Head in the Clouds
Johan CRETEN, Jean-Philippe DELHOMME, Jens FÄNGE, Bernard FRIZE, Laurent GRASSO, Gregor HILDEBRANDT, Izumi KATO, Klara KRISTALOVA, ob, Otani Workshop, Paola PIVI, Gabriel RICO, Aya TAKANO
2022 年 2 月 9 日 - 2022 年 3 月 19 日
+ 加入日程
Piramide Building, 1F, 6-6-9 Roppongi, Minato-ku
Tokyo Japon

Perrotin Tokyo is pleased to present Head in the Clouds, a group exhibition featuring thirteen Perrotin artists. The concept of this presentation plays with the idiom “head in the clouds”, exploring both its allusion to a dreamy state of mind, as well as the notion of being oblivious to reality or to impending danger. The expression is especially relevant in our current culture of digitisation and information overload, where we tend to walk around with our minds absorbed in a world far away, often unavailable to give our undivided attention to the full reality in front of us. Art calls us back into the here and now, to re-connect and give deeper focus and thought to our sensory experience.

ペロタン東京はこのたび、所属アーティスト13名によるグループ展「Head in the Clouds」を開催いたします。本展のコンセプトは英語の慣用句、“head in the clouds”に含まれる概念、“空想にふける精神状態”と、“現実や差し迫った危険に気付かないこと”、その両者を探求するものです。デジタル化や情報過多にさらされ、遠い世界に心を奪われたまま日常を過ごし、しばしば目の前の現実に意識を完全に向けることができない現代社会において、この慣用句は特に適切な表現でしょう。アートは私たちを、“今、ここ”へと引き戻し、より深い集中力と思考とともに、知覚的な体験を再起させます。

Exhibition views of ‘Head in the Clouds’ at Perrotin Tokyo.
Photo by Keizo Kioku. Courtesy of the Artist & Perrotin.
©Aya Takano/Kaikai Kiki Co., Ltd. All rights reserved. ©Otani Workshop/Kaikai Kiki Co., Ltd. All rights reserved. Courtesy of the artists and Perrotin.

Working with earthen materials, Paris-based artist Johan Creten is seen as a pioneer in the resurgence of ceramics in contemporary art. Working with clay since the 1980s, when the medium was still misprized in the art world, Creten creates works that convey abundance, sexuality, and a sense of the ancient and the primal. The Glory sculptures succeed Les Vagues pour Palissy — a series created as a tribute to the renaissance ceramic master Bernard Palissy, embodying triumphant images of energy, regeneration, and the cycle of life. These later developed into wall sculptures titled The Glories that evoke a sense of splendour and prosperity with their majestic gold lustre and feminine curvature, whilst invoking a sense of inner peace through their geometric perfection.

パリ在住のヨハン・クレテンも自然素材を用いた作品創りを行っており、現代美術における陶芸復活の先駆者として知られています。クレテンは、アート界においてメディウムとしての粘土がまだ過小評価されていた1980年代から活動を始め、豊かさやセクシュアリティ、古代や原始の感覚を醸し出す作品を制作しています。 立体作品《Glory》は、ルネッサンス期の陶芸の名工であるベルナール・パリッシーへのオマージュとして制作されたシリーズ《Les Vagues pour Palissy》に続くものであり、精力、復活、生命のサイクルといった、壮麗なイメージを表現しています。これらは後に、《The Glories》と名付けられた壁面立体作品へと発展し、その堂々たる金の輝きと女性的な曲線により、光輝や繁栄の感覚を呼び起こすとともに、その幾何学的な完璧さを通して、内なる平和を呼び起こすものとなりました。

Jean-Philippe Delhomme’s domestic flowers welcome the viewer to a safe and peaceful space -- a step into somebody’s place of comfort and rest. There is a loose ease about Delhomme’s touch, that perhaps comes from his spontaneous style of depicting his subjects without preliminary sketching, capturing their energies with a distinctive informality. As such, Delhomme demonstrates immense expression through his portraits and still lifes, conveying an authorly perspective which serves as the common thread throughout his practice.


