From now through august 13th, shanghai’s yuz museum is hosting a monumental showing of work by brooklyn-based artist KAWS. Inside the institution’s vast interior, the design of the exhibition has been conceived by new york and tuscon-based design firm aranda\lasch to accommodate both large and small scale sculptures, as well as a series of paintings. In thinking about the site — a former hangar — benjamin aranda and chris lasch sought to engage the museum’s massive scale through simple but significant architectural elements that serve to organize the artwork around them.
Working closely with KAWS and curators from the yuz museum and the modern fort worth, aranda\lasch envisioned the exhibition as a site for both monumental display and intimate worship. The main exhibition area has been conceived as a sort of temple — a space of intense focus. Within a room carved out of the main space, an ethereal sensibility is achieved through an illuminated ceiling placed above a single, large-scale sculpture titled ‘companion passing through’. Around the ‘temple’ is a room filled with wooden sculptures and a monolithic wall that displays ‘chum’.
In addition to the display of monumental sculptures, the exhibition also provides a comprehensive overview of KAWS’ multifaceted work across a range of media. Presented in the surrounding galleries — with each one offering a different aspect of KAWS’ oeuvre — are black and white pieces, his formative graffiti works, and smaller scale collectibles. ‘KAWS: where the end starts’ engages visitors through the display of numerous large-scale works and painted pieces, offering a new perspective on the artist’s practice and a powerful presentation to his chinese audience.