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54 articles, 2016-03-22 00:03 1 Guerrilla Art Show Staged at Whitney's Stairwell Brooklyn-based art group Apostrophe staged a guerrilla art show at the Whitney Museum's stairwell on Friday, March 11 that ran uninterrupted for 40 minutes. 2016-03-21 11:54 4KB (2.00/3) news.artnet.com 2 Art Basel Hong Kong 2016 Preview-artnet From classic blue chip art to cutting edge contemporary, this edition of Art Basel Hong Kong offers a vast range of work by over 3,000 artists. 2016-03-21 09:30 4KB news.artnet.com (2.00/3)
3 $120 Million Design Museum Opens in London After much speculation, the new Design Museum in London will open its doors on November 24 with a newly-refurbished building on Kensington High Street. 2016-03-21 09:21 (2.00/3) 3KB news.artnet.com
4 Hours & Location VIP Opening Night Preview Party • Thursday April 14th: 4PM–7PM — (Open to all attendees) Show Hours • Thursday (TRADE ONLY DAY), April 14th: 12PM – 7PM • Friday, April 15th: 12PM – 7PM • Saturday, April 16th: 10AM... 2016-03-22 00:02 2KB artexponewyork.com 5 A Showcase of Independent Artists Education, Events & Awards A Showcase of Independent Artists offers established and emerging independent artists the opportunity to showcase their work on an international stage in NYC. Over the decades, has become the ultimate venue for independent artists to be discovered—not only by gallery owners and art publishers—but by collectors and enthusiasts... 2016-03-22 00:02 1KB artexponewyork.com 6 FOTO SOLO Booth Packages FOTO SOLO 2016 We are now accepting submissions for the inaugural! If you are a fine art photographer and are interested in exhibiting in this year’s show in April, we would love to see examples of your work. Please email our Managing Business Development Director, Rick... 2016-03-22 00:02 1KB artexponewyork.com 7 oscar oiwa draws a panoramic japanese landscape inside a giant inflated dome oscar oiwa has installed 'oiwa island 2' as part of the 2016 setouchi triennale, a large-scale work realized inside a 6-meter diameter inflatable dome. 2016-03-21 18:25 1KB www.designboom.com 8 Type Designers Q&A: Or Type Or Type is an Icelandic type foundry established in 2013 by Guðmundur Úlfarsson & Mads Freund Brunse. Postcard showcasing Landnáma, 2015 (Photography: Moos-Tang). This past summ... 2016-03-21 19:22 796Bytes blogs.walkerart.org 9 Sound Advice: Laurie Anderson Artist and innovator Laurie Anderson's upcoming show at the Fitzgerald—a copresentation of the Walker, the SPCO’s Liquid Music Series, and MPR Live Events—is called The Language of the Future,... 2016-03-21 19:22 890Bytes blogs.walkerart.org 10 Stunning Organic VFX Recreate the Big Bang The German experimental filmmaker Roman De Giuli returns with another mind-bending, short sans CGI. 2016-03-21 16:50 3KB thecreatorsproject.vice.com
11 'Cat++' Is a Visual Live-Coding Language Based on Feline Behavior Nora O' Murchú's new language makes it important to remember: whether real or virtual, cats generally respond to food. 2016-03-21 16:40 9KB thecreatorsproject.vice.com 12 prefabricated MIMA light dwelling appears to levitate above the ground prefabrication specialist MIMA has designed 'MIMA light', a modular dwelling that appears to levitate above the ground. 2016-03-21 16:30 2KB www.designboom.com 13 Gucci Dresses Bruce Wayne in ‘Batman v Superman: Dawn of Justice’ The Florentine fashion house developed a full wardrobe in collaboration with costume designer Michael Wilkinson. 2016-03-21 15:59 1KB wwd.com 14 Beyoncé and Blue Ivy Have Easter Tea Party Beyoncé, Blue Ivy and Solange had an Easter tea party over the weekend, which Beyoncé shared photos of on her Web site. 2016-03-21 15:58 1KB wwd.com 15 An Anonymous Artist's Erotic Utopia | Monday Insta Illustrator Anonymous artist Alphachanneling has drawn more naked bodies than you can count. 2016-03-21 15:55 3KB thecreatorsproject.vice.com 16 Now You Can Sketch Musical Ideas on Interactive Sheet Music Software developer Alexei Baboulevitch’s calls his Composer’s Sketchpad app a “living staff paper.” 2016-03-21 15:50 2KB thecreatorsproject.vice.com 17 State Changes: Marvin Lin on Vicky Chow and Tristan Perich’s 1-Bit World For Sound Horizon 2016, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part p... 2016-03-21 17:40 967Bytes blogs.walkerart.org 18 Cindy Sherman, Diane Arbus and More Get Recreated in Play-Doh UK artist Eleanor Macnair’s Play-Doh history of photography ensures you’ll never see these classic images the same way again. 2016-03-21 15:35 1KB thecreatorsproject.vice.com 19 Vogue Italia to Host Fashion Event in Saudi Arabia The women’s only event is to spotlight female designers. 2016-03-21 15:19 1KB wwd.com 20 Kubrick's 'Dr. Strangelove' Meets Immersive Theater in London Or: "How I learned to stop worrying and love the Secret Cinema. " 2016-03-21 14:50 5KB thecreatorsproject.vice.com 21 First Lady Michelle Obama and Carolina Herrera Share a Little History Carolina Herrera was First Lady Michelle Obama’s designer of choice for her Havana arrival. 2016-03-21 14:36 2KB wwd.com 22 Studio Ghibli's Animation Software Is Now Free Are you the next Hayao Miyazaki? Now you'll have the tools to find out. 2016-03-21 14:25 3KB thecreatorsproject.vice.com
23 Director Danny Perez on Fever-Dream Feature Film 'Antibirth' [Interview] Starring Natasha Lyonne and Chloë Sevigny, ‘Antibirth’ clashes drug, art, and horror culture. 2016-03-21 14:15 4KB thecreatorsproject.vice.com 24 Follow a Time-Traveling Ape Down a Wormhole (via Music Video) Tokyo-based animator densuke28’s video for Your Gay Thoughts will bend your mind. 2016-03-21 13:50 2KB thecreatorsproject.vice.com 25 flathouse's nami dwelling built for an elderly couple in tokyo flathouse designed this dwelling with no windows on the façade, while the rooms are characterized by a rhythmic and wave-shaped ceiling. 2016-03-21 13:20 2KB www.designboom.com 26 Kanye Kissing Kanye: Last Week in Art In better news, Art Dubai was young, successful, and female. 2016-03-21 13:05 4KB thecreatorsproject.vice.com 27 bo reudler sketches an outdoor furniture and lighting collection for JSPR each furniture piece seems as if it has been spontaneously drawn on the spot, offering an expression of loose lines. 2016-03-21 12:50 1KB www.designboom.com 28 Trevor Paglen and Jacob Appelbaum This conversation appears in BOMB 135. Get your copy today... 2016-03-21 12:11 26KB bombmagazine.org 29 Nora Ephron and the Cost of Her Mantra, “Everything is Copy” Jacob Bernstein focuses on his mother's life in the fascinating HBO documentary "Everything is Copy," which airs March 21. 2016-03-21 12:21 7KB www.blouinartinfo.com 30 From Impersonation to Celebration: Penelope Freeh on The Ghost of Montpellier Meets the Samurai To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and op... 2016-03-21 13:23 1020Bytes blogs.walkerart.org 31 david shatz's melina transforms from backpack into sleeping tent in one quick action ‘melina’ aims to combine both —the sack and the sleeping area— and to create a sense of safety and confidence when sleeping in public space, an action considered as insecure. 2016-03-21 12:15 2KB www.designboom.com 32 Tracey Emin's First Chinese Solo Show Tracey Emin's new show showcases the breadth of her artistic practice. And her trademark oddball undercurrents. 2016-03-21 12:12 2KB news.artnet.com 33 Dan Finsel and Mariah Garnett Named Winners of the 2016 Los Angeles Artadia Awards Mariah Garnett, Still from Encounters I May or May Not Have Had with Peter Berlin,2012. COURTESY THE HAMMER MUSEUM Artadia has announced their selection of 2016-03-21 11:55 2KB www.artnews.com 34 AL_A to reimagine galeries lafayette department store in paris the british practice has won the competition to transform the iconic cupola building within the world famous institution with construction to begin in 2017. 2016-03-21 11:36 1KB www.designboom.com
35 2016 Asia Arts Award Winners Announced Last night, Cai Guo-Qiang, Nalini Malani and Yoshitomo Nara were named Asia Arts Game Changers at an awards gala in Hong Kong that opened Art Basel Hong Kong for 2016. 2016-03-21 11:34 2KB www.blouinartinfo.com 36 On Twitter’s 10th Birthday, 10 of the Platform’s Most Significant Tweets On Twitter's 10th birthday, here are 10 of the tweets that helped make Twitter what is today...for better or worse. 2016-03-21 11:34 6KB realart.com 37 design museum dharavi exhibits creative work of local makers design museum dharavi is a platform for local makers to exhibit their products, so they can be seen by their community and, in turn, the rest of the world. 2016-03-21 11:30 8KB www.designboom.com 38 Hepworth Wakefield Names Shortlisted Artists for U. K. Museum’s Sculpture Prize Hepworth Wakefield. TONY GRIST/VIA WIKIMEDIA COMMONS The Hepworth Wakefield announced the shortlisted artists for its Hepworth Prize for Sculpture today. 2016-03-21 11:01 2KB www.artnews.com 39 Sotheby's Offers Warhol Shoe Portfolio Sotheby's London will auction a 1955 portfolio of lithographs of shoes by Andy Warhol. 2016-03-21 10:56 2KB news.artnet.com 40 See The Most Luxurious Artisanal Watches at Baselworld At Baselworld, the world's leading fair for luxury watches in Basel, exhibitors including Blancpain and Claret unveiled limited edition artisanal pieces. 2016-03-21 10:54 5KB news.artnet.com 41 blitz hides completes malwarebytes' california HQ blitz architecture + interiors has completed the new california headquarters of internet security company malwarebytes in santa clara. 2016-03-21 10:45 2KB www.designboom.com 42 9 Art Events to Attend in New York City This Week A guide to the next seven days 2016-03-21 10:37 8KB www.artnews.com 43 Prado Hall of Realms Redesign Competition The Hall of Realms, or Salón de Reinos, a 17th-century palace that recently became part of the Prado, gets redesigned through an architecture competition. 2016-03-21 10:36 2KB news.artnet.com 44 Even Sean O'Neal Finds it Hard To Be an Artist— Even Sean O'Neal, son of Tatum O'Neal and Sean McEnroe, had to resort to GoFundMe to support a museum show, but apparently the show didn't exist. 2016-03-21 10:06 2KB news.artnet.com 45 School of Thought: Amsterdam School Furniture Exhibition at Stedelijk Assembled under the careful supervision of Ingeborg de Roode, curator in the Industrial Design section of the Museum, the exhibition aims to give international recognition to the interior designers of the Amsterdam School to match that accorded to its architects. 2016-03-21 10:00 2KB www.blouinartinfo.com
46 Raoul de Keyser’s “Gentle Fight” at David Zwirner Gallery “Gentle fights” is how the architect Paul Robreccht described the working methods of his friend, the late Belgian painter Raoul de Keyser. 2016-03-21 09:56 3KB www.blouinartinfo.com 47 The Art of Wang Guangle’s “Yellow” at Pace Gallery in London “Yellow” at Pace Gallery in London is the first solo exhibition of work by Chinese painter Wang Guangle in Europe. Interview with artist. 2016-03-21 08:58 9KB www.blouinartinfo.com 48 Morning Links: Shukhov Tower Edition Must-read stories from around the art world 2016-03-21 08:58 1KB www.artnews.com
49 Liang Manqi Plays With Perspective at Contemporary by Angela Li Following her installation for the gallery at 2015’s Art Central Hong Kong, Liang Manqi will debut new work at Contemporary by Angela Li’s Hollywood Road home. 2016-03-21 08:15 2KB www.blouinartinfo.com 50 'El Sexto' Arrested Ahead of Obama Cuban Visit Cuban dissident artist Danilo "El Sexto" Maldonado and 50 members of the Ladies in White were detained in Havana, on the eve of President Obama's visit. 2016-03-21 07:06 3KB news.artnet.com 51 An Indian On America's View of Indians– Read THE DAILY PIC on Zig Jackson at the Portland Art museum: He turns the tables on the tourists who shoot native people. 2016-03-21 06:00 1KB news.artnet.com 52 10 Blockbuster Shows In Europe This Spring To celebrate the beginning of spring, here is your guide to exhibitions you'll want to see all around Europe this season. 2016-03-21 05:56 7KB news.artnet.com 53 mecanoo completes last renovation of villa 4.0 in the netherlands with minimal work to the floor plan, mecanoo renovates a house previously added upon various times to reintroduce the interior to the exterior. 2016-03-21 02:30 2KB www.designboom.com 54 [VIDEO] The Age of Tolstoy and Tchaikovsky Relived Through Portraits at the National Portrait Gallery, London The Age of Tolstoy and Tchaikovsky Relived Through Portraits at the National Portrait Gallery 2016-03-21 02:03 2KB www.blouinartinfo.com Articles
54 articles, 2016-03-22 00:03
1 Guerrilla Art Show Staged at Whitney's Stairwell (2.00/3) Unorthodox spaces are seductive grounds for Sei and Ki Smith. The brothers have been tinkering with pop-up shows in New York City subways since they founded Apostrophe art group back in 2012. But on a recent Friday, amidst the reliable pandemonium of pay-as-you-wish night, the brothers installed a guerrilla art show in the Whitney Museum of American Art 's stairwell. And there it stayed for 40 minutes. "It was a way to play with the architecture of the site," Ki Smith told artnet News in a phone conversation, "which I feel sometimes overshadows the programming itself. " On Friday, March 11, the brothers, along with the 12 painters that comprise their ongoing guerrilla group called Base 12, installed the paintings against the glass panels overlooking the Hudson River. According to Smith, the process took all of one minute, since they used suction cups equipped with hooks to mount the works. They clarify that the unauthorized show wasn't a protest of the institution. "The way we're hanging these shows is avoiding vandalism laws," Smith explained. "I've read these laws quite carefully, and there are things you can and cannot do, and there are a lot of gray areas. " Instead, their focus—albeit soaked in mischief—is driven by a commendable objective. "I think these shows are really important to put the excitement back in viewing the art," Smith said. "People are so accustomed to these stale galleries with free, cheap wine—and this is putting the focus back on the art. It's saying wait, we're making something here. " One spectator, Smith recounted with amusement, could not comprehend the idea of the unauthorized show. After Smith explained the nature of the intervention, she brushed it off and said "the Whitney did it. " "It's just exploring different sites, contexts, and receptions, and exploring the viewers since the viewers are what activated the sites," Smith explained. "And they were having these real, normal, classic museum interactions with the paintings. " Once security caught wind, the various artists took their pieces and exited. The brothers, on the other hand, were caught red-handed with two paintings. Smith said that museum authorities considered opening a case against them, but ultimately decided to let the brothers leave—with a lifetime ban. For what it's worth, Apostrophe's ventures are labors of love. Smith disclosed that their projects are generally self-funded (supplemented by the occasional dumpster dive). But a precedent of financial self-reliance might be subject to change. In addition to organizing fundraisers and music events for income, the duo was recently commissioned by Coney Island to work on a number of murals in Luna Park. They also aren't complaining about surprise sponsors like Tokyo-based designers CRUCE & Co. which recently offered up a line of apparel featuring their designs. Given their ambitious plans, the brothers will need all the monetary help they can get. Smith said that he and his brother intend to fly their artists out for shows in Istanbul, Barcelona, and London sometime down the line. Until then, the group is undeterred by the ban, saying they plan no less than two more guerrilla pop-ups in museums, three shows in New York City's subways, and another three shows in parks. "Painting is not dead," Smith said. "Painting has been here for thousands of years and we'll be here for thousands of years, but the way you showcase it can be contemporary. " Follow artnet News on Facebook. 2016-03-21 11:54 Rain Embuscado
