On view as of yesterday, Galerie Perrotin is exhibiting Japanese artist Makoto Aida’s first major exhibition in Hong Kong. The show presents some of his most well-known artwork, in addition to experimental new pieces with the loose theme of metamorphosis. There are different interpretations of the world’s changes in recent years, from politics to global warming. At the center of it all is his new sculpture “Space Tripper 1455″ (lovingly called “Comet-chan”). See more after the jump!
In Norwegian artist Per Kristian Nygård’s most recent installation, “Not Red But Green,” a lush, hilly lawn spilled out of NoPlace in Oslo. Its manicured grass resembled a scene from a well-kept park, not a gallery, effectively conflating the boundaries between indoors and outdoors. Nygård’s work is conceptual and cryptic. He describes the inspiration for “Not Red But Green” coming from a fever dream he experienced during a bout of the flu. In his vision, he discovered a lump on his body and imagined himself traversing a crater of flesh and a forest of hair. The hills in the installation came from this personal nightmare, but regardless of their backstory, they create a disorienting viewing experience that asks one to question the ways we commodify natural phenomena for human consumption.
Currently on view at David Bloch Gallery in Marrakech, Alëxone Dizac’s solo show “Banana Spleen” is a whimsical, interdisciplinary exploration of the artist’s character-driven, colorful aesthetic. The exhibition includes paintings on fabric, sculptures, an installation, and a mural. Dizac began his career as a graffiti writer in Paris in the early 1990s. Though still focused on comical, surreal animal characters, his work has evolved into many other media. The busy, psychedelic paintings in the show feature the strange adventures of Dizac’s signature anthropomorphic birds and dogs as they navigate through abstract patterns floating in space. Take a look at some highlights from “Banana Spleen” below before the show ends on November 29.
On December 13th at 80Forty gallery, Lola will debut her first major exhibition in two years, and perhaps her most personal, “The Younger”. Her new series of twenty oil paintings also includes some of her largest to date. When we visited her studio in Los Angeles this week, she described it as “something to really get lost in”. Her childish characters embark from their storybook lands into unfamiliar territory- Lola’s childhood reality. The spirit of a ‘younger’ Lola is present in images of freckled young girls playing with reimaginatings of toys like Pacman and Pez. In this new world drawn from memory, Lola tells us the story of her creative upbringing. We took a moment to discuss her exhibition while she worked.
Toronto-based artist Winnie Truong (featured on the cover of Hi-Fructose Vol. 22) began drawing unruly, prolific hair as a way to interrogate Western beauty standards. As her body of work evolved, her depictions of hair became more sculptural and intricate. Hair became the medium to test the bounds of form and line. Her latest colored pencil drawings place more emphasis on the abstract arrangements of waves and curls than on the hairstyle’s wearer. Truong’s current solo show, “Invisible/Visible” is on view at Erin Tump Projects in Toronto through December 20.
British digital artist Magnus Gjoen has an unmistakeable style that decorates macabre subjects, previously featured here. It’s jarring but also awe inspiring work that makes you look twice; images of the crucifixion, political figures, and flowery skulls that recall his hey-day at Vivienne Westwood. In recent months, Gjoen has addressed our definition of beauty using opposing symbols of war and high society.