graduated from Chubi Central Art School in 1969, and had initially spent some time working with an advertising company. Since becoming freelance in 1972, he has established his position as a legendary artist both within Japan and abroad, armed with his astounding sense of realistic expressional techniques. Sorayama's extensive oeuvre that centers upon an on-going pursuit for beauty regarding the human body and the machine has continued to receive high international acclaim, and his signature body of work entitled, the "Sexy Robot" series (1978-) had served to established his world-wide reputation. In 1999, he won the Good Design Award (Ministry of Trade and Industry) and the Media Arts Festival Grand Prize (Agency of Cultural Affairs) for his work with Sony on the concept design for their entertainment robot 'AIBO.' In 2001 the first generation 'AIBO' was added to the permanent collections of the Smithsonian Institute and the Museum of Modern Art (MOMA), Sorayama is also renown for his collaboration with internationally famous rock band Aerosmith for the artwork on the cover of their 2001 album, ‘Just Push Play.’ In recent years, Sorayama’s works have been presented in exhibitions including, “Unorthodox” (The Jewish Museum, New York, 2015), “Desire” (by Larry Gagosian and Jeffery Deitch, Moore building Miami, 2016), “The Universe and Art” (Mori Art Museum, Tokyo, 2016, Art Science Museum,Singapore, 2017), and his participation in a large scale group show “Cool Japan” at Tropen Museum in Amsterdam is scheduled in September, 2018.

Text: Courtesy of Nanzuka Gallery, Press Release. Photography: Sophie Arni for Global Art Daily.


衣食住 [food, clothing and shelter]

June 9th - June 21st, 2018


Tokyo, Japan

Cheb Moha, dubbed by The Fader as the 'artful nomad from Dubai', was in Tokyo to open his first solo exhibition in Japan. He showed analog photographs that he took along his travels in the Middle East, especially in new home base, the UAE. Directly pinned on all the walls and labeled by Sharpie pen, the show felt fresh, unpretentious and rooted in Arab street culture. Our favorite was the large photograph taking up the whole back wall. Shot at the Sheikh Zayed Grand Mosque in Abu Dhabi, the picture captures the melancholy and subtleness of time passing. It was a great exhibition, bridging the gap between the UAE and Japan.

More information about the exhibition [in Japanese] here.

Text and photography: Sophie Arni for Global Art Daily


The Mechanism of Resembling

June 8th - July 1st, 2018

Eukaryote Gallery

Tokyo, Japan

Photography: Sophie Arni for Global Art Daily


Medley - Works from the Collection

April 19th - September 24th, 2018

Espace Louis Vuitton

Tokyo, Japan

The Espace Louis Vuitton Tokyo is pleased to present Medley, a monographic exhibition dedicated to French artist Bertrand Lavier. This exhibition has been produced in the framework of the Fondation Louis Vuitton’s “Hors-les-murs” program, showcasing previously unseen holdings of the Collection at the Espaces Culturels Louis Vuitton in Tokyo, Munich, Venice and Beijing, thus carrying out the Fondation’s intent to realize international projects and make them accessible to a broader public.

The Espace Louis Vuitton Tokyo invites to an exploration of the various styles and categories typical of Lavier’s oeuvre through the display of seven works from the Collection. From the painterly “Van Gogh” technique of Atomium (2007), to the playful tongue-in-cheek readymade interpretation of La Bocca sur Zanker (2005), this exhibition demonstrates Lavier’s unique ability to continuously develop and experiment with strategies of translation, transposition, and conversion. The exhibition also displays the neon installation Empress of India II (2005), acrylic works Walt Disney Productions 1947-2013 N°2 (2013), Birka (2007) and Paysages Aixois (2014), and the chrome-plated sculpture Ibo (2008). The blending of genres, principles and materials, is emblematic of Lavier’s artistic practice, producing works that destabilise our perception and disrupt our familiar ways of interpreting art, creating a visual impact that is paradoxically and strikingly self-evident.

Text: Courtesy of Espace Louis Vuitton, Press Release. Photography: Sophie Arni for Global Art Daily


Bord de Mer

June 12th - August 4th, 2018

Blum & Poe

Tokyo, Japan

Blum & Poe is pleased to present an exhibition of video installation and photography by filmmaker Agnès Varda.