2 Art Basel Hong Kong 2016 Preview-artnet (2.00/3) With New York's Armory Week barely out of the rearview mirror , the art world is gearing up for another major fair and its host of related events— albeit on the other side of the globe. Art Basel in Hong Kong , the latest fair behemoth on the global circuit, opens this week, running from March 24-26 at the Hong Kong Convention and Exhibition Centre. Now in just its fourth year, the fair has quickly become a premier event for collectors and dealers alike. Roughly half of the galleries are from Asia and the Asia-Pacific region, with the locale simultaneously offering a platform for dealers around the world to showcase their art in Hong Kong. Simultaneously there are hundreds of cultural events across the city throughout the week. This year, there are 187 dealers exhibiting in the main "Galleries" section. The vibrant lineup of special sections also includes "Insights" which will show projects by galleries in the Asia and Asia Pacific region, representing a wide range of artists, from Turkey to New Zealand, the Middle East, and the Indian subcontinent. "Discoveries" represents a platform for emerging contemporary artists, while "Encounters" will present large scale sculptures and ambitious installation works. Here are some highlights to look out for if you make the trip to Hong Kong, or just if you're observing from afar: Galeria Nara Roesler, which operates in Rio de Janiero, and Sao Paulo as well as New York, is bringing works by Isaac Julien, Julio Le Parc, and Berlin-based Brazilian painter Cristina Canale. In a statement the gallery said it is looking forward to presenting a new piece by Julien especially produced especially for the fair, a single channel work titled Stones Against Diamonds. London-based Lisson Gallery has presentations by a number of gallery artists in its main booth, including big names Ryan Gander, Anish Kapoor , Tatsuo Miyajima, and Julian Opie. Works in other sectors of the fair include a major installation by Nathalie Djurberg and Hans Berg, A Thief Caught in the Act, in the "Encounters" section, which promises colorful birds caught in the beam of a spotlight as they attempt to steal pills. In the "Film" sector, Lisson will show John Akomfrah's 2012 film Peripeteia , "a mediation on appearances and disappearances , tracing early African life and movement in Europe. " Mazzoleni gallery, of London and Torino, is returning to Art Basel in Hong Kong for the third time. The planned show, "Beyond Painting," will survey works by some of the most important Italian artists of the postwar period, including Alberto Burri, Lucio Fontana , and Piero Manzoni. As part of the "Discoveries" section, Lower East Side gallery 11R is showing work by artist Evan Nesbit. Also in the "Discoveries" section, Los Angeles gallery Francois Ghebaly plans to show this work by Romanian artist Marius Bercea, among other artists. The sector is "a great platform for the presentation of work from emerging contemporary artists," associate director Heber Rodriguez told artnet News via email. "The energy, and creativity that abounds in this part of the fair really does make it one of the most exciting places to discover new art, and it was definitely the correct venue to debut a new body of work by Marius Bercea. " Sean Kelly Gallery will present work by Los Carpinteros, Hugo McCloud, and Sun Xun. Also in the gallery's main booth will be the presentation of The Lovers by Marina Abramović, a body of work she created after walking the Great Wall of China in 1988. Galerie Thaddaeus Ropac , Paris, and Salzberg, will be showing work by more than a dozen artists including: Jorg Baselitz, Marc Brandenburg, Lee Bul, Tony Cragg , Gilbert & George, Adrian Ghenie , Alex Katz , Robert Longo , Yasumasa Morimura, Yan Pei-Ming, Jack Pierson, Robert Rauschenberg , Raqib Shaw, and Not Vital. Swiss powerhouse Galerie Gmurzynska is bringing a selection of classic blue chip art including works by Francis Bacon , Rudolf Bauer, Fernando Botero , Wifredo Lam , and Picasso. Michael Werner, with galleries in New York and London, will be bringing work by Aaron Curry (above), Georg Baselitz , and Allen Jones. Paul Kasmin Gallery will show works by artists including Nyoman Masriadi, Max Ernst , Simon Hantai, Robert Indiana , and Robert Motherwell. We're looking forward particularly to the Constantin Brancusi's classic, Le Coq. Follow artnet News on Facebook . 2016-03-21 09:30 Eileen Kinsella
3 $120 Million Design Museum Opens in London (2.00/3) After much speculation, the new Design Museum in London announced on Friday that it will open its doors on November 24 as it makes a bid to do for design what the Tate Modern has done for contemporary art. The £83 million (about $120 million) redesign of the 1960s Commonwealth Insitute building on Kensington High Street sees the museum move from the old banana warehouse in the historic dock area of Wapping, on the banks of the river Thames, to Kensington, where it joins internationally renowned London museums such as the V&A, the Science Museum and the Natural History Museum. “This move will redefine the Design Museum as the most inspiring, exciting and engaging contemporary design and architecture museum in the world," said Deyan Sudjic, director of the Design Museum in a statement. “Design is the way to ask questions about what technology is doing to us, to explore how the world will look and work as well as to define new aesthetic approaches. The museum will have a challenging programme that encourages new work and new thinking, and the touring, digital and publications programme will take the message around the world," he added, also pledging support for young, emerging designers. The new 10,000 sqm museum space with a target of 650,000 visitors a year will open with its collection “Designer Maker User" which includes the Vespa Clubman by Piaggi, Shepard Fairey 's Obama Progress posters, and the first laptop computer the GRiD “Compass" by Bill Moggridge, and will be free of charge. The museum will also open with "Fear and Love: Reactions to a Complex World" for which there will be an entry charge. The John Pawson remodelled interior will include the Swarovski Foundation Centre for Learning, Bakala Auditorium, Sackler Library and Archive, and a Designers in Residence Studio, which will open with a showcase of the work of the 2016 Designers in Residence and a café. There will also be a six-meter display of common household objects at the entrance of the museum which will be selected by the public via the Design Museum 's website, marking the historic development in the history of the museum. "If you forced me to pick the single most rewarding achievement in my long design career then I would not hesitate to say founding the Design Museum in London," said design legend and museum founder Terance Conran. "It was a hugely important moment for design in the UK at the time and for me personally. Since 1989 the museum has always led the way and been the first to show some of the work and inspirations of many of the most important designers and architects on the planet. " Follow artnet News on Facebook. 2016-03-21 09:21 Amah-Rose
4 Hours & Location At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. 2016-03-22 00:02 artexponewyork.com
5 A Showcase of Independent Artists Education, Events & Awards [FOTO SOLO] offers established and emerging independent artists the opportunity to showcase their work on an international stage in NYC. Over the decades, [SOLO] has become the ultimate venue for independent artists to be discovered—not only by gallery owners and art publishers—but by collectors and enthusiasts in search of exciting new works. Artexpo New York’s Topics & Trends Education Program adds the expertise of [FOTO SOLO]’s industry partners Digital Photo Pro and Outdoor Photographer to the slate of programs, making the four days of seminars a must for artists and photographers wanting to get expert perspectives on subjects ranging from art and the economy, small business management, art marketing, to social media for artists and more. In addition, at each show, prestigious awards are given to artists with exceptionally innovative works. 2016-03-22 00:02 artexponewyork.com
6 FOTO SOLO Booth Packages We are now accepting submissions for the inaugural [FOTO SOLO]! If you are a fine art photographer and are interested in exhibiting in this year’s show in April, we would love to see examples of your work. Please email our Managing Business Development Director, Rick Barnett, at [email protected] and send two or three images of your work or a website link to your portfolio of artwork you would be exhibiting at the show. Now accepting applications. Deadline is April 3, 2016. Get yours in early to insure early jurying and best placement! 2016-03-22 00:02 artexponewyork.com
7 oscar oiwa draws a panoramic japanese landscape inside a giant inflated dome inside a former soy sauce warehouse on the japanese island of shodoshima, artist oscar oiwa has installed ‘oiwa island 2′ as part of the 2016 setouchi triennale. the large-scale work has been realized inside the spherical chamber of a 6- meter diameter inflatable vinyl dome. the brazilian-born japanese artist has intricately illustrated the interior walls of an all- white bubble, surrounding visitors in a labyrinth of monochromatic graphics and motifs drawn in black permanent marker. unfolding in a 360 degree panorama, the interior depicts the picturesque setouchi landscape, recognized by lush vegetation, water and a mountainous backdrop. a drawing of a humble house is placed in the setting, the door of which becomes the portal through which visitors can enter the dome. originally realized for the 2013 edition of the triennale, ‘oiwa island 2′ now includes a new section of drawing made specifically for this installation. a 360 degree panorama unfolds across the inside of the dome the door of an illustrated house becomes the portal through which visitors can enter the dome visitors are surrounded by a labyrinth of monochromatic graphics and motifs drawings have been rendered in black permanent marker illustrations of lush vegetation, water and a mountainous backdrop are drawn inside the dome 2016-03-21 18:25 Nina Azzarello
8 Type Designers Q&A: Or Type Or Type is an Icelandic type foundry established in 2013 by Guðmundur Úlfarsson & Mads Freund Brunse. Postcard showcasing Landnáma, 2015 (Photography: Moos-Tang). This past summer, a number of us here in the Design Department first encountered Or Type’s website (developed by Owen Hoskins). In addition to the fresh selection of typefaces, we […] 2016-03-21 19:22 By
9 Sound Advice: Laurie Anderson Artist and innovator Laurie Anderson’s upcoming show at the Fitzgerald—a copresentation of the Walker, the SPCO’s Liquid Music Series, and MPR Live Events—is called The Language of the Future, a name initially employed by a track on her 1984 album United States Live. Thirty years on, as the track’s ominous forecast of the digital age rings true, Anderson has continued to […] 2016-03-21 19:22 By
10 Stunning Organic VFX Recreate the Big Bang Images courtesy the artist With STREAM: Explore The Unseen , German filmmaker and photographer Roman De Giuli made a tiny universe by filming ink, oil, and water interacting on a glass plate using macro cinematography. The positive feedback overwhelmed De Giuli, but also motivated him to use experimental cinematography to tackle something bigger—the Big Bang. The filmmaker’s latest 4K video, SINGULARITY , explores the birth of the universe using lights, fluids, powders, and surfaces. To simulate the singularity and the subsequent formation of matter, gas clouds, galaxies, and planets, De Giuli applied an assortment of inks, fluids, and light to a tiny crystal ball. That process may sound funny, but the roundness leads to some absolutely eye-popping liquid motion that would certainly impress 2001: A Space Odyssey 's VFX wizard, Douglas Trumbull. The fluids, illuminated by various hues of light, flow like gases, ripple like water being blown by wind, and in various other ways, texturally mutate. “ SINGULARITY is a good example for the production process you have to go through when aiming for expressive organic visuals,” De Giuli explains. “I learned a lot during the making of STREAM and my second project took (more or less) the same way. It was an extensive series of experiments with lights, fluids, powders and surfaces. I always want to create images with the ‘never-seen-before-effect’ and a high narrative potential. And I found out quickly that up to 99% of my footage is wastage. It’s nice, it’s sharp, it’s beautiful—but it won’t create meaning to my story.” To give SINGULARITY a narrative, De Giuli looked to the mind-bending black hole and wormhole visual effects in Christopher Nolan’s Interstellar. He wanted to combat the notion that macro shorts are non-narrative montages of “pleasing footage” driven by an innovative moment and strong sound design. “The term non-narrative is pretty destructive as it disregards the fact that narration is deeply connected to perception,” De Giuli says. “The freedom of interpretation and association makes us adopt anything as narrative which creates meaning to us. Basically, anything has the potential to be narrative, even a blank canvas.” De Giuli says that it’s tricky to maintain an abstract narrative when it’s based on visual illusion. The rules of visual storytelling, especially continuity, cannot be broken. If the color profile shifts, even slightly, or if a bad edit is made, De Guili says that it can break the macro narrative illusion, which is easier to establish than to maintain. “Take a small crystal ball and cover it with blue ink and many people might think of a planet. Pretty simple, right?” De Giuli muses. “[But] if one identifies just one single drop of ink or a tiny fluff as what it really is, your story completely breaks. There is the rub. And just as a side note: sound is at least as important as video. It is the only way to bring your pictures to life and to provide them with plasticity and dimension.” SINGULARITY from Roman De Giuli on Vimeo . Click here to read more about Roman De Giuli’s work on SINGULARITY. Related: Explore a Terraformed Micro World in ‘Ecosynthesis’ Suspended Liquids Become Cosmic Landscapes in Susie Sie's New Video Bask In The Eerie Simplicity Of Microscopic Worlds With 'Confluence' 2016-03-21 16:50 DJ Pangburn
11 'Cat++' Is a Visual Live-Coding Language Based on Feline Behavior GIFs courtesy of the artist Irish new media art curator, designer and academic Nora O’ Murchú ’s love for cats isn't just about cuddling, interacting with, or even petting them: recently, she decided to develop Cat++ (download the source code via GitHub ), a meow-esque visual live coding language based on our favorite domestic animals’ behavior. Created within a residency at Access Space in Sheffield, UK, the Processing-developed Cat++ is a one-of-a-kind “cat simulator” that alternates classic but cute cat interactions with random, uncontrollable, and hysterical moments that are translated through a series of 8-bit-esque animations. With Cat++, O’ Murchú defines real cat characteristics and behaviors and assigns different dynamic visuals to user input. She also invites users to add cats into the open-source platform and to generate different scenarios as the cats interact with one another. Thus, she merges cat logic with social interaction, algorithms, and creative coding. The results are real-time-generated visuals that highlight something seriously important: whether real or virtual, cats generally respond to food. To learn more about the code experiment, The Creators Project asked O’ Murchú a few questions via email. The Creators Project: Hey Nora, what’s up? Can you talk to us about your relationship with cats and why you like them so much?
