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Daniel Arsham is transporting visitors to the future with “3018” at Perrotin New York. It marks his 15th show with the gallery since joining thirteen year ago. Open through October 21 is a new collection of sculptural and architectural works with a heavy focus on the concept of time and place. And this time, without color—a huge difference from his last exhibition, which was almost entirely made up of works casted in colored crystal.
In the first floor gallery there are two automobiles—the 1960s Ferrari from Ferris Bueller’s Day Off (1986) and the ultra-famous DeLorean from the 1980s Back to the Future (1985). Between them, magazines hang on the wall, thick and re-done in Arsham’s signature erosion style with protruding crystals. There is a Honeywell thermostat, a Coca-Cola bottle, and a small headline featuring his KITH buddy Ronnie Fieg. At the center of the room is a sky-high, dark pile of footballs, phones, cameras, steering wheels, and more.
“[These are] objects that I’ve been making for the last 10 years or so—everyday experience with the perspective of time—as if we could move to the future and view the objects from our own life, the way that an archaeologist might uncover objects from the past,” said Arsham on September 7, as he walked us through the gallery. “There’s a sense that either we are moving forward, or these objects have been brought back.”
Upstairs is a room full of sculptures that felt familiar, yet dark. Viewers will recognize characters like Barney and Big Bird concealed and intentionally mysterious. Outlines of the characters are seen under what appears to be draped fabric, tied and concealing the entirety of the object. The idea, he told us, came from seeing Man Ray’s artwork The Enigma of Isidore Ducasse (1920)—a sewing machine wrapped in an army blanket and tied with a string.
And along the wall, across from some enormous crystal decals, are blown up stitched patches of Bugs Bunny, Marvin the Martian, and Felix the Cat, seemingly borrowed from a jean jacket circa 1990. Each oversized image is in white, with evidence of more erosion. Above, tucked and tufted letters spell out “FUTURE,” feeling both full of promise and menace.