Daniel Arsham

12 Jun - 26 Jul 2014

Installation view
The Future is always now
12 June - 26 July 2014

"The Future is Always Now" is the ninth solo exhibition by New Yorkartist Daniel Arsham at Galerie Perrotin, presenting a new body ofapproximately twenty artworks around the theme of music.For this exhibition, Daniel Arsham features a series of new castsbased around the world of music presenting eroded sculptures, suchas guitars, turntables, a microphone, boomboxes, a walkman andkeyboards. These instruments, damaged by the passage of time, arelike an archeology of the present. These sculptures are casted inmineral materials related to geology such as rose quartz, glacial rock,obsidian, steel or volcanic ash, resembling fossilized items, found ina futuristic archeological dig. The solo show also includes gouacheson mylar representing disused items exposed to the effect of time, acassette and eroded CD. A stage with instruments also reconstituteselements of a performance and four casted tires on the walls evoke amusic tour as if a rock band deserted in the main room of the gallery.These eroded sculptures, future relics, generate a confusion in theaudience’s mind by challenging modern assumptions about lineartime and history

On the occasion of the opening, a performance by Jonah Bokaerwill take place at 7:30pm, on 12 June at Galerie Perrotin, Paris.

From November to December 2014, The Locust Projects, in Miami,will present Daniel Arsham’s work.
Daniel Arsham was born and raised in Cleveland, Ohio in 1980. Aftergraduating from Cooper Union in 2003, he received the GelmanTrust fellowship the same year. Arsham’s work has been shown atPS1 in New York, The Museum of Contemporary Art in Miami, theMCA Chicago, Athens Biennial in Greece, The New Museum inNew York, Mills College Art Museum in Oakland, California andCarrй d’Art de Nоmes, France among others. Daniel Arsham’s artisticpractice includes several high profile collaborations with choreographerMerce Cunningham, Producer Pharrell Williams, and DesignerHedi Slimane.

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