Nora O’ Murchú: (ΦωΦ ♡ ₍ ̣ʷ̫̣ ̣ ₎ (=ↀωↀ=)✧ (= ´=) ((Φ◇Φ)‡ ~(=^‥^)/ (*ΦωΦ*) ̑ ̫ ( ͒• ͒ • ͒) ₍˄·͈ ·͈˄₎◞ ̑ ( ͒• ɪ • ͒) nya ̳•͒ ˑ• ̳͒ 0( =^ _ ^)= You recently had a creative residency to develop a project that merged your interest for cats with your coding practice, which is at the same time super interesting and requires explanation. Can you tell us about the genesis of Cat++ and what brought you to such a project? Last November Alex McLean invited me to participate in the Sonic Pattern residency at Access Space alongside Sean Cotterill , Toni Buckby , and Magdalena Halay. It was pretty informal: the idea was to bring together various people exploring the relationships between patterns in sound, textile and code, and see what happens. We spent two days having discussions and making projects, and at the end of the residency we had a public event where we did a collaborative performance together. Regarding the residency, how did your idea came about and what was your workflow while you were there? At the beginning of the residency, myself and Alex spoke a little about live coding. I was interested in live coding visuals, and Alex showed me a few platforms, including Livecodelab , which I experimented with to try understand how it might feel from a simultaneous perspective of both using and viewing. I hadn’t come to the residency with a definite plan, but after this, I decided to do something visual. Alex encouraged me to design/code my own programming language, which is not something I had thought of before. So I began to think about what other conceptual models code could be based on, which obviously led me to cats. So I built a little framework: first I planned the overall behavior of the cats, how you would interact with them, and what actions would needed to be supported. I worked on the animations, and Alex helped me with the first iteration of the coding. Can you give us some details about the code that you created? How was the creative process? The code was developed in processing, and is supported with 3 libraries including mesh , controlP5 , and gifAnimation. The controlP5 library lets you input text, which we modified to support programming of the Processing sketch on the fly. This allows you to draw in the renderer without having to stop and run the sketch—so that you can “live code” visuals. All the animations were made in Photoshop, and the frame rate is controlled using the gifAnimation library. The mesh library is used to control where the cats are rendered on the screen. Conceptually, I wanted to base the logic and interactions in the sketch on how cats behave IRL. I gave the cats a certain amount of autonomy and sometimes you have no control over how they behave. The generally respond to food though. Altogether Cat++ feels like a cross between live coding and a video game—for me, at least. I’ve released just a basic framework on Github with a few functions to support feeding and petting the cats. There are also random events that happen (for example: mice appear) that have various effects on the cats. In the future, I plan on developing the code further, but I’ve left it online for anyone to use/contribute/edit. I imagine that a cat behavior-based visual language is more than a recreational creative-coding experimentat. Can you talk about the sociological/philosophical idea behind this project? There are a lot of reasons for coding your own language. Code can sometimes be a medium for expression that is most suitable for what you want to express conceptually. Like any other tool or medium, it has qualities that, when interacting with it, afford new capabilities that we might not have previously had. It also allows us to develop new uses for code that are more suited to our own concerns or the domains that we are working/living in. Developing new uses for code as a medium for aesthetic or political expression allows for the dissemination and development of new understandings of the use and influence of code beyond technical domains. We live at a time where participating online means that algorithms track and predict our behaviors and our activities; clicks and likes are converted and stored in databases. This has a lot of implications—social, political, economical—and I'm not sure that we really fully understand as a society the full implications of this. There are some great artists exploring and engaging with these concerns. For example, Erica Scourti in her work explores personal and collective communication and is continually trying to make sense of visual culture dominated by sharing online. She creates intriguing provocations about the storage of data, automation, algorithms and what they mean for us as we participate in socio-technical infrastructures. Her latest project Dark Archives , which was commissioned by the Het Nieuwe Instituut in Rotterdam speculates on algorithmic automation and the consequence for online memories. I'm also a huge fan of SFPC , an artist-led school in New York that is exploring artistic interventions with code, design and theory. They place an equal emphasis on research and practice, and offer space for people to learn, and think critically about technology. I think it's one of the most interesting places to look at right now, and I appreciate their leanings toward technology as a means to an end for exploring important issues, rather than then the uncritical demonstration and demoing of tools that we've seen a lot of digital art fall into. Like many others in the field, these people are moving the discussion about technology into new domains and lowering the barriers both conceptually and technically to create new conversations and perspectives on a world that is ever-increasing digital. What’s next for you? Any ongoing projects? I’m working on two curatorial projects, one of which will be released later this year in Ireland. The first is a festival, Cut/Make/Do, that is exploring bottom-up approaches to fashion production and consumption. It will explore alternatives to fashion making including emerging ethical and computational approaches. The second project is an exhibition that examines the attention economy as the global industrialization of perception that informs how we socially interact online while simultaneously sustaining a hierarchical global society. This exhibition is the culmination of two years of research of the consequence of globalization online. Nora O' Murchú is a designer and curator whose practice examines the networked conditions that make up public social and civic infrastructures. Her work embraces narratives and fictions that result in wearable objects, exhibitions, and interventions. She is currently a lecturer and researcher at the University of Limerick in Ireland, where she is course director for the Digital Media Design program. Click here to follow Nora O’ Murchú on Twitter and here to download Cat++ on GitHub. Related: Here's Everything Awesome About the New Processing Software Turns Your Trackpad Gestures into Painterly Brushstrokes 8 Killer Media Artists Join Forces for 'The New Black' Art Show 2016-03-21 16:40 Benoit Palop
12 prefabricated MIMA light dwelling appears to levitate above the ground prefabricated MIMA light dwelling appears to levitate above the ground all images by josé campos prefabrication specialist MIMA has designed a modular dwelling that appears to levitate above the ground. named ‘MIMA light’, the product is the latest in a series of modular homes conceived by the portuguese company. the base of the scheme is lined with mirrors, an architectural gesture influenced by the minimalist sculpture of artists such as donald judd, john mccracken and robert morris. the rational external design is complemented with comfortable interiors — clad with pinewood and featuring chrome details. the dwelling is intended to be simpler to assemble than any previous MIMA product each unit contains cooking and living spaces, sleeping accommodation, and bathroom facilities. glass façades allow better ventilation and air circulation, while electricity is located in a centrally positioned core wall, and is distributed laterally. to heat water, there is the possibility of installing an electric boiler connected to solar panels. for extremely warm locations, MIMA recommends using thicker glazing with high UV values. air conditioning could also be installed, as can radiant floors for more ‘traditional’ heating. the entire home is manufactured in a warehouse before being transported to site. intended to be simpler to assemble than any previous MIMA product, the house is available in two sizes: ‘MIMA light’ and ‘MIMA light plus’, measuring 9 meters and 12 meters in length respectively. designed for market sectors that cover tourism, temporary homes, and vacation homes, the dwelling can be distributed to all countries located in the european union. glass façades allow better ventilation and air circulation the modular dwelling appears to levitate above the ground the entire home is manufactured in a warehouse before being transported to site chrome details are found throughout the design one end of the unit is completely glazed each module contains cooking and living spaces, sleeping accommodation, and bathroom facilities the house is available in two sizes: 9 meters and 12 meters in length 2016-03-21 16:30 Philip Stevens
13 13 Gucci Dresses Bruce Wayne in ‘Batman v Superman: Dawn of Justice’ More Articles By Bruce Wayne has never been so dapper. The protagonist of Zack Snyder’s much-anticipated movie “Batman v Superman: Dawn of Justice” will wear Gucci head to toe. The Florentine fashion house collaborated with the film’s costume designer, Michael Wilkinson, to create the clothes and accessories worn by the Gotham City billionaire, played by Ben Affleck. The wardrobe includes suits, shirts, coats, leather jackets, silk accessories, footwear, belts, and sunglasses, as well as cuff links and collar and tie bars personalized with Wayne’s initials. This isn’t the first time Gucci has teamed with Wilkinson. The fashion house and the costume designer previously worked together on “American Hustle.” “Batman v Supersman: Dawn of Justice” will hit theaters Friday. 2016-03-21 15:59 Alessandra Turra
14 Beyoncé and Blue Ivy Have Easter Tea Party The celebrity Easter countdown is on. Over the weekend, Beyoncé had an early Easter tea party celebration with her daughter, Blue Ivy, which she documented on her Web site, beyonce.com. The photos, posted in the site’s category “My Life,” show four-year-old Blue Ivy in an electric pink dress with Photoshopped bunny ears in one photo and a flower crown in another. Aunt Solange also is featured in the photos, in a signature monochromatic look. Beyoncé included one photo of herself. The tea party snaps also include Photoshopped bunnies and tea pots, making this possibly the most arty and hippest series of celeb-shared photos to grace the Internet in a while. While Photoshop is becoming increasingly common in celebrities and their personally shared photos — and is practically expected with certain stars — Beyoncé’s kitschy use of photo-editing stands out from the usual leg-shaping and wrinkle smoothing. No doubt Beyoncé’s hive of fans will continue to pine after her seemingly dreamy life. #BlueIvy A photo posted by News With A Side of Tea (@thacelebriteanews) on Mar 20, 2016 at 8:07am PDT #BlueIvy x Auntie #SolangeKnowles A photo posted by News With A Side of Tea (@thacelebriteanews) on Mar 20, 2016 at 8:17am PDT 2016-03-21 15:58 Leigh Nordstrom
15 15 An Anonymous Artist's Erotic Utopia | Monday Insta Illustrator This article contains adult content. Simple, evocative, passionate drawings are the name of the game on anonymous artist Alphachanneling 's massively popular Instagram account. Austere characters, either smiling sweetly or with Art Deco non- expressions enjoy painterly pleasures of the flesh. Threesomes and foursomes are just as common as missionary positions and cuddling in his feed, and the materials and styles are just as diverse as the veritable Kama Sutra of sexual positions that spring from his mind. The Swiss artist brought his internet-tailored work into the fine art world last week with his first solo show last week at Jack Hanley Gallery, Utopian Erotic , an accomplishment made more impressive by the experimental origin of Alphachanneling's Instagram presence. "I think for many artists, the first impulse is to think, 'Why would I put a piece of art that took me months on a screen that is so small that you can’t see the nuances? People are going to see in three seconds and feel like they’ve seen the work,'" he tells W Magazine. "So then I thought maybe I’ll put out this other stuff that nobody sees, these stream-of-consciousness, unfiltered kind of drawings that have more of a provocative theme. " Scrolling through Alphachanneling's Instagram account, which he's updated nearly every day for the past two-and-a-half years, is a mesmerizing dive into the ways we imagine and think about sex. Cross-sections of penises going into vaginas, floral imagery, ice cream, extreme closeups of hands touching, tasteful nudes, nearly abstract characters, cutting metaphors. Big dicks, tiny dicks, furries, foodies, bondage, rainbows, demons. That these images both caught on online— Alphachanneling has over 200k followers—and has found a place in the contemporary art scene is a sign of the times. "I was kind of doing it a bit in jest, you know, like, 'What would people think of this?'" he continues in a conversation with W Magazine. What do people on the internet think of nudes? We could have answered that question, but we're glad Alphachanneling decided to find out for himself. Check out his work in the Instagrams below. Alphachanneling's Utopian Erotic will be at Jack Hanley Gallery through April 17. Follow him on Instagram here. Related: A Rare Work of Japanese Erotic Art Hits the Auction Block Erotic Art in Shocks of Color [NSFW] Erotic Feminist Art Gets a Second Look How Anonymous Tinder Nudes Became This Artist's Muses 2016-03-21 15:55 Beckett Mufson
16 Now You Can Sketch Musical Ideas on Interactive Sheet Music Courtesy the artist As a tool, the composer’s pad of sheet music is often beyond the abilities of the layperson. Certainly it’s beyond the ability of most self-taught musicians, who maybe didn’t undertake formal notational training. Independent software developer and composer Alexei Baboulevitch is hoping to reinvent composition with modern technology in his Composer's Sketchpad app, which imagines writing sheet music as an interactive artmaking process. Though designed for all ages, the app won the Children's Technology Review Editor's Choice Award. Users can select from dozens of instruments, and control tempo, volume, vibrato, and octave. There are no limits to the number of musical pieces that can be saved, and they can be exported as MIDI or JSON files. “My app takes a painterly approach to composing music,” Baboulevitch tells The Creators Project. “Upon creating a new piece, you're presented with a large canvas that you can quickly pan around with your finger. Put down a second finger (or an Apple Pencil) and you start drawing musical notes, just as if you were using an art application.” “There's no grid walling you in—your notes can begin at any point in time and bend to any pitch, allowing you to design curvy solos, complex polyrhythms, and even strange microtonal compositions with ease,” he adds. “All the playback and editing controls are right by your fingers, meaning no wrangling with messy airplane-cockpit user interfaces or hidden modes.” Baboulevitch designed Composer’s Sketchpad to make musical composition intuitive and direct. In that sense, he compares it to finger-painting. But he insists the app, which he calls a “living staff paper,” is not a toy. Baboulevitch wanted to move away from traditional Western musical notation, which he believes boxes composers into discrete measures and limits them to 12 pitches available on the standard piano keyboard. “You can write anything from snippets of melodies to entire symphonies using this thing,” he says. “I see it as a modern take on sheet music for the mobile era.” Composer's Sketchpad is available in the App Store. Click here to see more of Alexei Baboulevitch’s work. Related: Make Music in the Cloud Like Waka Flocka Flame Your Eyes Make Music with This Face-Tracking Production App Compose Like Bach (with Help from This App) 2016-03-21 15:50 DJ Pangburn
17 State Changes: Marvin Lin on Vicky Chow and Tristan Perich’s 1-Bit World For Sound Horizon 2016, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three- part program. Following his February piece on Mary Halvorson, he turns to Vicky Chow and Tristan Perich, whose works Surface Image and Observations will be performed March 24. The series concludes April 28 […] 2016-03-21 17:40 By
18 18 Cindy Sherman, Diane Arbus and More Get Recreated in Play-Doh Eleanor Macnair: “Untitled Film Still #21, 1978, by Cindy Sherman.” Courtesy of the artist and Kopeikin Gallery. Some of the best ideas in the world start out as pub dares. London artist Eleanor Macnair ’s internet-walloping Photographs Rendered in Play-Doh project recreates iconic works by the likes of Diane Arbus, August Sander, Cindy Sherman, and Jeff Wall in bright pastes with a cheeky, witty, technically masterful attention to detail. Eleanor Macnair: “Identical Twins, Roselle, N. J., 1967 by Diane Arbus.” Courtesy of the artist and Kopeikin Gallery. 2016-03-21 15:35 Shana Nys
19 Vogue Italia to Host Fashion Event in Saudi Arabia “This initiative builds on Vogue Italia’s deep commitment to promote new fashion talents, knowing how important it is to offer them relevant and concrete international platforms to present and advance their creativity,” Sozzani told WWD. Under the umbrella of the Vogue Talents platform, a team at Vogue Italia led by senior fashion editor Sara Maino will select 10 Saudi female designers to present at the event, cohosted by Saudi luxury retailer Rubaiyat. One winner will get the chance to present her collection in Milan. All the finalists will exhibit their work at the Rubaiyat department store in Jeddah and will have the opportunity to showcase and sell their collections at the Stars Avenue Mall. “It is tremendously rewarding to see Saudi women being given such an opportunity on the world stage,” commented Wafaa Abbar, president of the Rubaiyat Group. Sozzani has previously hosted an annual Vogue Fashion Experience event in Dubai where she has brought in the likes of Riccardo Tisci, Naomi Campbell, Silvia Fendi, Alberta Ferretti and Christian Louboutin. In keeping with conservative Saudi Arabia, the Jeddah Vogue Fashion Experience will be a women’s only forum that also includes a charity gala dinner benefiting the World Food Program. Holding the event in Saudi Arabia is an unconventional move, given that women are quite limited in their movements and ability to drive and move about freely without a male chaperone. Jeddah is considered the center of the design and arts world in the country. 2016-03-21 15:19 Ritu Upadhyay