Working at the intersection of the early-twentieth-century practice of collage and the ancient art of shadow play, Jens Fänge has developed a surrealistic matryoshka-like aesthetic that consists of assembling paintings within paintings. A master of eclecticism, he incorporates—so it seems—an entire hierarchy of genres into his composite works, juxtaposing iconic portraits, still lifes, domestic interiors, cityscapes, and landscapes with geometric abstractions, all of which he renders using a variety of media and materials, including oil paint, pencil, vinyl, cardboard, and fabric on panel. The contoured, often cut-out protagonists of the artist’s refined pictorial plays appear to be drifting into these overlapping stage-like layers of representations, giving rise to an intricate, seemingly endless maze of shifting perspectives, not only within each composition but also within each series as a whole.


Bernard Frize’s process-oriented abstract painting explores all the possible visual outcomes of precise protocols, which the artist conceived beforehand. These established conditions usually pertain to the use of unconventional tools and materials, the almost mechanical execution of seemingly simple gestures, and sometimes the simultaneous assistance of other painters. While they each record the peculiar dynamics of a predetermined technique, Frize’s vibrant abstractions are also arenas for chance to operate by outsourcing some of his creative power to contingency.


The Studies into the Past series by Laurent Grasso transports us into a parallel world existing at the intersection of various temporalities. Executed in a style inspired by Italian and Flemish painters of the 15th and 16th centuries, often depicting celestial phenomena rarely illustrated before the nineteenth century — eclipses, auroras borealis, meteorites — along with strange clouds of smoke, a rock hovering over a landscape, and other mysterious sights, the works constitute a major conceptual project aimed at reconstructing our perception of the reality of another era.

ローラン・グラッソによるシリーズ作品《Studies into the Past》は、いくつもの時世が交差するパラレル・ワールドへと私たちを導き入れます。これらの作品には15~16世紀のイタリアやフランドルの画家からインスピレーションを得た様式が用いられ、日食・月食、オーロラ、隕石など、19世紀以前にはほとんど描かれることのなかった天文現象や、もうもうとした不思議な煙、眺望のなかに浮遊する岩などの謎めいた光景が描かれています。このシリーズは、“異なる時代の現実”に対する私たちの認識を再構築することを試みた、 壮大でコンセプチャルなプロジェクトなのです。

Trigema Raute is part of a series of paintings made out of audio cassettes leader tape that Gregor Hildebrandt started in 2015. The work presents a combination of vertical and horizontal lines, exploring a geometrical expression of the artists’ penchant for ornament and repetitive patterns. Using the beginnings and ends of the magnetic tape enclosed in audio cassettes, these sections of tape symbolise for Hildebrandt the beginnings and ends of all things — a conceptual anchor the artist stated through the title of the very first work of this series Ich bin ein end und ein beginn (George) (I am an end and a beginning (George)) (2015).The title of the work refers to Trigema, an iconic German garment brand, whose logo's colour range corresponds to that of the work.

グレゴール・ヒルデブラントによる《Trigema Raute》は、カセットテープのリーダーテープ部分を用いたペインティング・シリーズで、2015年に始動しました。作品は垂直線と水平線の組み合わせから成り、装飾や繰り返されるパターンを好む傾向にあるヒルデブラントの、幾何学的表現の探求を示しています。ヒルデブラントはカセットテープのなかに入っている磁気テープの両端(始まりと終わり)を利用することで、あらゆるものの始まりと終わりを象徴しています。これは、シリーズ一作目のタイトルを通じて作家が提言した概念《Ich bin ein end und ein beginn (George)》[私は最後であり、最初である(ゲオルゲ)](2015年)にも通じています。また、今回展示される作品のタイトルは、ドイツの象徴的な衣料品ブランドである「Trigema」にちなんでおり、作品の色彩も同ブランドのロゴと同系色となっています。

Similarly enigmatic and captivating are the creatures of Izumi Kato. Exuding a primal, untouched, and somewhat embryonic quality, these rudimentary beings are at once otherworldly and archetypal. Working intuitively and often with locally-sourced materials such as stone and natural fabrics, Kato breeds characters with compelling spirit and commanding presence, inviting viewers to encounter themselves within these mystical beings.


