new-york

Philippe Parreno

Salon 94

In December 2002, Philippe Parreno and Pierre Huyghe retired Annlee, the Japanese anime character they’d bought the rights to in 1999 and who’d embodied personalities, narratives, and ideas for them and a slew of other artists. Her final incarnation as a fireworks display—sad-eyed head-and-shoulders only—took place at an art fair, the perfect place for a commercially acquired icon to bid us adieu.

But it’s hard to imagine such a useful tool (or “shell,” as Annlee was called, and gloomily called herself ) disappearing completely. And because repetition with alteration is a constant in Parreno’s work, she showed up in his most recent solo show, titled “Alien Seasons,” last May. The exhibition constituted less a group of works per se than a compendium of tropes and images—filmic and graphic—that had already appeared elsewhere (sometimes considerably altered, sometimes not). “Alien Seasons”

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