20 20 Kubrick's 'Dr. Strangelove' Meets Immersive Theater in London The immersive Secret Cinema. Tell No One. experience recreates Stanley Kubrick’s 1964 Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Image by Camilla Greenwell Over the past month, nearly 20,000 people have been assigned new identities through the Department of Cultural Surveillance (D. O. C. S.), an organization yielding great nuclear power and the potential to launch a full-out assault on the Soviet Union, likely obliterating the entire world— after all, it just takes one deranged general. With this in mind, February 17 through March 20 saw ordinary citizens becoming military personnel, world diplomats and— obviously—spies, who descended upon the D. O. C. S. War Room to assume active roles in a film screening like no other. Yes, film screening. No, D. O. C. S. HQ wasn’t in Cold War America—while it could very well have been—but was instead, located in an abandoned 250,000 square foot South London warehouse reinvented to look like Stanley Kubrick’s 1964 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb , the latest immersive production to come from British events company Secret Cinema. Inside the fictional Burpelson Air Base. Secret Cinema. Tell No One. Image by Camilla Greenwell “Essentially, the whole concept around everything is secret,” says founder Fabien Riggal, who's been putting on audience interactive screenings since 2007, anything from One Flew Over the Cuckoo’s Nest to Back to the Future. For newbies to London’s all too hip scene, Secret Cinema does immersive storytelling through the recreation of movie-specific sets, getting audience members to play characters in a moving narrative that’s inspired by the choice film. A small cast helps bring the story along and eventually, the actual film gets shown. The screening location is classified and, if it's one of their "Tell No One" productions, so is the film. “The way you contribute to the experience and become someone else, you realise you can change the course of the night,” says Riggal, his events usually running up to 8 hours. For this round of shows, Riggal tells The Creators Project, “We wanted to put something on in which the audience could be world leaders. The main concept was to create a summit.” To War or Not to War. Secret Cinema. Tell No One. Image by Hanson Leatherby Recently, Secret Cinema has come under fire for canceled productions and over-the-top creations of Hollywood blockbusters , but the company’s use of Dr. Strangelove has brought the group back to its cultural advocacy roots, reclaiming spaces for the subversive. “Our current world situation is so uncertain and as members of society we often just watch it go by in some respects,” says Riggal. “I think we have a responsibility culturally to debate these things and become activists through exploring film. This is a film that does that. It’s one of the bravest and boldest Kubrick films and I think that it holds the same relevance as today.” If you haven’t seen Dr. Strangelove , then you’ve probably been missing out on a bunch of cultural references, because Riggal is right, this film is iconic. Using satire to draw on Cold War tensions amid the fear of a nuclear apocalypse, a slightly paranoid US general orders a strike on the Soviet Union without permission from his higher command. While hilarity ensues, the film demonstrates the power of cinema to provide commentary to very sombre issues, like war. Secret Cinema. Tell No One. Image by Hanson Leatherby “Culture should be something that defines politics in some ways,” says Riggal “It should be something that drives it.” Secret Cinema aren’t strangers to politics, having set up secret screenings in difficult locations like Kabul and hosting others in the Calais refugee camp . In the case of the Dr. Strangelove event, audience members travel through the factory converted army base, assembling in the War Room—an impressive nod to the Ken Adams original— making statements, alongside the actors, on whether or not bombing Russia is a good idea. Inside the War Room. Secret Cinema. Tell No One. Image by Will Cooper “All of them are connected to the narratives of Dr. Strangelove around this B-52 bomb that’s about to be sent to attack Russia,” explains Riggal. Six different War Room screens project various imagery relevant to things like the Manhattan Project and Joseph Oppenheimer, illustrating what Riggal believes, as education through culture and non-commercial cinema. “ Chinatown and Apocalypse Now , where are those films today?” he says. “Storytelling and giving people opportunities to feel like they do have a contribution to make should be a priority.” A truly unique film viewing. Secret Cinema. Tell No One. Image by Hanson Leatherby 24 performances of Dr. Strangelove took place, in support of War Child UK. Up next is horror, as Secret Cinema looks to create Danny Boyle’s 28 Days Later in what is sure to be a frightening experience. Find out more here and keep your eyes peeled stateside for screenings to come, hopefully sometime this year. Related: Won't You Take Me to Monkey Town? Better Than 3D: Inside the Three-Screen Cinema 10 Expert Opinions on the Future of Film Late-Night 35mm Film Screenings Save the Soul of Miami Cinema Taste the Cinematic Rainbow with the 'Kubrick in Color' Supercut 2016-03-21 14:50 Catherine Chapman
21 First Lady Michelle Obama and Carolina Herrera Share a Little History More Articles By Standing beside the President, First Lady Michelle Obama wore a Carolina Herrera navy, red and white floral print sleeveless A-line dress. Their arrival marked the first time a U. S. president had visited Cuba in nearly 90 years. (Later in the day the First Lady paired the look with a berry-colored cardigan.) The First Lady also opted for a Carolina Herrera dress to greet Pope Francis when he first arrived at Andrews Air Force in September. Even more dramatic was the sweeping blue gown the designer created for FLOTUS to wear to the 2014 state dinner in honor of French President François Hollande. Herrera was unavailable to comment Monday but she has been vocal about her patriotism over the years. Herrera, who has a CH Carolina Herrera boutique in Washington, D. C., has also been bipartisan in dressing several first ladies. The Venezuelan-born designer became an American citizen in September 2009, after 28 years of living in the U. S. At that time, she said, “I have been here for many years, and I love this country very much. I love New York and everything about America. It was very emotional for me.” Last fall she was named one of the 2015 Smithsonian’s National Portrait Gallery honorees along with Aretha Franklin, Maya Lin and Henry “Hank” Aaron. As for what the First Lady will wear to the state dinner in Havana with Cuban President Raúl Castro, Cuban-American designers Isabel Toledo and Narciso Rodriguez may have the inside track. Obama wore a Toledo-designed dress and coat to her husband’s first inauguration and she has worn Rodriguez designs several times, including the marigold dress she wore to this year’s State of the Union address. 2016-03-21 14:36 Rosemary Feitelberg
22 Studio Ghibli's Animation Software Is Now Free GIPHY Princess Mononoke. Spirited Away. Howl's Moving Castle. All films packed with mystery and gravity, thanks largely to the imagination of Studio Ghibli founder Hayao Miyazaki. In peeling back the layers of what makes these films so beloved, Miyazaki's vision first comes to mind, but the team of animators he oversees and the software that holds the whole crazy machine together are the unsung heroes behind them. That software is called Toonz and it's about to become a little bit less mysterious, as Cartoon Brew reports that an open- sourced edition will be available for download starting March 26. Included in the OpenToonz are many of Ghibli's custom tools, specially designed to capture trees waving in the breeze, food that looks too delicious to eat, and the constant running Miyazaki's films are known for. In a statement on the Toonz website, Studio Ghibli Executive Imaging Director Atsushi Okui says they originally sought the software to cope with the complexity of 1995's Princess Mononoke. “We needed a software enabling us to create a certain section of the animation digitally," he says. "Our requirement was that in order to continue producing theatre-quality animation without additional stress, the software must have the ability to combine the hand-drawn animation with the digitally painted ones seamlessly. " GIPHY Toonz, also the software used in Matt Groening's Futurama , is now available open-sourced as a condition of its sale from Italian tech company Digital Video to Japanese publisher Dwango. Those aiming to up its power can opt for a paid, premium version. This move, Digital Video managing director Claudio Mattei says, will help Toonz cement a place as the world standard in animation. We expect an uptick in high quality Totoro tribute films and animations inspired by the semi-retired animation legend while young animators are still in a position to play around and hone their styles. Now they can do so without spending an arm and a leg on animation software. GIPHY Check out what Studio Ghibli fans have accomplished, even without the company's favored software, in the links below. Download Toonz on the official website , starting March 26. Related: Meet the Young Animator Channeling Studio Ghibli in Pakistan See Miyazaki's World Reborn in a Stunning 3D Tribute Miyazaki's Best Films Get Commemorated In 8-Bit Style 22-Year-Old Animator Crafted an Unbelievable Homage to Miyazaki 2016-03-21 14:25 Beckett Mufson
23 Director Danny Perez on Fever-Dream Feature Film 'Antibirth' [Interview] Natasha Lyonne in a scene from Antibirth. Photograph by Marni Grossman. Photo courtesy of Traverse Media The television hums with static as a very pregnant stoner rips bong hits and has bizarre visions of dancing furry creatures, strange doctors, and thumping music she can’t quite place. This is the chaotic, colorful world of director Danny Perez ’s new feature film, Antibirth , which just premiered at Sundance. Starring Natasha Lyonne ( Orange is the New Black ) and Chloë Sevigny ( Big Love , Kids ), Antibirth follows a woman on the outskirts of society as she tries to figure out what’s happening to her body and remember how she got pregnant. To gain a better perspective into the frenetic world of the movie, The Creators Project spoke to director Danny Perez (previously profiled here ) about conspiracy theories, crappy television, and transitioning from the music and art video world into his first feature. Director Danny Perez and Natasha Lyonne behind the scenes on Antibirth. Photograph by Marni Grossman. Photo courtesy of Traverse Media The Creators Project: How would you characterize this movie? What genre would you call it? Danny Perez: I think it definitely has elements of horror, it definitely has ominous sinister tones. But I think there’s also other genres in it, and it’s kind of like that juxtaposition that I like, making it something new and modern in the sense that it’s kind of like a remix. There’s an element of slacker comedy, of art film, of body horror, of indie American cinema. And that all just comes from being a movie lover myself. How did this project come about? I wanted to do something more narrative. I was friends with Natasha [Lyonne] and I knew I wanted to write something for her, something with a strong female lead, combined with my love of conspiracy theory and weird UFO YouTube videos. I pulled a lot of the language out of that world. Natasha Lyonne and Chloë Sevigny in a still from Antibirth. Photograph by Marni Grossman. Photo courtesy of Traverse Media In the past you primarily worked with musicians. Was it a very different experience working with professional actors? Yeah, it was pretty bonkers. As someone who watches movies, we all know what bad acting is, or what overacting is, so I just trusted myself. Also I was working with an amazing cast, both Natasha and Chloë were very efficient and really great at giving me so much to work with across the different takes. A recurring visual theme in this movie is the TV. What importance did television have on the film? Most movies have two characters watching TV and you would open up on an insert of the program and the rest of the scene is those two people talking. We keep going back to the TV like it’s another person. That’s inspired by being on tour and the best part of the night being four in the morning in the hotel room watching shitty TV and seeing totally obscene and weird things. Meg Tilly in Antibirth. Photograph by Marni Grossman. Photo courtesy of Traverse Media Given your background, how important was music to your creative process with the film? I tend to hang out more with musicians and artists than I do with film people, so a lot of those songs were written into the script, and we shot with them playing on set. Music definitely is another character, another layer to a movie. And I want the idea of this being like the Dazed and Confused soundtrack of weirdo, outsider American rock. Director Danny Perez and Meg Tilly on the set of Antibirth. Photograph by Marni Grossman. Photo courtesy of Traverse Media Antibirth premiered in January at the Sundance Film Festival. The next screening is on March 26, 2016, as part of the Boston Underground Film Festival (#BUFF16). Click here for more information. Related: Creators: Danny Perez Danny Perez and Animal Collective Discuss the Making of 'ODDSAC' Hot Chip: "Look At Where We Are" by Danny Perez 2016-03-21 14:15 Giaco Furino
24 Follow a Time-Traveling Ape Down a Wormhole (via Music Video) Screencaps by the author Several million years ago, after humans' and chimps' ancestors evolutionarily diverged from gorillas, there was a rapid increase in the size of the proto-human brain. Arthur C. Clarke and Stanley Kubrick imagined a scenario where some advanced intelligence life placed an information-sharing monolith in Africa. Now, Tokyo-based animator Takuya Takahashi (a.k.a., densuke28 ) is taking a shot at great ape evolution in a music video for Your Gay Thoughts ’ track “To Disappear.” In it, an ape wanders through a lush, animated jungle and is hurtled through a portal or wormhole to another dimension after finding an advanced machine. "I [was] inspired by and imagined the far future, in which the human race perished, when I listened to the song at first,” Takahashi says. “In this future, there is no trace of human lives; rather, [a] primitive scene opens up in front of you. There is a machine which the creature that looks like an ape [gets] sucked into and is transported to the past but humanity has already left. Then the ape repeats evolution and prosperity, then humanity comes to the fore again. " Your Gay Thoughts’ vocalist and multi-instrumentalist Gregor Kocijančič likes how Takahashi was able to cinematically mimic the song’s structure. “I really like how Densuke followed the structure and the overall sound spectre of the song—for instance, the way the ape starts swimming in another dimensions exactly where the song itself opens up to another dimension,” Kocijančič tells The Creators Project. “He was basically left with 100% creative freedom on this one and was following his intuition since the first step of the video making process.” Your Gay Thoughts - To Disappear from densuke28 on Vimeo . Click here to see more work by densuke28. Your Gay Thoughts’ debut album, The Watercolors , is out now on King Deluxe. Related: Unfamiliar Landscapes Emerge from Fractals and Stock Footage Skrillex Drops the Bass Way Too Hard in an Animated Music Video Take a VR Journey into a Lush Polygonal Dreamscape [Premiere] 2016-03-21 13:50 DJ Pangburn
25 flathouse's nami dwelling built for an elderly couple in tokyo flathouse's nami nami dwelling built for an elderly couple in tokyo flathouse’s nami nami dwelling built for an elderly couple in tokyo all images © takumi ota realized by flathouse, the ‘nami nami house’ is a small and compact dwelling belonging to an elderly couple living in tokyo. due to their familiarity with the neighborhood, the couple asked the architects to rebuild their house tomore accustomed to their lifestyle. some of the challenges presented with steep staircases and narrow spaces, along with the maximum building coverage ratio being only at 50%. the narrow and tall building houses three storey’s within after experimenting with different solutions, the architects decided on a thin arc-shaped volume to complement an efficiently planned interior with enough space for a small outdoor terrace. the external envelope is clad in a silver corrugated material, while the rooms are characterized by a rhythmic and wave-shaped ceiling which influences the illusion of a larger space. the front side of the home has no windows for security and privacy reasons inside, a staircase with a wide tread and gradual riser connects the three levels together. as for security and privacy, openings were minimized on the street-facing façade and instead are organized to face the neighbor’s garden to allow natural light into the rooms. ‘we did many studies and tried to find a comfortable habitable solution… a small outdoor space -which resembles a tiny pocket park is located on the northern end of the site with a ‘green wall’ to anticipate soft reflection of light. we hope that this would function as a community space for the residents and their neighbors.’ – flathouse the windows at the rear overlook the neighbor’s garden the kitchen with the tabletop curving with the arc-shaped plan of the room a timber ceiling with a rhythmic and wave form creates the illusion of a larger space close up detail of the main staircase the house is located in a residential neighborhood of tokyo 2016-03-21 13:20 Natasha Kwok
26 Kanye Kissing Kanye: Last Week in Art Via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky—but all of them are worth knowing about. Without further ado: + A 20-foot-tall mural of Kanye loving himself is going viral. Surprise, surprise. [ Noisey ] + Art Dubai was last week. The 10th edition of the annual fair celebrated record sales of works from a cadre of predominantly young artists , almost half of whom were women. + The Met Breuer is officially open to the public. [ The Met ] + Art Basel Hong Kong opens this week. Orient yourself with this handy “ expert guide.” [Christie’s] Via + In other Kanye-loving news, West claimed that his “tweets are a form of contemporary art.” [ @kanyewest ] + On November 26th of this year, Vivienne Westwood’s son Joe Corré and Malcolm McLaren will burn a punk memorabilia collection worth $7.2 million. God save the queen. [ Crack Magazine ] + Several sculptures scheduled to show at Asia Week New York were seized by federal agents in an ongoing investigation, allegedly connected to detained art smuggler Subhash Kapoor. [ The New York Times ] + The Venice Lagoon was named Europe’s most endangered heritage site by organization Europa Nostra. [ The Art Newspaper ] Via + Petra Collins and Madelyne Beckles came clad in collars, leashes, and binkies to the Art Production Fund gala for their performance piece, “Not Your Art Babies.” [ ArtNet ] + 13 individuals suspected to have been behind last year’s armed robbery at Verona’s Castelvecchio Museum have been arrested. [ The Washington Post ] + This city-sponsored website wants to prevent IRL graffiti on Florence’s majestic Duomo by letting you tag the ancient building URL. [ The New York Times ] + Anita Brookner, Booker prize winning writer and art historian, passed away this week at the age of 87. [ The Guardian ] Via + The TSA found an object at JFK made of a can, cables, and green plastic—Said the object’s owner: “ It’s art .” [ Time ] + This is not a drill: the House of Representatives is considering a bill that recognizes magic as a “great American art form.” [ ABC News ] + Coming soon: a museum dedicated to Statue of Liberty kitsch in Indianapolis. [ Indy Star ] + London’s Design Museum is expanding into new premises three times the old space. [ The Art Newspaper ] Via + Last year, Kylie Jenner commissioned a mural of her own face, painted by tattoo artist Joshua Woods. Now, it’s almost done! [ Entertainment Online ] + For the first time in decades, one of the most coveted private collections of classical sculptures is going public. [ The Guardian ] + News was released that five Francis Bacon paintings worth $33 million were stolen from a Madrid home last June. [ Daily Mail ] + Legal wars are brewing between France and England over Joan of Arc’s $430,000 ring. [ The Art Newspaper ] Via Did we miss any pressing art world stories? Let us know in the comments below! Related: North Africa's Biggest Street Art Ever: Last Week in Art Bansky DOXED?: Last Week In Art Leo Got a Statue: Last Week in Art [Oscars Edition] Liquid Meth Found in Bras & Art Supplies: Last Week in Art Valentine's Day Hangover? Try Hoverboard Porn: Last Week in Art Rainbow Bagels and Death-By-Selfie Statistics: Last Week in Art Ai Weiwei's Refugee Moment: Last Week in Art David Bowery Lives!: Last Week in Art Goodnight, Sweet Prince: Last Week in Art Selfie Monkey Gets His Day in Court: Last Week in Art Nicolas Cage's T-Rex Skull Is Stolen Property : Last Week in Art 2016-03-21 13:05 Sami Emory
