Takashi Murakami At Gagosian Hong Kong

Takashi Murakami, The Lion of the Kingdom that Transcends Death, 2018, acrylic on canvas mounted on aluminum frame, 59 1/8 × 118 1/8 inches (150 × 300 cm) © 2018 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved / 圖片:村上隆,《超越死亡的王國獅子》,2018年,壓克力、畫布、鋁框,59 1/16 x 118 1/8 英寸(150 x 300 厘米) ©2018 村上隆/Kaikai Kiki Co., Ltd. 版權所有。
Takashi Murakami, The Lion of the Kingdom that Transcends Death, 2018, acrylic on canvas mounted on aluminum frame, 59 1/8 × 118 1/8 inches (150 × 300 cm) © 2018 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved / 圖片:村上隆,《超越死亡的王國獅子》,2018年,壓克力、畫布、鋁框,59 1/16 x 118 1/8 英寸(150 x 300 厘米) ©2018 村上隆/Kaikai Kiki Co., Ltd. 版權所有。

When I manage to snatch the tail of an idea, I must then transport a fragment of it to a completely different region of my brain . . . Once a deadline is met, that region can relax, so I graft the new idea onto that relaxed region in order to nurture and grow it. This is the process I endlessly repeat, and as such, I can never see the end of it; each day of unease is followed by another, and only for a moment when a project is complete do I get to experience a modicum of liberation. As a distant result of such a thankless, humorless repetition, interesting works get made. — Takashi Murakami

Murakami seamlessly blends commercial imagery, anime, manga, and traditional Japanese styles and subjects, revealing the themes and questions that connect past and present, East and West, technology and fantasy. His paintings, sculptures, and films are populated by repeated motifs and evolving characters of his own creation. Together with dystopian themes and contemporary references, he revitalizes narratives of transcendence in continuation of the nonconformist legacy of a group of eighteenth-century Japanese artists known as the Edo eccentrics.

Takashi Murakami was born in 1962 in Tokyo, where he lives and works.

* * * * *

當我設法抓住靈感的尾巴,我必須將零碎的構思傳送到大腦另一個截然不同的區域……及時完成工作後,這個區域就可以放鬆,於是我能將新構思轉到放鬆區,慢慢培養。這是一個不斷重複的過程,永無止盡。焦慮不安的生活日復一日,只有在完成項目後,我才能感到一絲解放。全靠這個吃力不討好、枯燥乏味的重複過程,方可完成有趣的作品。
—村上隆

村上隆將商業圖像、日本動漫、漫畫和傳統日本風格及題材完美地共冶一爐,揭示連繫古與今、東與西、科學與幻想等主題和疑問。他的畫作、雕塑及影片經常採用反覆出現的圖案和自創的特殊人物。透過結合反烏托邦主題和現代元素,村上隆探討一群在18世紀被稱為「江戶怪傑」的日本藝術家,延續他們打破規條的精神,重溫超然脫俗的主題。

村上隆於1962年生於東京,現於當地定居及工作。

TAKASHI MURAKAMI村上隆 Change the Rule! 改變規則!
Opening reception: Thursday, September 20, 6–8pm
開幕酒會:9月20日(星期四)晚間6時至8時
Exhibition Dates: September 20–November 10, 2018
2018 年 9月 20日至11月10日

Gagosian Hong Kong
7/F Pedder Building, 12 Pedder Street, Central
香港中環畢打街12號畢打行7樓

Play At Gagosian New York

© Urs Fischer
© Urs Fischer

Gagosian is presenting PLAY, conceived by Urs Fischer with choreography by Madeline Hollander.

At the intersection of sculpture, behavior, and choreography, PLAY is an arena of chance encounters where visitors are invited to interact with nine office chairs that seem to have lives of their own.

Play, a ritual older than humankind, has set rules that distinguish it from reality, but it has no clear aim or value other than itself. Instead, it is merely a feedback loop, a push/pull of energy, bound by time and place. Accordingly, the chairs seem to behave in such ways as to belie some level of predictability—only to then debunk the illusion.
The more the viewer seeks to control the chairs, the clearer it becomes that they are not pawns or pets but participants. By attempting to understand the choreography, we actually create it, enacting the very patterns that we wish to decode.