The visionary creator of La Pointe Courte (1955), Varda is celebrated as the mother of the French New Wave. Films such as Cléo from 5 to 7 (1961), Vagabond (1984), Jacquot de Nantes (1991), and The Gleaners and I (2000) have won her global critical acclaim. In 2003 she transformed, in her own words, from being an “old filmmaker to a young visual artist,” creating sculptures and installations that play with the representation of time, space, and reality.

This exhibition, the artist’s first in Tokyo, centers on Bord de Mer (2009), a video installation which portrays three distinct dimensions of time—past, permanent, and present. A still image projected onto a vertical screen reveals a view of the ocean; on a sloped platform below, moving footage shows a wave rolling and dissolving into the shoreline; finally, this platform merges with a small beach of sand at the viewer’s feet.

Agnès Varda

Bord de Mer, 2009

Digital HD projection, Blu-ray aspect 16:9 color/sound video projection, sand

Total running time: 1 minute, looped

96 x 120 x 115 inches

Also on view are seven vintage photographic prints from the 1950s and 1960s—intimate depictions of cats (a recurring motif in her work) in a variety of European street scenes. Early black & white photographs such as these were stylistic precursors to her unprecedented film works to come. Though she soon became known more in cinematic circles, photography has been deeply intertwined her filmmaking and visual art practice, as in Bord de Mer.

-- Text courtesy Blum & Poe Tokyo, Press Release


Freeing Architecture

March 30th - September 9th, 2018

Fondation Cartier pour l'Art Contemporain

Paris, France

In response to its resounding public success, the Fondation Cartier pour l’art contemporain is pleased to announce the extension of the exhibition Junya Ishigami, Freeing Architectureuntil September 9, 2018, before it travels overseas!

The extension of the exhibition, the first of this scale devoted to the Japanese architect, awarded the Golden Lion at the Venice Architecture Biennale in 2010, allows visitors to discover or rediscover his delicate, dreamlike universe through a series of large-scale models, films and drawings, documenting the different stages of his creative process.

Photo: Copyright Cartier Fondation, Junya Ishigami

Photo: Junya Ishigami speaking at Tokyo University of the Arts, June 2018

Photograph: Copyright Cartier Fondation

For the exhibition Freeing Architecture, conceived specifically for the Fondation Cartier, Ishigami re- veals twenty of his architectural projects in Asia and in Europe. These projects will be presented through a series of large-scale models, accompanied by films and drawings, which document their different stages of conception and construction. In dialogue with Jean Nouvel’s iconic building, this event is also the first large-scale solo-show that the Fondation Cartier pour l’art contemporain has devoted to an architect.

"I wish to think freely; to expand my perspective on architecture as flexibly, broadly, and subtly as possible, beyond the stereotypes of what architecture is considered to be." - Junya Ishigami

Text: Courtesy of Fondation Cartier pour l'Art Contemporain, Press Release. Photography: unless otherwise specified, courtesy of Fondation Cartier


Architecture Anomalies

May 23rd - June 30th, 2018

Nanzuka Gallery

Shibuya, Tokyo, Japan

NANZUKA is pleased to present "Architecture Anomalies," an exhibition of new works by American artist Daniel Arsham. This show marks the artist's second solo presentation with the gallery, and is one of two concurrent exhibitions held in collaboration with Galerie Perrotin Tokyo.

As suggested by the title "Architecture Anomalies," the exhibition comprises a selection of Arsham's new works based on the theme of "structures that contain phenomena which cause deviations and deflections unexplainable on grounds of scientific common sense or principles." In his solo exhibition "Moving Architecture" (VDNKh, Moscow) presented at last year's Moscow Biennale, Arsham drew attention for his large-scale sculptural installations that symbolically represent the series featured in this exhibition.

Arsham continues to seek out devices for creating unreality through constantly continuing to explore and experiment with new materials. These endeavors derive from Arsham's interest in architecture and the environment (earth science) as also observed in his activities as a co-organizer of the architectural project unit, Snarkitecture. From stairs that lead to nowhere to trees encompassing artificial structures, Arsham carefully uncovers spaces and time where one is confused, or can expect to encounter a certain sense of confusion.