27 bo reudler sketches an outdoor furniture and lighting collection for JSPR bo reudler sketches an outdoor furniture and lighting collection for JSPR bo reudler has realized a family of outdoor furniture and lighting, in which each piece seems as if it has been spontaneously drawn on the spot. conceived for JSPR, ‘sketch collection’ is composed of a chair, armchair, stool, lamp and series of tables, whose loose lines distill a freedom of expression and liberation, while maintaining comfort and functionality. handcrafted from steel and finished in a high quality four layer powder coating available in vibrant colors, ‘sketch’ lights up any private or public outdoor space. JSPR debuted the ‘sketch’ outdoor furniture collection at the dutch creative industry (DCI) booth at design days dubai 2016, and is presenting the designs as part of the ‘masterly – the dutch in milano’ exhibition during milan design week 2016. the ‘sketch’ collection is composed of a chair, armchair, stool, lamp and series of tables each piece seems as if it has been spontaneously drawn on the spot the furniture is handcrafted from steel and finished in a high quality four layer powder coating the pieces are stackable making them easy to store when not in use detail of the loose lines that make up the ‘sketch’ collection 2016-03-21 12:50 Shuhei Senda
28 Trevor Paglen and Jacob Appelbaum This conversation appears in BOMB 135. Get your copy today. Trevor Paglen, Bahamas Internet Cable System (BICS-1), NSA/GCHQ-Tapped Undersea Cable, Atlantic Ocean , 2015, C-print, 60 x 48 inches. Images courtesy of the artist and Metro Pictures unless otherwise noted. The following conversation is a transcribed and condensed version of a videoconference between Trevor Paglen in New York and Jacob Appelbaum in Munich. The exchange took place before audiences in both locations and was hosted by the NYC Goethe-Institut this past December as part of their symposium Images of Surveillance: The Politics, Economics, and Aesthetics of Surveillance Societies. It brought together artists, philosophers, writers, activists, and scholars, and opened Sensitive Data , a series of events that the organizers describe as "a long-term project that aims to advance international, interdisciplinary, and theoretical discourse and artistic exploration on and around surveillance and data capitalism. " Artist and geographer Trevor Paglen, renowned for his photographs, films, installations, lectures, and books on the theme of surveillance, engaged in a conversation with long-time collaborator, computer-security expert, activist, and hacker Jacob Appelbaum, who has contributed to the causes of WikiLeaks and Edward Snowden. They advocate for Tor, the global, volunteer-run, peer-to-peer anonymity network that is a viable alternative to submitting to ever-increasing mass surveillance. The images that appear throughout partly correspond to the works presented during the videoconference. Trevor Paglen We've come to learn that the network is hostile. The Internet was supposed to be the greatest tool of global communications and means of sharing knowledge in human history. And it is. But it has also become the most effective instrument of mass surveillance and potentially one of the greatest instruments of totalitarianism in the history of the world. Jacob Appelbaum You might think of the Internet as a series of servers or companies and think of how you personally connect to it. Instead, there are signals intelligence stations around the world, along with enormous fiber-optic cables used for interception. Many computers have been compromised to serve for signals intelligence collection. Berlin and Vienna, for example, are signals intelligence platforms, which are actually used as part of the special collections service. When German Chancellor Angela Merkel was collected on by the NSA, it happened from a US embassy. In fact, we know that it happened from the one in Berlin, on Pariser Platz. The way that computers are broken into is via passive tap, a fiber tap of the kind that Trevor is fond of scuba diving for and taking photographs of. The collection is possible because the NSA works to compromise standards: you think that something is secure—you do banking online or read online—and the NSA makes sure that you believe it is safe, but, actually, it isn't. Trevor Paglen, National Security Agency, Ft. Meade, Maryland , 2013, C-print, 35.625 x 53 inches. Before Edward Snowden, when people said such things, the reaction was, "Oh, crazy conspiracy theorists. " Now we know they were and are right. And that is not reassuring! We can now imagine this type of mass surveillance—all data being stored in a database—and what that allows for is a kind of time travel, if you will. When an intelligence analyst thinks you're interesting, they can basically travel back in time and see the things you've previously done and then decide if that is worthy of more inspection. That inspection will potentially include all of your web browsing or surveillance of all your telephone's content, as well as the metadata. The program group that bothers me the most is called JTRIG [Joint Threat Research Intelligence Group] and they're a division of the British GCHQ [Government Communications Headquarters]. JTRIG is a mass propaganda operation; it's using data for disinformation and for changing political outcomes, harassing people, defaming and harming them—treating them as subhuman, effectively. And that's an entire division of the intelligence service; they have lots of people working on that. For example, they find someone who's a particularly religious Catholic or Muslim—I'm sure it doesn't happen to Catholics as much as it happens to Muslims—and then they use that information to blackmail them. These are the claims that they make themselves. They use the mass surveillance data sets—those fiber-optic cables—and there's a full life cycle between the cable tap and actually using that information to harm people in a material fashion. For me, that's the hallmark of a tyrannical operation. I don't want to see governments engaged in those kinds of secret and damaging activities. Trevor Paglen, National Security Agency Utah Data Center, Bluffdale, UT , 2012, C-print, 36.875 x 48.875 inches. TP One way the network is hostile is that state actors are conducting mass surveillance and are attacking critical infrastructure using weaponized malware. They orchestrate propaganda and blackmail operations against political enemies. There's another side of the hostile network, which is done by corporations. We all know for a fact that Google and Facebook are collecting enormous amounts of data on every single person who uses their services and they are conducting analytics on a scale that was unimaginable even a few years ago: tracking everybody who uses credit cards, who uses a cell phone, and so forth, and collecting intimate details about their lives. Google probably knows more about me than my family does. Today, in large part, that information is being used to sell you things, or they try to sell your information to advertisers. But tomorrow, that information will be used in all kinds of other ways. We can imagine your Google searches modulating your credit score, we can imagine a picture of you drinking a beer that you posted on Facebook will be recognized by an object-recognition algorithm. Maybe Facebook will want to sell that to your auto-insurance company, and your auto- insurance company would change your insurance rates based on that. We can imagine that if you wear an exercise-monitoring device like Fitbit, corporations will be collecting intimate vital metric data on you. If you don't exercise, maybe your health insurance premiums go up, and if you do exercise, they go down. But the point is that—although it's not evenly distributed yet, this will increasingly be true in the future—the rights and the privileges that you have will be modulated according to these kinds of metrics. In China this is already beginning to happen. Trevor Paglen, still from 89 Landscapes , 2015. JA The Chinese scoring system is part of their identity intelligence—these guys are all about doing everything they can to identify everybody in every way. The scary part about what's happening in China is how we can imagine it as the future everywhere. Identification of all things at all times and their correlation and linking with data sets effectively means that there's a database of all of a person's activities linked through time with their identity and anything that might identify them—their fingerprints, their biometric passport, their retinal scans, and whatever else is going on. Imagine big data analytics processing your personal patterns—biometric, biographic, contextual, what you read, your military service, whatever it is that you might do. This might include your social relations: you have a friend who smokes, and his or her credit score goes down. Then your credit score also goes down because you keep the company of someone who smokes. It's a paternalistic control and surveillance that informs automatically. You no longer need people to tell on each other. The mere existence of certain devices ensures that the devices themselves tell automatically. This is the nightmare of the science-fiction writer Philip K. Dick. Not that everyone would be a spy—that's sort of a trope about the former East Germany— but that every thing would be a spy... I think it's in Ubik , there's a doorknob which is a sort of Internet of Things doorknob. When someone wants to open the door, the doorknob demands to be paid. And of course the person says, "I don't have to pay you. " And it says, "Well, actually if you look at the contract you signed when you took this doorknob, you'll find that, in fact, payment of the doorknob is a necessity if you wish for it to open the door. " We're sort of moving into that world. While it doesn't seem so obvious, if you look, you see patterns emerging about social control in which you want to have those doorknobs to track who might be opening the doors and whether or not you want them to open. I mean, it's really an extreme of the control society tied directly to your identity. And there are in fact plans for something called real-time tipping. The NSA will ensure that if you ride on a train or a bus or fly on an airplane, you'll have to show an identification card even for domestic travel. And it's tied to biometric information. In other words, you scan your Lufthansa boarding pass to fly from Amsterdam to Munich, as I just did today, and a real-time alert that I was traveling would be sent to an analyst or to a database. And if someone decided that I was a person of interest, I would get tipped off and sent to an analyst in real time. And now you start to see how these things tie together—it becomes extremely alarming to think about how this information might be used to impact your life. It's a very scary thing. The system might also work in your favor when you behave well. You buy the right brand of thing, which needs to be bought today because the centrally planned economy says so, and you may get VIP treatment at the airport. You get a high score and preferential treatment because you're leading the way by doing your civic duty and it's automatically "told" that that's the case. Trevor and I are not futurists when we talk about this. This is a present thing. It just isn't entirely clear yet how and when it works and how it is in fact doing this. The Chinese, weirdly to their credit, are actually completely open about it. It took Edward Snowden for us to learn that the NSA has the same plan. When you fall into the bad credit score in the NSA system and you happen to be a twelve-year old Muslim in Pakistan, you get droned. TP The Internet is a predatory network that is, on one side, potentially a very coercive tool of totalitarian power and, on the other side, a tool that will increasingly be used to allocate rights and privileges through commercial means—credit scores or insurance rates and that sort of thing. Given that situation, can we imagine a different kind of network? Can we envision a network that is nonhostile? Our project Autonomy Cube is an attempt to imagine what this alternative network might be like. Jacob Appelbaum and Trevor Paglen, Autonomy Cube , 2015, plexi box with computer components, 14 x 14 x 14 inches. This is the sculpture that we made. There are a couple of them around the world now. You put the sculpture in a museum or a Kunsthalle or what-have-you and it sits on the host institution's Internet connection. You plug it right into their Internet. And once you've done that, it does a couple of things. First, it creates an open Wi-Fi network throughout the museum for anybody to use. Then it routes all the traffic over the Tor network. Tor encrypts the data, which results in a more secure Internet using the host institution's Internet connection. The other thing that it does: it turns the museum into a Tor relay, making it a part of the Tor network's infrastructure. JA The Autonomy Cube has a feature that is very uncommon here in Germany and I'm not sure about New York City these days—the Wi-Fi connection is one where you don't need a password at all. The reason is that when you join the wireless network, you actually route, not through the normal Internet connection, but through Tor, which means that what you do there does not trace back to the museum but to the Tor network instead. It's a peer-to-peer network and the sculpture is itself one of the peers. When you use this network it allows you, for example, to pop out in Russia or to pop out in the Netherlands or to go through the United States. The websites you might visit—or your email provider when you check your mail—they'll see you not as coming from wherever the sculpture is installed but as coming from this other place. If you've ever seen a bad Hollywood movie where they try to trace hackers around the world, it's like that—except the users can't be traced, which is kinda nice. Screenshot of Tor relay connection listing. Courtesy of Tor Network. The actual Tor relays are run by volunteers around the world and we need more of them. Because this is a so-called overlay network, you have to have a network on top of the network to be able to get certain privacy and security properties that can hide your metadata. There's a huge discussion about hiding content versus metadata these days, especially with data retention. Data retention is a concept that allows the collection of enough information to know a great deal about you, even if you were to encrypt the contents of your message. So if you go to your bank every day to check your bank account, they would probably know that it's you that went to a certain bank. Using Tor, they would see someone from the Tor network has gone to that bank. That's a big difference. When you look up medical information, for example, with Tor, somebody somewhere knows that someone looked that up, but they don't know that it was you. So the Tor relay in the museum is not about helping people in the museum—it's about helping everyone else to enjoy the freedoms that the museum brings, but from any point in the world. So everyone who uses Tor right now has a probabilistic chance of routing through our Tor relay in Oldenburg. There are Tor relays in the Reina Sofía Museum in Madrid, at Metro Pictures in New York City, and at the Witte de With in Rotterdam. The museum is a bastion of free speech, helping to protect everyone's right to read and speak freely on the Internet, even if they're not in the museum. So the museum becomes a part of the infrastructure of fundamental liberties. There are many people all around the world who need this privacy-preserving technology. With Tor, you have the ability to look at the source code that makes up the program; you can modify it, share modifications with other people, and run it for any purpose. Those are the four freedoms of free software. You can download the software to your computer when you leave the museum and continue using it. You can put it on your phone, on your mobile computer, wherever you want. This is not just imagining a new future, it's actually building that alternative future as we speak— and you can use it right now, wherever you are in the world. Trevor Paglen, National Security Agency Surveillance Base, Bude, Cornwall, UK , 2014, C-Print. 48 x 64 inches. TP I'm thinking about the ways in which we are talking to artists from the past when making artworks—while also talking to people in the present. Our project is very much influenced by post-Minimalist sculpture, especially Hans Haacke and his Condensation Cube. It's combining what's sometimes called Systems Art with Institutional Critique. There's a whole history of artists engaging with Institutional Critique, looking at the guts of the exhibition places where they will be showing work. An artist might look at the funding structure of the institution, uncovering a museum's financial politics, which are also the politics of the collection. It's a critical tradition in art to pull back the walls and to see how the guts of the institution work. We're inspired by these investigations into the infrastructure, politics, and economies of museums, but we are approaching them in less critical ways and more in terms of enhancement. The Autonomy Cube is a way of enhancing museums—for a couple of reasons. Right now, institutions are almost on autopilot trying to install more and more invasive surveillance systems. They are unthinkingly installing biometric surveillance setups, which track how people move around in a particular space. You can imagine why a department store would want to do this: they want to know what displays are the most successful, what's the best architecture for selling different kinds of products. But increasingly, civic institutions like museums are also installing these types of systems that track people's faces, that track the artworks which people are looking at. And one can understand why they would want to collect this demographic data to do their own analytics, to use in fundraising, and that sort of thing. But what we're proposing is that civic institutions and museums should perhaps do the exact opposite: they should be the bubbles in society that are free from this type of data collection. Trevor Paglen, still from 89 Landscapes , 2015. And this goes back to a very old idea in democracy, which is that you need to have certain institutions that allow for freedom of exploration and freedom of expression. I want to give a shout-out here to Alison Macrina from the Library Freedom Project. Alison has a project that's analogous to ours in that she's using installments or relays in libraries, which are fundamental democratic institutions where you can go and explore any ideas you wish to learn about. They provide an enormous amount of intellectual freedom. Free libraries foster a society where you have an educated populace and diversities of opinions. But the other very important thing about libraries is that the police don't get a record of the books that you check out. In other words, you are able to use a library to explore culture and information anonymously. And that anonymity is a crucial part of the freedom and the contribution to a democratic society that a library affords. Our proposal is that museums should do the same. They should be places where you can go and encounter ideas that might be challenging, where you are given permission to look at images and think about concepts that you don't always have permission to think about in your everyday life. We propose to approach museums as safe spaces from a world that is increasingly tracking everything you do and collecting as much information as possible about you. The proposals that we're making with Autonomy Cube , with the Tor network, and in our exhibition and lecture projects are aimed at the future of civic institutions in general. Every time we talk about our work, people say, "But what about the Internet apocalypse? What if people use the Tor network to do bad stuff? " Jake, do you want to take that on? JA Oh, you could answer that, Trevor. ( laughter ) First I want to echo what you just said: the Library Freedom Project is really important. Alison is the Emma Goldman, I would say, of anonymity in the modern world. She travels all around