Urs Fischer was born in Zurich in 1973 and lives and works in New York.

Madeline Hollander is a New York–based artist and choreographer who works with performance and video to explore how human movement and body language negotiate their limits within everyday systems of technology, intellectual property law, and pop culture.

PLAY with choreography by Madeline Hollander
Exhibition Dates: September 6–October 13, 2018
Opening reception: Thursday, September 6, 6–8pm

Gagosian
522 West 21st Street,
New York, New York

Mike Kelley At Gagosian Beverly Hills

Mike Kelley, Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket), 2004–05, mixed media with video projections, 7 feet 6 inches × 16 feet 8 inches × 18 feet 6 inches (228.6 × 508 × 563.9 cm) © Mike Kelley Foundation for the Arts. All rights reserved/Licensed by VAGA at Artists Rights Society (ARS), New York. Photo: Fredrik Nilsen
Mike Kelley, Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket), 2004–05, mixed media with video projections, 7 feet 6 inches × 16 feet 8 inches × 18 feet 6 inches (228.6 × 508 × 563.9 cm) © Mike Kelley Foundation for the Arts. All rights reserved/Licensed by VAGA at Artists Rights Society (ARS), New York. Photo: Fredrik Nilsen

The multimedia installation Extracurricular Activity Projective Reconstruction #27 (Gospel Rocket) (2004–05) comprises an illuminated movie sign, projected videos of a gospel choir, and a huge black rocket dressed in a lengthened version of the choir’s silky yellow vestments. It is one chapter of Kelley’s ambitious project Day Is Done, an expansion of the Extracurricular Activity Projective Reconstructions: 365 video narratives based on photographs from high school yearbooks. Presented at Gagosian West 24th Street in New York in 2005, Day Is Done included twenty-five discrete yet related sculptural installations that incorporated the set pieces and props from the videos. Gospel Rocket, with its glowing sign announcing a ceremonial rocket launch, attests to Kelley’s interest in the aspects of organized social behavior that merge spectacle, science, and belief.

Two of the nineteen Lenticular works are also on view. In the late 1990s, Kelley was invited to participate in a group show at the Kunstmuseum Bonn, Germany, that would focus on the then-upcoming millennial change. The exhibition examined the ways in which people have imagined the future throughout history. Kelley turned to Superman comics, specifically the superhero’s birthplace, Kandor. Though Kandor was assumed to have been destroyed, it was actually shrunk and bottled by the villain Brainiac, then later rescued by Superman, who kept it inside a bell jar in his Fortress of Solitude. Fascinated by the tiny futuristic city, a symbol for Superman’s feelings of alienation, Kelley collected hundreds of different comic-book images of Kandor and produced large-scale glass and resin sculptures that show hybrid versions of the city, merging Bauhaus or Art Deco styles with simple boxy drawings or ambiguous scribbles. The graphically altered images of Kandor were then blown up to the same scale as the sculptures and placed in lenticular light boxes, so that the viewer’s movement could affect the appearance of the city. In Lenticular 15 (2007), the bell jar and city are visible from one angle, then disappear from another, and in Lenticular 4 (2007), Kandor can be seen from above, but then seems to vaporize beneath a warm yellow glow.

Mike Kelley was born in 1954 in Detroit, and died in 2012 in Los Angeles.

