View of “Naoki Sutter-Shudo,” 2018. Photo: Aurélien Mole.

View of “Naoki Sutter-Shudo,” 2018. Photo: Aurélien Mole.

Naoki Sutter-Shudo

Galerie Crèvecoeur

English is Naoki Sutter-Shudo’s third language, following French and Japanese, which may help explain why the Los Angeles–based artist’s practice in painting and sculpture evinces such sensitivity for the interstices between one language and another, for those words that do not have precise correspondences in another idiom.This appreciation of nuance also informs the title of his recent exhibition, “Mœurs,” which refers, in French, to both customs and morals. And within the etymology of mœurs a sense of measurement and rule, of moderation and modesty, reverberates.

In one of the works in the show, Sutter-Shudo evoked a morally controversial episode from French history, dating back to October 1941, when the Vichy regime decreed that statues and monuments made of copper alloys be removed from public spaces and melted down in order for the metals to be extracted. Though the selection was

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