the globe and teaches people about anonymity. And she faces the same questions. The front-runners of the "info apocalypses," as people like to call them, are essentially child pornographers, drug dealers, terrorists, and money launderers. You always hear that the reason you can't actually have any civil liberty on the Internet is because of these four groups. It is the case, of course, that the Tor network is a reflection of the larger Internet and there are people who might buy a weapon online using Tor. This is, of course, very regrettable. But there's a big difference in scale, which is often lost: the majority of weapons are not being traded on the Tor network or on other anonymity systems. Trevor Paglen, still from 89 Landscapes , 2015. The same happens with other criminal activities. While it is true that you can find child pornography on the Internet, it's also true that the police who investigate the crime need the protection of networks like Tor in order to hunt down the perpetrators. So if you give people this anonymity they will use it, in theory, to do very good things and also clearly very bad things. Someone downloading information about drugs may be a person exploring, or it may be police officers gathering evidence. So in general, we have a counterintuitive situation here: we might want to shut down every avenue for terrorists to have a conversation. But if we cut off all the avenues of speech, we haven't stopped those people from existing. We have merely blocked off our ability to spy on them and to understand what they are saying. Of course, Tor won't be able to stop people who have the desire and the ability to break a law and are willing to commit heinous crimes like terrorism or large-scale money laundering like HSBC did and get away with it, or child pornography. On the flipside, if we take away Tor, we are left without an option. Trevor Paglen, Untitled (Reaper Drone) , 2013, C-print, 49.125 x 61.125 inches. In other words, Tor is the option for law-abiding, reasonable people—even if it's sometimes used by police officers who commit acts of police brutality against civilians when it is a crime to do so, or by American soldiers who commit war crimes, and even by regrettable people like child pornographers, terrorists, and drug dealers, you name it. But it's really hard to design a system where, for example, the Chinese idea of the bad guy, or the German or the American idea of the bad guy, would be stopped. And what would happen when you have built in such a facility? Then it would become even clearer that the people who built and run the system are even more at risk than they were before, because they're in a position of power. So the idea instead is to increase everyone's liberty and to give regular people an option that doesn't cost them money and is helpful in the sense that they are now more protected. Meaning that their rights are now larger than they were before. This is very important for not only resisting censorship of certain things, but also for making sure that there isn't mass data collection that's tied to you for the rest of your life and that becomes a function of wealth and privilege. With Tor, you'd be able to have some sort of privacy. Trevor Paglen, still from 89 Landscapes , 2015. TP The point is that Tor saves lives. If you are queer and young in Uganda and you want to connect with other people like you around the world and you do that on the normal Internet, you are putting your life at risk. If you're an activist in Iran or Bahrain or Saudi Arabia, Tor will save your life quite literally if you want to communicate with the outside world. If you are in China, or in Turkey for that matter, and you want to circumvent the state censorship that happens there, Tor allows you to communicate with the rest of the world in a way that is more secure than using the hostile network. Or, if you are a mom in the United States and you want to understand more about your kid's health problems and don't want to give that data to Google or to Facebook, you can use Tor to protect your information. Both Jake and I believe that we are not going to engineer our way out of a totalitarian future. Technology won't save us. Tor will not save us, but it can help. What this project is about is trying to show the ways in which technologies congeal social, political, economic, and cultural relationships. Let's think about what technologies and communication infrastructures may look like if we try to build them with different values at their core. We imagine an alternative to the hostile network that is preying upon us all the time, and try to enhance the parts of the network that do allow us the kinds of freedom and intellectual exploration and participation in democratic projects that were previously unavailable to us. In other words, can we reimagine the promise of the Internet toward a more productive future? Trevor Paglen, still from 89 Landscapes , 2015. JA I would add that there are different stages. We can imagine that we would protest certain things because we don't like them. The reason for resisting is not because you think that you're going to win, but because you know that it is the correct thing to do. And that is not an easy thing to say. I doubt that we will see the end of mass surveillance anytime soon. We won't win it in our lifetime. But we must resist because it is in fact something that we do not want. We even wish that we had not been born into this situation. So we should return with some efforts to change that the situation. And this project goes beyond resistance by building an alternative. It is real and it is the best thing that we have. Part of what we want to do is to inspire other people past the security nihilism that brings us into a passive place where we don't critique the system anymore because we feel disempowered, where we don't speak because mass surveillance silences us, where we say there's nothing to be done because technology alienates us. If we can imagine something different, we might participate in another way. In fact, we could build a different world. Jacob Appelbaum is an independent journalist, computer security researcher, and hacker. He is a core member of the Tor Project, a free software network designed to provide online anonymity. He represented WikiLeaks at the 2010 HOPE conference and contributed extensively to the publication of documents revealed by Edward Snowden in 2013. Appelbaum currently lives and works in Berlin. Trevor Paglen is an artist whose work has been exhibited at the Metropolitan Museum of Art, New York; Tate Modern, London; Walker Arts Center, Minneapolis; and the San Francisco Museum of Modern Art, among others. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. His most recent book, The Last Pictures (University of California Press, 2012), is a meditation on the intersections of deep time, politics, and art. 2016-03-21 12:11 by Katie
29 Nora Ephron and the Cost of Her Mantra, “Everything is Copy” In 1983, the celebrity world was rocked when Nora Ephron chose to expose the bitter breakup of her marriage to Carl Bernstein over his fidelity in the thinly-veiled novel “Heartburn.” Three years later, when director Mike Nichols turned the bestseller into a film starring Meryl Streep and Jack Nicholson, critics were divided between an admiration for Ephron’s decision to bare such a nasty episode in public and the deleterious impact that it might have on the couple’s two young sons, Max and Jacob. Now 37, Jacob Bernstein has answered that and many other questions about his mother in the fascinating new HBO documentary “Everything is Copy,” which airs tonight. In one of the film’s soul-baring moments, Jacob admits to Carl Bernstein that the novel and the movie had indeed affected for several years their father-son relationship. “Well, there you go,” says the elder Bernstein of the emotional cost exacted by the couple’s obsessive regard for their public reputations. The title of the documentary itself explains why Ephron would go there in the first place, a mantra handed down to Ephron and her three sisters — Amy, Delia, and Hallie — from their mother, Phoebe, as a salve to whatever disasters might befall them. If you owned it, then you could turn yourself from a victim into a hero. Phoebe, along with the girls’ father, Henry, had done that very thing as a successful Hollywood screenwriting team. Ephron took the advice to heart, drawing from her own experiences to craft a successful career that encompassed essays, novels, plays, and hit films such as “You’ve Got Mail” and “Sleepless in Seattle.” But the writer reached her scorched-earth best in the exhibitionistic “Heartburn.” “Very few people can survive a public cuckolding,” says Nichols in the documentary. “She’d won, and every betrayed woman in the world knew it.” While “Heartburn” supplies much of the heat in the documentary, on the other end of the scale is the ironic and tender counter thesis of Bernstein’s film: Everything is copy — except when it isn’t. Ephron drew the line at her own mortality. When she was diagnosed with a blood disease in 2006, she kept it secret from everyone for the next six years until just before her death in June of 2012 at age 71. Bernstein, a journalist, wrote movingly, if astringently, about his mother’s death in a 2013 New York Times Magazine piece titled “Nora Ephron’s Final Act.” His film expands on the article to place her death within the wider context of a dazzling life recounted by those who loved — and sometimes feared — her. Those include Bernstein himself, his aunts, Ephron’s ex-husbands, Meryl Streep, Meg Ryan, and Tom Hanks. Also among the talking heads is a New York literati Rat Pack. Gay Talese, Ken Auletta, Richard Cohen, Robert Gottlieb, and Marie Brenner are part of a neo-Algonquin Roundtable of which Ephron styled herself the witty and wicked reincarnation of Dorothy Parker. If Ephron had to win, as Nichols says, it was because she grew up in Beverly Hills with parents who’d grabbed the brass ring and then lost it, descending into alcoholism, infidelity, and depression. She wasn’t about to let that happen to her. That determination developed into steeliness and control as a smart, tough, and ambitious young Ephron set out to conquer the world. In the ’70s and ’80s, she was one of the boys in a male world writing honestly and self- deprecatingly about women’s issues in such publications as Esquire and the New Yorker. What also made her damned entertaining is that she subscribed to writer Janet Malcolm’s dictum that every good writer betrays his or her subject. Writers are “predators” and “cannibals,” says Ephron by way of explaining why she so blithely attacked even those who had given her a helping hand. She compared Dorothy Schiff, the publisher of the New York Post, where she’d gotten her start, to Marie Antoinette. (“Let them eat schlock.”) “She could be mean,” recalls Barbara Walters. “And when she attacked me, I had to remember… she was funny.” Another colleague says, “She had a razor in her back pocket.” “My mother was dangerous,” says Bernstein in the film. “She was both loved and feared.” Opinionated and ruthless, Ephron could easily show the door to anybody who offended her sensibilities or who couldn’t measure up. Tom Hanks, who starred in Ephron’s “Sleepless in Seattle,” says that he was aghast when she fired the child actor who was to play his son after Ephron had spent months grooming and working with him. Colleagues called it “the red dot,” the imaginary bindi on her forehead when she was in her take-no-prisoners mode. If she brooked nothing less than success that is because failure was anathema to her. In a wry moment in the documentary, she opines that there is nothing to be learned from failure. “The only thing you can learn from failure is that you can possibly have another.” When it came to her fatal diagnosis, she simply opted out of the game she’d heretofore played all her life. It was something that she could not control and so she chose to ignore it, to believe that it didn’t exist, and never to write about it openly. And she kept her big secret almost to the end. Nonetheless, her existential struggle surreptitiously informed the last thing she would ever write, the Broadway play “ Lucky Guy.” The show, produced posthumously in 2013, starred Tom Hanks as Mike McAlary, the hard-nosed journalist whose greatest scoop — the Abner Louima scandal — came on the cusp of his succumbing to cancer at the age of 41. While Ephron was undergoing chemotherapy, she was writing about McAlary’s own fight. Hanks and George Wolfe, who directed the play, puzzle in the documentary over why Ephron would want to write about a man and subject that seemed so removed from her life. Ephron herself claims a certain bond with McAlary when she tells Wolfe that it is “about a man who has more luck than talent.” That is, until the luck runs out. Few would agree that Ephron, given her boundless and original oeuvre, was luckier than talented. But Wolfe adds that the play is also about a man “who replaced ambition for grace.” And indeed, nearly all of her family, friends, and colleagues observe that once Ephron married the writer Nick Pileggi, her harsher edges were sanded down. In the last six years of her life, she became not only extraordinarily prolific but also more tender and vulnerable, and much less judgmental. Bernstein, in following his grandmother’s dictum that everything is copy, has managed to make manifest that transubstantiation in his mother’s life through his brutally honest, and ultimately redemptive, film. 2016-03-21 12:21 Patrick Pacheco
30 From Impersonation to Celebration: Penelope Freeh on The Ghost of Montpellier Meets the Samurai To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today,dance artist Penelope Freeh shares her perspective on The Ghost of Montpellier Meets […] 2016-03-21 13:23 By
31 david shatz's melina transforms from backpack into sleeping tent in one quick action david shatz's melina transforms from backpack into sleeping tent in one quick action david shatz’s melina transforms from backpack into sleeping tent in one quick action (above) the aim is to create a sense of safety and confidence when sleeping in public all images courtesy of yael sloma and oded antman when looking at the urban public space, its lack of use is evident: large portions of it are being used only for the purpose of mobilization. individuals suffer from fear while being on it, mainly because of others who exist there, parallel to them. it’s because of this that david shatz, under the guidance of designer tal gor, as part of the hospitality studio in the bezalel academy in jerusalem, decided to build a tool that will assist individuals in the process of reoccupying the public space by creating a device that allows the user to pause and linger. to create a nomad state in an urban environment a person doesn’t need more than a carry-on sack and a comfortable tool to sleep in. ‘melina’ aims to combine both —the sack and the sleeping area— and to create a sense of safety and confidence when sleeping in public spaces, an action considered as insecure. ‘melina’ can transform from a backpack —which can include all necessary belongings— into a sleeping tool in one quick action. it creates an urban armored-like sleeping area that fits the street atmosphere while providing a sense of security of a private space and a temporary relaxation from the city’s hustle. yet ‘melina’ can also be folded quickly back into a backpack, be carried on a person’s back, and simplify the act of wandering around. this product is designed for revolutionists who want to occupy public space with their own bodies, for adventurers who want to experience an urban camping, to those who prepare for an apocalypse and to anyone who wants a nomad kind of life. when folded, ‘melina’ can be carried around easily as a backpack the opening and closing procedures are made in one quick action the tent as it transforms into a backpack designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-03-21 12:15 www.designboom
32 Tracey Emin's First Chinese Solo Show Among the many Hong Kong gallery openings timed to coincide with the launch of Art Basel in Hong Kong is "I Cried Because I Love You," British artist Tracey Emin 's first solo exhibition in greater China. The exhibition will be Emin's last before she takes a one year sabbatical to focus on her work. Spread across two spaces—Hong Kong's White Cube and Lehmann Maupin galleries—the exhibition showcases the diversity of Emin's practice, and includes the artist's painting, embroidery, tapestry, and neon works. Addressing the unusual step of working with two competing galleries simultaneously, Emin said in the exhibition catalogue. "It's about me being able to not have to define myself with a gallery, within a space, within a country. " Thematically, Emin addresses familiar, intimately autobiographical themes of emotional states which she examines in typical honesty. Yet despite being deeply personal, the work remains universal and relatable. At the same time, the work also carries with it an oddball undertone that seems to accompany all of Emin's projects. For example, Emin's new works are reportedly influenced by a large stone outside outside her studio in the south of France, which she is said to have "married" in a bizarre ceremony documented in a series of drawings. "I thought the stone is so majestic and beautiful, I really do love the stone," she said at a news conference according to the SCMP. "And then I thought about the way I love, how I pour love into things and people, whatever it is, passionately, but not expecting it to be returned either. I just accept that's the way it is, it's just me who gives. The stone becomes a metaphor for my feeling. " Then there's a bizarre interview she gave to SCMP ahead of the show: The artist told a baffled reporter "Please don't do the Hong Kong thing on me and give me information from 20 years ago that I said. " The reporter, who had asked Emin about comments made four year ago—in 2012—about the differences between the studio practice of male and female artists, was understandably taken aback. Despite Emin's left-field antics—or maybe because of them—her market in Asia is growing. Irene Bradbury of White Cube Hong Kong told France24 , " She's made her mark out here. Collectors become more knowledgable and attuned to who they like, who they want to follow […] from western galleries, alongside great artists that are developing here. " Follow artnet News on Facebook. 2016-03-21 12:12 Henri Neuendorf
33 Dan Finsel and Mariah Garnett Named Winners of the 2016 Los Angeles Artadia Awards Mariah Garnett, Still from Encounters I May or May Not Have Had with Peter Berlin , 2012. COURTESY THE HAMMER MUSEUM Artadia has announced their selection of Dan Finsel and Mariah Garnett as the winners of the 2016 Los Angeles Artadia Awards. Finsel and Garnett will be awarded $10,000 in addition to lifetime access to ongoing benefits of the Artadia Awards program. Only in its second year, applications for the 2016 Los Angeles Artadia Awards were open to any visual artist residing within Los Angeles County for more than two years. Finsel and Garnett will additionally be eligible for the first-ever National Artadia Award, which will be presented at the end of 2016. Five finalists, selected by Jarrett Gregory, associate curator at Los Angeles County Museum of Art, and Mark Beasley, curator at Performa, were chosen from the initial applicant pool of 684 submissions. Following that, Gregory and Kris Kuramitsu, deputy director of The Mistake Room, conducted studio visits with all five finalists before selecting the two winners. A work included in Dan Finsel’s exhibition, “Introduction to ‘Affective Memory Work: The Cage; Classical Conditioning, The Animal Exercise (Cat in Heat), The “Man-Maker”, Sense Memory, and Representing The Representation of Representing The Representation of Representing The Representation of … of Production (Part 1),” 2015. COURTESY RICHARD TELLES GALLERY In a statement, Gregory elaborated upon the jury’s decision: “Both Mariah Garnett and Dan Finsel address the complexities of personal identity in unexpected and completely different ways. For Dan this involves acting theory and therapy; for Mariah, research and reenactment. This notion of the self as a malleable and unpredictable entity felt especially relevant to us within the landscape of Los Angeles as well as in the year 2016. Dan’s work called to mind the early experiments of Paul McCarthy or Chris Burden but with a decidedly feminist approach to the body. Mariah’s strategy for filmmaking is thoughtful and effortless even in its layered complexity. She addresses gender and identity in a way that liberates these subjects while bringing them into the present moment with a fresh perspective.” 2016-03-21 11:55 Hannah Ghorashi
