July 28 - September 18, 2021
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Piramide Building, 1F, 6-6-9 Roppongi, Minato-ku

Perrotin gallery is pleased to announce Another Man’s Treasure, a solo exhibition by New York-based artist Genesis Belanger, marking her first show in Asia.

The exhibition’s title derives from a well-known English language idiom: “one man's trash is another man's treasure.” With this conceit at its heart, Belanger injects a cunning irony into her pop infused sculptures. The artist brings together amalgams of common objects, rendered with exaggerated forms, into a quiet dialogue with each other that speak volumes about our current cultural state.

ペロタン東京はこのたび、ニューヨークを拠点とするアーティスト、ジェネシス・ベランジャーのアジア初となる個展「Another Man’s Treasure」を開催いたします。

本展タイトルは、広く知られる英語の慣用句“one man’s trash is another man’s treasure”(誰かのゴミは、誰かの宝)に由来しています。この比喩を核に、ベランジャーはそのポップな立体作品に巧妙なアイロニーを注入します。ベランジャーはありふれたオブジェクトの形状を誇張し、それらから成る集合体を通して昨今の文化的状況を多く語る、静的な対話を創り出すのです。

View of the exhibition Genesis Belanger “Another Man’s Treasure” at Perrotin Tokyo. Photo by Pauline Shapiro. Courtesy of the artist and Perrotin.

Belanger takes the sidewalk rug (drained of color) and lays out symbolist sculptures for any treasure seeker to find: a wrench with a tooth in its clasp, a hair curler passing through a donut, and a shirt with a sandwich in its front pocket. Once precious objects, they appear to have been left behind by their former owners. Sprawled out past lives are now awaiting the opportunity to be reborn into new narratives or discarded forever. Belanger urges us to explore this decisive moment, of trash or treasure, and consequently the perception between the experiences that make us richer versus the experiences that diminish us.


When Dad Does the Shopping, a slumped ‘paper’ bag containing the spoils of a grocery trip. Dad’s attempt to provide arouses a lick of suspicion: Are those lilting flowers an apology? Is the cigar a macho symbol of celebration? And is that jug of milk a lame attempt at providing sustenance?

いっぱいに詰め込まれたゴミ袋とジャンクフードに紛れて、食料品買い出しの戦利品が入った“紙”袋、《When Dad Does the Shopping》(お父さんが買い物をしたとき)がどさっと置かれています。お父さんの試みには、若干の疑念が抱かれます――その鮮やかな花は、謝罪を意味するのでしょうか?葉巻は、祝い事を示すマッチョなシンボル?パック入り牛乳は、家族を養おうというぎこちない試み…?

Genesis Belanger, When Dad Does the Shopping (detail), 2021. Stoneware, installed: 78.7 × 53.3 × 33 cm | 31 x 21 x 13 in. Photo by Pauline Shapiro. Courtesy of the artist and Perrotin.

Another examination of masculinity can also be seen in Masculine Still Life: Past Your Prime, where clichés of male virility reach the reality of thickening torsos and waning potency. Is a popped cork a moment to celebrate, or another reason to self-medicate? In light of the exhibition's idiomatic title, Another Man’s Treasure consistently asks the viewer similar questions.

《Masculine Still Life: Past Your Prime》(マスキュリン・スティルライフ:最盛期を過ぎて)にも“男らしさ”にまつわる一考察が見られます。ここでは、男らしさに付随する古い考えが、太ましくなる胴体と低下する性的能力という現実に直面しています。弾けたコルク栓は祝福すべき瞬間か、はたまた自己治療を要する因子なのでしょうか?本展「Another Man's Treasure」は、その慣用的なタイトルの通り、こうした問いを絶えず見る者に投げかけます。

Within each of these tableaux, Belanger has crafted objects that function as pedestals (both physical and conceptual), acting as connective devices for the work on display. These liminal framing objects—boxes, trash bags, drop cloths—create a narrative device that frames groupings of Belanger’s work and underscores broader themes recurrent in the artist’s oeuvre. Here Belanger crafts them from deceptively luxurious materials that mimic their vernacular real-world counterparts. Belanger shows empathy for the discarded, the deplorable, and the unwanted.

ベランジャーは各シーンに(物理的にも概念的にも) “台座”となり、展示作品を繋ぐ装置としての機能を果たすオブジェクトを設けています。さりげない枠組みを作る箱、ゴミ袋、養生布などのオブジェクトは、各作品グループを縁取り、物語を描く装置として機能するとともに、全作品を通して反復される大きなテーマを明確に示しています。こうしたオブジェクトは、現実世界に存在する日常的な品々を真似て、一見すると豪華そうな素材を用いて制作されています。捨てられたもの、嘆かわしいもの、望まれないものに対するベランジャーのエンパシーが感じられるでしょう。

Courtesy of the artist and Perrotin.
Courtesy of the artist and Perrotin.
Courtesy of the artist and Perrotin.

Please book appointments to see the exhibition safely with Covid protocols in place through the link here. Perrotin Tokyo will be closed for summer holidays from August 8 - 16, 2021.

コロナ対策、そして皆様の安全を考慮し完全予約制となっております。2021年8月8日(祝) - 8月16日(月)の間、夏季休廊とさせていただきます。


Born in 1978 in USA
Lives and works in Brooklyn, New York, USA

Genesis Belanger’s work is characterized by the treatment of objects as surrogates for the body. Everyday objects, sculpted in stoneware, often take on human features, made uncomfortably familiar as they begin to resemble us. Working with a wide range of material such as clay, metal, and upholstery, Belanger often creates immersive installations that depict liminal spaces, such as a reception area, hotel lobby, or funeral parlor. Her signature motifs, such as manicured female hands, misplaced limbs, half eaten foods, and cigarettes inhabit these spaces, toeing the line between comfort and disquiet, the beautiful and the strange. The artist's psychologically charged scenes ultimately point to society’s progressive, yet stagnant, movement in gender stereotypes and equality as well as critique mass consumerism.

In 2021, Genesis Belanger is the subject of a solo exhibition at the Consortium in Dijon, France. In 2020, the Aldrich Contemporary Art Museum, in Ridgefield, Connecticut dedicated a solo exhibition to her work and published a catalogue on the occasion. In 2019, Belanger created an installation in the New Museum’s Storefront Window, New York.



More about the artist
List of artworks