The odd yet familiar world of Klara Kristalova seems to have a life of its own. Inhabited by characters who are peculiar, alone, quiet, and perhaps lost, there is a vulnerability and humanity about Kristalova’s creations that engrosses our empathy. Drawing from Nordic storytelling and traditional myths, the artist seeks to convey basic human emotions such as fear, love, sadness, and guilt, which emerge from her work like memories from our own childhoods.


ob explores the dreamy filter of the feminine psyche through the recurring motif of a wide-eyed young girl in her delicate, atmospheric paintings. Drawing inspiration from her roots in the digital age, the artist’s signature style invokes elements of manga, anime, and video games - as well as Western paintings - and features milky colours and soft edges. ob has often referred to her creations as different versions of herself and her friends, as young persons “wandering through adolescence full of uncertainty”, still unable to fully express their thoughts and dreams.

obは、その繊細で雰囲気に富んだペインティングに繰り返し登場する大きな目の少女を通して、女性心理における夢幻的なフィルター(見え方)を探求しています。デジタル世代としてのルーツからインスピレーションを得るとともに、白濁した色彩と柔らかな境界線を用いた特徴的な様式は、漫画、アニメ、ビデオゲーム、さらに西洋絵画の要素をも想起させます。obは自身の創作物について、自分や友人たちの別バージョンであると言及しており、考えや夢を充分に表現することがまだできない、 “不確実性に満ちた思春期をさまよう”若者を表現しています。

Similarly drawing on personal memories and lived experiences, Otani Workshop’s innovative works are populated by immemorial figures in which subtlety wrestles with strangeness. The faces and figures in his paintings and sculptures embody a naiveté born from unfiltered emotions and actions — a childlike quality emphasised by the simplistic formal language and childish features of his subjects. Imbued with a brazen vulnerability, these exceptionally gentle characters demand our empathy and quiet engagement.


Paola Pivi’s polar bear sculptures embody both the dream world and cold reality. Sprouting vibrant pink and white feathers, two life-sized baby polar bears sit in the middle of the gallery room hugging each other like sweet human children. The artwork title You are too cute suggests that they are intended to be taken as just that - an endearing and playful depiction of animal nature, infused with a little fantasy and colour. And while Pivi is careful not to state the intention of her pieces, the choice of motif makes it hard not to contemplate the climate crisis and the bears’ grim future.

Gabriel Rico’s work is characterised by the genesis of a dialogue between seemingly disparate objects. Combining a range of materials such as rocks, branches, neon, taxidermy, and household tools, Rico masterfully recontextualises familiar objects and materials, creating sculptures that invite viewers to reflect on the relationship between human society and the natural environment, and their respective principles.

Constructing an Elysian world unphased by the restrictions of gravity or reality, Aya Takano presents a picturesque imaginary realm in which humans are at one with the universe, conversing and living in perfect harmony with other-worldly animals and plants. Taking inspiration and example from classical literature, mythology, and folklore, Takano presents a fantastical land in which the distinction between humans, animals, plants and other beings seem to dissipate.


Exhibition views of ‘Head in the Clouds’ at Perrotin Tokyo.
Photo by Keizo Kioku. Courtesy of the Artist & Perrotin.
Exhibition views of ‘Head in the Clouds’ at Perrotin Tokyo.
©ob/Kaikai Kiki Co., Ltd. All rights reserved. ©Aya Takano/Kaikai Kiki Co., Ltd. All rights reserved. Courtesy of the artists and Perrotin.
©Otani Workshop/Kaikai Kiki Co., Ltd. All rights reserved. Courtesy of the artists and Perrotin.
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