MIKE KELLEY
Exhibition Dates: September 5–28, 2018

Gagosian
456 North Camden Drive
Beverly Hills

Romuald Hazoumè At Gagosian New York

Romuald Hazoumè, Algoma, 2016, plastic and raffia, 21 5/8 × 15 3/4 × 7 7/8 inches (55 × 40 × 20 cm) © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Zarko Vijatovic
Romuald Hazoumè, Algoma, 2016, plastic and raffia, 21 5/8 × 15 3/4 × 7 7/8 inches (55 × 40 × 20 cm) © 2018 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Zarko Vijatovic

I send back to the West that which belongs to them, which is to say, the refuse of consumer society that invades us every day. — Romuald Hazoumè

Hazoumè’s art—which ranges across sculpture, photography, film, and sound—absorbs and confronts the complex realities of contemporary life in Benin and the broader ramifications of Pan-African politics. A bricoleur whose formal currency is often found in recycled materials—for example, the fifty-liter plastic bidon, or jerrycan, a local staple for the illegal purchase of cheap gasoline from Nigeria—Hazoumè uses strategies of repetition and recombination to create works of elegant potency whose effects are intensified by the wordplay of his titles.

Masks are perhaps the best-known aspect of Hazoumè’s art. In Yoruba culture, masks have long had ceremonial and symbolic importance, as the head and the face are often regarded as the locus of a person’s destiny. Highly valued by European markets, African masks became recurring motifs in the artwork of the twentieth-century European avant-gardes. Freed from ritual or sociological purpose, Hazoumè’s masks consciously adapt the signifiers of African-European exchange to contemporary realities. Composed of plastic gasoline containers and other discarded materials, the masks are freighted with subtext, bringing to mind the Beninese men and women who, unable to find legal employment, are forced to ferry contraband gasoline between Nigerian sources and their Beninese consumers in order to survive.

Each mask achieves a vivid quality of illusion as Hazoumè imbues inanimate objects with qualities that allude to a life story or history. Toupieman (2018), made of an orange plastic bottle and what could be a household cleaning brush, bears three hollowed-out openings, like two eyes and a mouth, that could signify laughter, speech, or a scream. Algoma (2016) is named after the Burmese who provided the artist with the horsehair broom that tops this mask, which pays homage to the Rohingya refugees chased out of Myanmar. The sculpture Alagbada (2018) takes its name from the Yoruba word meaning “the one wearing the dress” or “the dress holder.” The Alagbada spirit is a guide or pathfinder who signals the way with rapid movement of his dress; by showing only the Alagbada’s garment, Hazoumè evokes a presence, or being, in the same way that his masks do.

Hazoumè’s oeuvre, with its layered symbols, draws attention to the persistent consequences of corruption and subjugation throughout Africa. Immediate and arresting, his works embody the world order as an interdependent ecosystem, underscoring its interconnectedness and its asymmetry with wit and irreverence. Without providing prescriptive interpretations of the stories that he interweaves, Hazoumè’s works challenge the viewer to grapple with the assemblages on their own terms, resisting didacticism, while their dazzling precision speaks for itself.

Romuald Hazoumè was born in 1962 in Porto-Novo, Benin, and lives and works in Cotonou, Benin.

ROMUALD HAZOUMÈ
Exhibition Dates: SEPTEMBER 5 – OCTOBER 13, 2018
Opening Reception: Wednesday, September 5, 6pm – 8pm

Gagosian
821 Park Avenue
New York, NY 10021

Harmony Korine Book Signing at Gagosian Shop NYC

Harmony Korine Book Signing at Gagosian NYC
Harmony Korine Book Signing at Gagosian NYC

This is the first comprehensive monograph on the cinema, art, writing, and creative world of Korine, the boundary-breaking auteur of Kids (1995), Gummo (1997), Mister Lonely (2007), and Spring Breakers (2012).

Korine rose to prominence after penning the script for Larry Clark’s infamous Kids at the age of nineteen. In addition to the critically acclaimed cult classics he has written and directed since then, Korine’s creative practice extends to photography, drawing, and both figurative and abstract painting.

This monograph not only reflects on Korine’s work to date, but also examines his influence over the past twenty years, exploring the artist’s process and experimentation, as well as his expansive use of editing techniques. An interview by film critic Emmanuel Burdeau and an essay by curator Alicia Knock trace common themes through Korine’s films and artworks, considering the ways in which he has captured the surreal quality of contemporary life.

HARMONY KORINE: Book Signing at Gagosian Shop
When: Wednesday, September 12, 2018 from 5pm – 6pm

Gagosian
976 Madison Avenue
New York, New York 10075 USA