34 AL_A to reimagine galeries lafayette department store in paris it has been announced that london-based firm AL_A will redesign the ‘cupola’ building within the renowned galeries lafayette department store on boulevard haussmann, paris. led by architect amanda levete, AL_A’s winning proposal will see the remodeling of 40,000 square meters of the store’s footprint to create a visionary metamorphosis of the main building to reflect on tradition and modernity. still in its early stages, construction is due to begin early 2017 with its completion will establish a dynamic shopping experience with architecture as the focal component. amanda levete, director of AL_A comments on the news: ‘this store is an institution that has a special place in the life and identity of the city of paris. our commission is a fantastic opportunity to build on tradition to make a living contribution to the future of galeries lafayette and the cultural life of paris. the exquisite craftsmanship of the original building and its location in the heart of haussmann’s city are both elements we seek to celebrate as we move forward.’ 2016-03-21 11:36 Natasha Kwok
35 2016 Asia Arts Award Winners Announced Related Events Art Basel Hong Kong 2016 Venues Asia Society Hong Kong Artists Cai Guo Qiang Nalini Malani Yoshitomo Nara Lee Ufan Takashi Murakami Bharti Kher Shahzia Sikander Nyoman Masriadi Cao Fei Zhan Wang Cai Guo-Qiang, Nalini Malani and Yoshitomo Nara were named “Asia Arts Game Changers” at an awards gala in Hong Kong last night that opened Art Basel Hong Kong for 2016. Hosted by the Asia Society, the Asia Arts Awards are given to recognize what the organization calls “artistic excellence and contributions to Asian art.” Previous winners have included Dansaekhwa pioneer Lee Ufan , Superflat founder Takashi Murakami , and notable artists from across Asia including British-Indian artist Bharti Kher , Pakistan’s Shahzia Sikander , and Indonesia’s Nyoman Masriadi . Upon receiving his award, Cai, an artist perhaps best known for his performances in which he “paints” by exploding gunpowder, said “I am honored to receive the Asia Arts Award today. It gives me more faith in what I do, knowing that I can continue to ‘mess around’ boundlessly!” Equally excited to be winning an award was Japanese artist Yoshitomo Nara. Known for his paintings of wide-eyed children at once sinister and vulnerable, he noted that “my purpose was not to receive any award. I didn’t think I would be excited by receiving an award, but when I was about to receive one, I found myself being pleased.” Indian artist Nalini Malani spared a thought for those less fortunate than the assembled art world luminaries. Asking for a minutes’ silence for refugees across the globe, she commented that “you can’t keep acid in a paper bag;” the title of her most recent retrospective that looked at her issue-based work over a five decade career which has seen her carve a niche in the male- dominated Indian art world. Alongside these awards, the Asia Society also ran a benefit auction for the society, with lots from previous winners like Sikander and other big names in Asian art including Cao Fei and Zhan Wang. 2016-03-21 11:34 Samuel Spencer
36 On Twitter’s 10th Birthday, 10 of the Platform’s Most Significant Tweets Ten years ago today, attention spans and productivity began an irreversible nosedive. Translation: ten years ago today, Twitter was given to the world. The microblogging platform services 300 million users, with its 140 character bursts of thought offering a unique blend of brevity and speed. In a world where information is instantaneous, Twitter remains the most instant. Though some are clueless as to its functionality or intimidated by its steep learning curve, those who truly know Twitter are the power users, with thumbs sprained from endless refreshing. Despite all of its success, the future of Twitter has seemed clouded with switches at CEO and stumbling stock value on Wall Street. Still, the place of Twitter in popular culture is not up for dispute. On Twitter’s 10th birthday, here are 10 of the tweets that helped make Twitter what is today…for better or worse. 1. The First Tweet (March 21st, 2006) Current Twitter (and Square) CEO Jack Dorsey nailed the short and sweet aspect of Twitter in the first tweet sent in 2006, shortening “Twitter” into “twttr.” In a 2011 tweet , Dorsey said that “The name Twitter came from @ Noah Glass & the Oxford English: ‘a short inconsequential burst of information, chirps from birds.’ # twttr ” 2. Ellen Degeneres’ Oscar Selfie (March 2nd, 2004) Celebrities + an awards show + a selfie + some not so subtle Samsung marketing = the most retweeted tweet in the history of Twitter. 3. “…is a rare event” (May 1st, 2011) The tweet that signaled something was going down in Abbottabad, Pakistan on May 1st, 2011. Shortly after this tweet and several other real-time dispatches were sent by Shaib Athar, an IT consultant from Pakistan, Osama Bin Laden was killed by U. S. SEAL Team Six. 4. Oreo Changes the Marketing Game (February 3rd, 2013) When a bizarre power outage delayed Super Bowl XLVII in New Orleans for 33 minutes, Oreo’s marketing team sprung into action with a tweet that went viral at a dizzying rate. Since Oreo’s tweet, real-time advertising has become common practice, even if the results are occasionally cringeworthy or forced. 5. Obama Wins Reelection (November 6th, 2012) After an expensive and contentious battle for the presidency in 2012, President Barack Obama celebrated his reelection with a simple tweet comprised of three words (“Four more years”) and a photo of him hugging his wife, First Lady Michelle Obama. The tweet is perhaps the best indicator of how tweets, regardless of length, can tell a story or convey a wide range of emotions. 6. #HasJustineLanded (December 13th, 2013) When Justine Sacco, then director of corporate communications at IAC, put out an off-color joke in a tweet before flying to Africa from London, she could not have possibly known just how much her life would change after pressing send. Though Sacco did not have many followers, the tweet was forwarded to Gawker’s Sam Biddle, who pushed out the tweet to Gawker’s tech blog Valleywag with the headline “And Now, a Funny Holiday Joke from IAC’s PR Boss.” The Internet mob set theirs sights on Sacco, who was oblivious to the storm brewing on the Internet as she flew through the air. #HasJustineLanded trended worldwide and Sacco was fired from her job and pushed into exile. Sacco’s saga has become perhaps the most pronounced example of the Internet’s ability to effectively shame, tear down and move on in the blink of an eye—a witch hunt and public shaming modernized for the digital age. In February 2015, The New York Times wrote an insightful piece on the incident titled “How One Stupid Tweet Blew Up Justine Sacco’s Life.” 7. The First #Hashtag (August 23rd, 2007) Love them or hate them, hashtags have become an integral part of the digital discourse, allowing people to more effectively find content related to their interests, passions or live events they are following. 8. The First Tweet from Space (January 22nd, 2010) Astronaut Timothy (TJ) Creamer sent the first tweet that could truly be dubbed “out of this world” by sending the first live tweet from space at the International Space Station in January 2010. 9. “There’s a plane in the Hudson” (January 15th, 2009) With Twitter consistently running laps around traditional news media when information is breaking hard and fast—see the Boston Marathon bombing and the manhunt in the days that followed—many point to this Janis Krums tweet as the moment when Twitter became an indispensable source for breaking stories. Now known as the “Miracle on the Hudson,” Krums tweet was highlighting the US Airways plane with 155 passengers on board that struck a bird on takeoff and miraculously landed in the Hudson River near New York City. Jack Dorsey, who is now CEO of Twitter, thanked Krums via tweet, calling this an “iconic moment.” 10. Twitter and the Arab Spring (January 25th, 2011) In 2011, the Arab Spring became one of the first instances where Twitter was used to help protestors communicate and mobilize. As the hashtag #Jan25th spread quickly, Egyptians caught wind of a meet in Cairo’s Tahrir Square, where over 80,000 protestors converged. That afternoon, Twitter was shut down in the country and did not return until February 2nd. Twitter became a megaphone for protestors to the outside world, providing on-the-ground footage and allowing revolutionaries to push out their messages and galvanize international support. And an honorable mention that’s too big and unique to Twitter to ignore… 11. “ Weird Twitter” A deep, deep rabbit hole of quirky humor, the 140 character limit has created a new form of comedy known as “Weird Twitter” for some of the more eccentric and mysterious (see @dril) of Twitter’s users. 2016-03-21 11:34 realart.com
37 design museum dharavi exhibits creative work of local makers dharavi is a three-square-kilometer urban village located in the heart of mumbai. considered to be one of asia’s largest ‘slums’ — a generic world that sadly ignores the village’s vibrancy, complexity and dynamism — dharavi is home to around 1 million people that form a community of resourceful, creative and resilient people. despite difficult living conditions and a high density population, locals that inhabit this user-generated neighborhood design, manufacture and commercialize all kinds of crafts and goods. the pop-up design museum has been set up as a platform for local makers to exhibit their products in february 2016, a nomadic exhibition space opened its doors in dharavi. traveling by pushcart, similar to those used by locals to distribute and sell goods, design museum dharavi was set up as a platform for makers to present their products to the community, the city of mumbai and, in turn, the rest of the world. initiated by amsterdam-based artist jorge mañes rubio and art critic and curator amanda pinatih, the main mission of the program is to use design as a tool to promote social change, to create a meeting point for cultural exchange and innovation, and to challenge the negative perception of informal settlements around the world. the museum engages with local makers in new collaborations, delving deep into their traditional artistic practice, history and culture. the exhibited objects reflect new creative directions for these participants, portraying their identity, and that of their community, in surprising and original ways. the first of several workshops and exhibitions was inspired by local themes and everyday symbols, such as chai tea, water containers and brooms. featuring mostly ceramic pieces, the show considered the tea-drinking culture of the community, and asked locals to fathom new ways to drink, and hold their beverage. rubio and pinatih worked together with potters nathalal n. chauhan and mitul n. chauhan, father and son, whose family business in dharavi goes back several generations. rather than commissioning new pieces from them, the duo spent time with the family, thinking and discussing new ideas. since most containers are bulky and cumbersome, leaving little room for improvisation or design (see images in the gallery below), together the team decided to create new typologies for chai and water vessels. the first of several workshops and exhibitions was inspired by local themes and everyday symbols ‘we loved the way the family stack pieces in their workshop (space is precious!) so we used that idea to create taller water containers,’ rubio and pinatih describe. ‘we were also interested in exploring new aesthetics, so we decided to go in the opposite direction that these potters usually decorate their pieces, which usually demands a lot of time, different colors, and very intricate and complex decorative motifs.’ ‘we wanted to use color in a similar way that people use it in dharavi to paint their homes, doors, courtyards…to use colors in a more ‘massive’, free and simple way. it’s quite curious that some people pointed a resemblance between these pieces and the work of memphis and ettore sottsass in particular. because ettore’s work was so heavily influenced by india and its colorful architecture as well. ‘ color was applied on ceramic goods in the same way that people use it to paint their homes throughout the duration of the exhibition, people traveled to dharavi from all across mumbai (some for the first time) to see the pieces — even to buy them. while the exhibited objects were not for sale, rubio and pinatih connected curious customers with the chauhan family, who were happy to receive their first commissions. the city of mumbai, india’s financial capital, offers endless economic opportunities, yet it is dharavi that offers them a home. now, with the dharavi design museum, there is a chance to showcase their creations to the world. examples of some of the new typologies for chai and water vessels on display ‘this museum is keeping our skills alive,’ the chauhan family said. ‘it’s promoting them so that pottery can carry on for one or two generations more. there are so many rich people in bombay. they showcase skilled labor sometimes in big malls. but amanda and jorge came all the way from amsterdam to show our craft right here in dharavi…and so very nicely.’ the museum engages with both local makers and the entire community of residents the theme of the second exhibition was street cricket — one of the most beloved and practiced sports in dharavi. ‘we were inspired by how this game is being modified and reshaped in the streets of dharavi,’ rubio and pinatih describe. ‘anything close to a wooden or plastic stick will do as the perfect bat, balls differ in size, stumps are painted on walls, and rules are bent again and again to adapt the game to the size of the chosen location. what in a professional game would be a great drive — batting the ball out of the field’s bounds — in dharavi it means quite the opposite. the batter is actually out because he lost the ball in between the rooftops, or even worse, endangered the neighbor’s life who was home cooking with a window open.’ the theme of the second exhibition was street cricket, one of the most beloved sports in dharavi displayed in the mobile museum was a selection of hand-carved cricket bats in different shapes and colors. each of the 27 tools had been masterfully transformed from old pieces of reclaimed wood into unique bats by a local carpenter named sandeep. in conjunction with the exhibition, a tournament made up of teams from four different communities kicked off in dharavi. locals used the newly-designed bats, sported cricket uniforms made by skilled embroiders in the area, and wore handcrafted gloves made by a local maker who adapted his safety gloves production to the game of cricket in a matter of days. ‘in dharavi, street cricket symbolizes the locals’ flexibility and ability to change and reinvent themselves on a daily basis.’ hand-carved cricket bats, made in different shapes and colors, were crafted especially for the exhibition upcoming exhibitions and workshops at the design museum will be held over the following few months in dharavi. in summer 2016, the results of the initiative will be presented and discussed at a conference in amsterdam. experts from different disciplines will be invited to share their ideas on how design can help change the response to home-grown neighborhoods around the world, and how it can be used to encourage the forward development of these areas. design museum dharavi has been made possible by two dutch cultural foundations — creative industries fund NL and the art of impact. the bats were transformed from pieces of reclaimed wood into unique sports tools by a local carpenter in conjunction with the exhibition, a cricket tournament kicked off in dharavi the venue portrays the makers’ identity, and that of their community, in surprising and original ways locals and visitors travel to dharavi to visit the design museum the exhibition space has become a venue for creative collaboration and community engagement overall, the project seeks to challenge the negative perception of informal settlements around the world inside the workshop of a pottery factory in dharavi everyone has their own way to drink chai: from a small cup, a glass or even from a saucer rubio and pinatih created new designs together with the potters space is limited in the pottery workshop water containers and cups are widely used in dharavi but always have the same shape for the street cricket exhibition, locals engaged in a game locals participated in a cricket match using the products made for the exhibition 2016-03-21 11:30 Nina Azzarello
38 Hepworth Wakefield Names Shortlisted Artists for U. K. Museum’s Sculpture Prize Hepworth Wakefield. TONY GRIST/VIA WIKIMEDIA COMMONS The Hepworth Wakefield announced the shortlisted artists for its Hepworth Prize for Sculpture today. According to a release, the prize is the U. K.’s first-ever sculpture award, and it’s going to be given out biennially to a British or U. K.-based sculptor. The winner will receive £30,000, or about $43,140. The nomination panel for this year’s prize was Katrina Brown, the director of Common Guild; Jennifer Higgie, a co-editor of Frieze ; Lisa Le Feuvre, the director of the Henry Moore Institute; Sally Tallant, the director of the Liverpool Biennial; and Bart van der Heide, the chief curator of the Stedelijk Museum. The panel was chaired by Simon Wallis, the director of the Hepworth Wakefield. The shortlist is as follows: Phyllida Barlow Steven Claydon Helen Marten David Medalla The finalists will now exhibit work at the Hepworth Wakefield from late October through January. For the next few months, a judging panel will deliberate until November, when the winner will be announced. That panel includes Carolyn Christov-Bakargiev, the director of the Castello di Rivoli; David Chipperfield, the architect and designer of the Hepworth Wakefield; Sheika Hoor al-Qasimi, the president of the Sharjah Art Foundation; Patrizia Sandretto Re Rebaudengo, the president of the Fondazione Sandretto Re Rebaudengo and a collector; and Alastair Sooke, an art critic. “We are delighted to have such a strong and diverse shortlist for our inaugural Prize and are looking forward to working with these artists and to inspire and engage our audiences with the medium of sculpture,” Wallis said in a statement. “It is particularly fitting that we launch the first Prize of its kind, here in the heart of the Yorkshire Sculpture Triangle.” 2016-03-21 11:01 Alex Greenberger
