By Monique Jones
By Ciara LaVelle
By Jeff Weinberger
By Monique Jones
By Travis Cohen
By Liz Tracy
By Terrence McCoy
Nearby, another untitled painting shows the face of a man wearing sunglasses. He is visible only from the nose up and is surrounded by a foreboding moonscape. As a menagerie of bizarre monsters floats in the air, the figure of a young naked boy straddles the anonymous man's head, tea-bagging him with his barely suggested testicles.
"Penyo-Henyo" Pyopo is one of the artist's many bobblehead-looking sculptures on display. The piece depicts the oversize noggin of a green-haired girl on a child-size mannequin's body. The waif is clad in a white skirt and a red tank top printed with the words that's earth. She is standing on a stairlike platform painted to suggest a building in an urban setting. Under her feet are a helipad and street scenes, and on the side of the plywood edifice are images of a plane crash and a burglar breaking a window. The large-headed girl looks not unlike a Macy's Thanksgiving Day Parade balloon freed from its tether and floating over the city.
Mr.'s work luridly mines deranged notions of a comic-book nightmare, of playing violent videogames with live ammo, or of cutesy Hello Kitty debauchery in which adults feast on youthful innocence without remorse. Skewering consumerism and sexual fetishism in a postwar, Westernized Japan, he catapults viewers into a sugary world of depravity where nothing seems sacred, let alone safe.
Perrotin boasts some of the biggest names on the international scene, and these exhibits prove there's an art to letting it all hang out. It seems the dapper Frenchman has a grip on it.