39 Sotheby's Offers Warhol Shoe Portfolio Calling all shoe freaks: Sotheby's London is selling off Andy Warhol 's complete 1955 portfolio of hand-colored lithographs of decadent footwear as part of their London Prints & Multiples sale on March 22. The portfolio contains 18 prints in total and is estimated at £100,000–150,000 ($143,972–215,958). Fifteen of the 18 prints were hand-colored, and the portfolio contains 16 individual shoes. Before he was churning out portraits of American icons and producing strange films in his silver- tinted Factory, Warhol famously got his start in New York City as an illustrator for magazines and advertisements—a fact that greatly influenced his eventual artistic style but also inspired ire from fellow artists like Robert Rauschenberg and Jasper Johns , who found him both too commercial and "too fey. " Between 1953 and 1959, at the height of his demand as a commercial illustrator for places like the New York Times and I. Miller shoes, Warhol self-published several portfolios, books, and individual prints. The hand-coloring was done by Warhol, his assistants, and various friends. Lettering was done by Andy's mother, Julia Warhola. In typical Warhol fashion, the witty accompanying text often references the works of cultural icons like Alfred Hitchcock, Gertrude Stein, and Marcel Proust, in addition to the English nursery rhyme "Star Light, Star Bright. " With the market for Warhol forever booming, we wouldn't be surprised to see the elegant sketches surpass their estimate. In fact, one very famous fashion lover has already expressed interest: "I'm a big fan of Warhol and have been for a long time. A few people told me about his shoe illustrations but I hadn't actually seen any until Sotheby's sent me the details. I would love to bid on them…," contemporary footwear designer Nicholas Kirkwood said during an interview with Sotheby's. "I think a lot of these designs would work practically. I'm particularly interested in the shape of the toe Warhol has incorporated in to a lot of them," he added. Sotheby's London Prints & Multiples sale will take place on March 22. 2016-03-21 10:56 Cait Munro
40 See The Most Luxurious Artisanal Watches at Baselworld “ You might call me the Van Gogh of horology," said Christophe Claret, manning his eponymous booth at Basel World 2016. Like Van Gogh, the Lyon-born watchmaker is known for the rebellious spirit that shapes his designs, which subvert the traditional purpose of a timepiece—telling time— to the unique fantasies of its maker, and are positioned like editioned works of art to wear on the wrist rather than watches. Claret is not alone in this impulse, of course, and at this year's edition of the global horology fair, similarly artisanal brands were to be found in The Palace, a small venue behind the massive halls of Messe Basel. Although they represent a collecting base that is somewhat off the grid, many of these watchmakers started their career very much in the mainstream. Claret is no exception: he started his own line in 1999, after years developing complex watch calibers that were snapped up by the classic ateliers of masters from Ulysse Nardin to Girard-Perregaux and Harry Winston. “I very much like innovation," he said, mischievously. “I like to do things not done elsewhere. " Indeed, of his four collections, two are made specifically to shock and surprise. The Extreme Complications collection is dedicated to defying the challenges that face watchmakers, while the Interactive Gaming Complications collection manifests the thrill of Vegas in wearable form, allowing owners to compete in a game of Poker, Blackjack or Baccarat against an algorithmic foe—right on their wrist. The Blackjack watch, for example, has sculptural details hidden within the case, including small windows that house tiny die, and a roulette rotor on the back that actually spins. Also debuting at the fair this year, the X-TREME 1 accomplishes a feat that has historically seemed near impossible, perversely integrating magnetic fields into its structure. “With this watch, I have tamed the archenemy of the watchmaker—because I love a challenge," Claret noted, explaining that the two tiny steel spheres held aloft inside sapphire tubes on either side of the dial are driven up and down by magnetic fields, thereby indicating the time. “Claret watches are very exclusive," he added. “We only create 100 watches a year, and every piece is unique. Just like a work of art. " Across the hall, meanwhile, Geneva-based line MB&F (Maximilian Büsser & Friends) was launching the newest creation in its Performance Art series, which invites a contemporary artist to collaborate on a design every year. Initially inspired by the thrills of his childhood, from Star Wars to Super Cars, Büsser's watches are marked by a respect for art and science fiction: He cites the Eiffel Tower and Jules Verne as inspirations, and his designs often look more like hovercrafts and robots than timepieces. His MAD Gallery, which now boasts branches in Geneva, Dubai and Taipei, is devoted to showing “Mechanical Art Devices" made by “Kinetic artists" around the world. “We have a very specialized and specific stable of collectors—you either like these pieces or you don't, so we have remained quite safe from fluctuations in the market," said MB&F Trade Market Manager Virginie Meylan. “Our pieces don't only keep time, because you have time everywhere. We want to present something special that makes people feel emotions, so we create works of art to wear. " MB&F has already initiated numerous kinetic art collaborations, such as Arachnophobia, which engaged Swiss clock manufacturer L'Epée to produce a spider-shaped desk clock inspired by Louise Bourgeois ' famous Maman sculpture. This year's chosen collaborator is Canadian designer James Thompson, who often works in photo luminescent composite materials. “I love these materials because it makes light solid, not an afterthought," he said. “It allows me to carve or forge solid elements out of light. " It is perhaps a testament to the difficult times facing the industry that a watch brand like Blancpain, exhibiting with other global giants in Hall 1, has recently revived its longstanding yet little-known Métiers D'Art line. These limited edition, client-designed watches devote the dial to a work of art much like their artisanal counterparts in The Palace, leaving behind the traditional focus on movements and calibers and promoting instead a more artistic vocabulary. This year, Blancpain's Métiers D'Art launch at Baselworld, the Great Wave watch, introduces the ancient Japanese material of Shakudō, an alloy of copper and gold. Inspired by Japanese artist Hokusai's woodblock print of the same name, it features a white-gold appliqué treated with modulated rokushō salt finish and applied to a base of Mexican obsidian. “ There is immense amount of art on the inside of a Blancpain watch," a rep for the brand said. “With the Métiers D'Art watches, we can show on the outside, on the dial, the art that we have always been creating on the interior of the watch. " Follow artnet News on Facebook. 2016-03-21 10:54 Emily Nathan
41 blitz hides completes malwarebytes' california HQ architecture and interior design firm blitz has completed the new headquarters of internet security company malwarebytes. to accommodate a rapidly expanding staff, malwarebytes commissioned blitz to design 50,900 square feet of office space over two floors in a multi-tenant building in santa clara, california. the workplace provides expansive views of silicon valley and overlooks levi’s stadium, the home of the san francisco 49ers. a large interconnecting stair is the focal point of the office moving from private offices and cubicles to open-plan workspaces signaled a dramatic change in approach. the scheme seeks to remove employee isolation in favor of fluid space and culture. in order to create an engaging and dynamic environment, teams are organized in ‘neighborhoods’ that flow outward from the main entrance. each neighborhood has team- specific amenities — such as touchdown spaces, task-specific storage, and three gaming rooms — to support their function. a large interconnecting stair is the focal point of the office, serving as the main presentation area. the amphitheater is adjacent to the board room, large work-cafe, and pinball machine corner, creating a cultural hub. tucked underneath the main stair is a ‘secret’ bar inspired by 1920s speakeasies. entering through a blind door, black chevron marble tiles line the walls and draw the eye toward the views of the stadium and the mountains beyond. underneath the main stair is a secret bar inspired by 1920s speakeasies set against a neutral black background, bright colors and organic wood elements contrast the natural light that enters from the building’s large windows. the textured carpet, wall coverings, and custom colored light fixtures, are complemented with steel, copper, stone, marble and ceramic detailing. the darker hues and materiality reference the staff’s keen interest to the star wars universe. blitz worked with the malwarebytes team, including CEO marcin kleczynski, to curate wall graphics, throw pillows, art pieces, and additional decor elements to create a galactic universal space. the scheme seeks to remove employee isolation in favor of fluid work spaces teams are organized in ‘neighborhoods’ that flow outward from the main entrance a secluded area of the office for more private work 2016-03-21 10:45 Philip Stevens
42 9 Art Events to Attend in New York City This Week Omer Fast, Spring (still), 2016, HD video with five-screen projection. COURTESY JAMES COHAN GALLERY MONDAY, MARCH 21 Talk: Njideka Akunyili Crosby at Whitney Museum Los Angeles–based artist Njideka Akunyili Crosby will speak about her work for the current billboard on the façade of 95 Horatio Street, titled Before Now After (Mama, Mummy, and Mamma). Akunyili Crosby’s work, which often manifests as a large-scale mix of collage, drawing, painting, and printmaking, frequently deals with contemporary African family life, as well as her experience living as an expat in the U. S. (She was born in Nigeria.) In this talk, Akunyili Crosby will discuss her sources for the work, as well as her process and her experience working with associate curator Jane Panetta. Whitney Museum, 99 Gansevoort Street, 7 p.m. Tickets $8/6 Screening: “Anger: Four Films” at Metrograph The newly-opened art house theater will be screening four of Kenneth Anger’s greatest short films on 35mm film: Fireworks (1947), Rabbit’s Moon (1950), Scorpio Rising (1964), and Kustom Kar Kommandos (1970). Not to be missed. Metrograph, 7 Ludlow Street, 5:45 p.m. (also screens at 9:15 p.m.) WEDNESDAY, MARCH 23 Tom Sachs collecting water for a tea ceremony. GENEVIEVE HANSON Opening: Tom Sachs at Noguchi Museum In what may be the season’s most unlikely and most intriguing show, Tom Sachs will be one of two artists ever to have a solo exhibition at the Noguchi Museum. (The other is Isamu Noguchi himself.) For his show, Sachs will debut an installation about Japanese tea ceremonies, and even conduct a tea ceremony himself two times over the exhibition’s run. Sachs’s teahouse will be set in a garden, and here’s what it’s going to feature, according to a release: “lanterns, gates, a wash basin, a plywood airplane lavatory, a koi pond, an ultra HD video wall with the sublime hyper-presence of Mt. Fuji, a bronze bonsai made of over 3,600 individually welded parts, and other objects of use and contemplation.” There will also be three other installations, one of which is a mini-retrospective of Sachs’s work over the years. Noguchi Museum, 9-01 33rd Road, Queens, 10 a.m.–5 p.m. THURSDAY, MARCH 24 Opening: Rashaad Newsome at Studio Museum in Harlem Rashaad Newsome’s collages, performances, and videos feature voguing, rap songs, twerking, showers of dollar bills, strippers, tricked-out cars, digitally manipulated limbs, and shiny jewelry. They’re visual overload, but it’s hard to stop watching them, and it’s even harder to say what makes them so successful. Like Kehinde Wiley’s glitzy paintings, Newsome’s work marries high and low, placing appropriated footage of Nicki Minaj videos on the same footing as images of saints and royalty. Campy yet still genuine, Newsome’s videos bring African-American LGBTQ culture into the gallery space, making the white cube reflective of real life. This show, Newsome’s first solo museum exhibition in New York, surveys the artist’s delightfully over-the-top videos and works on paper. — Alex Greenberger Studio Museum in Harlem, 144 West 125th Street, 12–9 p.m. Bracha L. Ettinger, Eurydice nu descenrdrait no. 1 , 2006–12. COURTESY CALLICOON FINE ARTS Opening: Bracha L. Ettinger at Callicoon Fine Arts Bracha L. Ettinger’s show at Callicoon Fine Arts marks the abstract painter’s first show in New York since her “Eurydice” series was shown at the Drawing Center in 2001, and features oil paintings as well as works on paper and notebooks. Blues, reds, and violets are crosshatched to reveal the same images of genocide that appeared in her “Eurydice” series at the Drawing Center, now printed directly onto canvases. According to Ettinger, “Abstraction that begins from the mind enacts from the painting itself a healing transformation that confronts the most difficult atrocities in reality.” Callicoon Fine Arts, 49 Delancey Street, 6–8 p.m. FRIDAY, MARCH 25 Opening: Omer Fast at James Cohan Gallery Multiple-screen video installations have become clichéd—they seem to be everywhere, and rarely ever are they put to good—yet Omer Fast puts them to good use. Rather than settling for several screens showing different scenes, Fast combines different perspectives on the same event and exhibits them together. One screen won’t do it for Fast, whose work deals with how there is no singular viewpoint on an event, and how, by extension, there can’t be one version of reality. Fast usually applies this idea to war, showing how there are, sometimes even quite literally, two sides to all political matters. In his newest video installation, Spring (2016), Fast pits several narratives in a German suburb against each other. They culminate in violence, as they often do in Fast’s work, but we can never tell what truly led to a teenager, a male prostitute, and a couple coming together. — Alex Greenberger James Cohan Gallery, 533 West 26th Street, 6–8 p.m. Performance: Extra Shapes at The Kitchen Extra Shapes , created by D. D. Dorvillier, Thomas Dunn, Sébastien Roux, Katerina Andreou, and Walter Dundervill, is described in a press release as “a dance event, a musical concert, and a light show—laid out like a giant slice of Neapolitan ice cream.” The 17-minute performance, featuring autonomous dance scores and light shows, is repeated three times, each iteration exploring the similarities and differences between sound (strawberry), light (vanilla), and movement (chocolate). Audience members, who will change seats each time the piece repeats, also play a crucial role via their shifts in perception. The Kitchen, 512 West 19th Street, 8 p.m. Tickets $15 SATURDAY, MARCH 26 Edgar Degas, Woman Reading (Liseuse) , ca. 1885. NATIONAL GALLERY OF ART, WASHINGTON, D. C. ROSENWALD COLLECTION, 1950 Opening: “Edgar Degas: A Strange New Beauty” at Museum of Modern Art Edgar Degas is primarily known for his paintings of ballerinas at work, but he, in fact, created his most dynamic pieces as a printmaker. Introduced to the monotype process in the 1870s, Degas was fascinated by the potential to create a textured drawing, and his subjects also expanded beyond dancers to electric light, women in intimate settings, and meteorological phenomena. Degas also used the monotype as an undertaking in revisionism, during which he could study form more extensively. The show comprises 120 of these rarely-seen monotypes, in addition to 50 paintings, drawings, pastels, sketchbooks, and prints that were in some way a byproduct of Degas’s experimentation with modern technology. Museum of Modern Art, 11 West 53rd Street, 10:30 a.m.–5:30 p.m. Screening: Weekend at Brooklyn Academy of Music In Jean-Luc Godard’s 1967 film Weekend , a young bourgeois couple’s car explodes into a fiery mess because the film strip tears and skips a few frames. This scene is a footnote, and one that happens over the course of a few shots—the rest of the film continues on as if this didn’t happen. So if that’s any proof, Weekend is one of Godard’s craziest, brashest works. It’s loosely about a couple trying and failing to go on vacation. The mob is involved somehow, and traffic jams keep them from getting anywhere. Violence and Godardian hijinks (read: long takes, intertitles, fourth- wall-breaking scenes) ensue as they travel the French countryside, where the couple begins to abandon society all together. Weekend remains one of Godard’s most potent works about a French culture obsessed with commercial objects and conservative politics. The way out, Godard proposes, is to destroy it all and start over again: burn the cars, kill the characters, destroy cinema, end capitalism. Fittingly, Weekend screens, with the short Zuckerland!, as part of a series at BAM about the Evergreen Review , a countercultural American publication active during the ’60s and ’70s. — Alex Greenberger Brooklyn Academy of Music, 30 Lafayette Avenue, 2 p.m. (also screens at 7 p.m. and 9:30 p.m.). Tickets $14/$7 2016-03-21 10:37 The Editors
43 Prado Hall of Realms Redesign Competition Madrid's Museo del Prado is launching an international architectural competition to restore and remodel its recently acquired Hall of Realms, or Salón de Reinos. The museum hopes to complete the project in time for its 200th anniversary in 2019. The hall was once part of the Royal Buen Retiro Palace (largely destroyed during the Spanish Civil War) and most recently served as the home of the Museum Del Ejercito, or Army Museum, which moved to the Alcázar de Toledo in 2010. It became part of the Prado in October 2015, no less that 20 years after Spanish parliament first proposed the transfer. After an open call for entries, the Prado will select eight finalists who will be called upon to submit a proposal of how to redesign the interior so it can better serve as gallery space, which will be used to mount exhibitions from its collection relating to Spanish history and artistic patrimony. Both the ambitions and the budget for the addition seem modest. The facility is expected to add between about 14,100 and 19,000 square feet of exhibition space to the institution's campus. The winning proposal, selected by a jury, will take home a €48,400 (about $54,500) prize. In addition, each of the seven finalists receives €36,300 (about $40,900). The Prado has budgeted €1,756,315 (about $1.9 million) for the project's construction. The Hall of Realms is an appropriate addition to the Prado: built between 1630 and 1635, the palace was originally home the largest works in the Spanish royal collection—paintings that are now part of the Prado collection. The planned work will return the space to its original appearance and purpose. The Prado's relationship with the royal collection has been strained in recent years. After a two year battle, the Prado successfully fended off the newly formed Museo de las Colecciones Reales's efforts to reclaim masterpieces by Hieronymus Bosch and other Old Masters. The paintings were lent by the royal collection to the Prado for safekeeping during the Spanish Civil War, and will now stay at the Madrid Museum. The announcement for the architecture competition appeared in the Boletín Oficial del Estado. Follow artnet News on Facebook. 2016-03-21 10:36 Sarah Cascone
44 Even Sean O'Neal Finds it Hard To Be an Artist— You don't have to be wealthy to be an artist, but it sure doesn't hurt. And yet, even having rich and famous parents doesn't ensure success, as Sean O'Neal is finding out. O'Neal is the son of Oscar-winning actress Tatum O'Neal and John McEnroe, the tennis great who has also done a turn as an art dealer. All the same, the 28-year-old has turned to GoFundMe to raise $10,000 in support of an upcoming exhibition at the Jewish Museum of Florida , in Miami, which is part of Florida International University. It was supposedly a collaboration with the Anti-Defamation League. “It's very hard to be an artist in this economy," O'Neal tells the New York Post . “It makes me feel good about myself to try to raise the money myself and do it on my own two feet. " In a strange twist, however, the show apparently didn't exist. O'Neal's ex-manager, Barbara Assante, told the Post that "the fund-raising was more broadly to help Sean pay for printing and framing his art in pursuit of a show. " O'Neal maintains Assante told him the show was confirmed, and he has fired her. Following the revelation, the GoFundMe campaign was scrapped and the donors were refunded. It had raised a cool $833. O'Neal, a landscape photographer, explains on his website that he hopes to inspire viewers to protect the natural world with his lush images. He has also photographed the aftermath of earthquakes in Nepal in support of the charitable organization Citta. Both bodies of work are available on his website, at prices starting at $1,200. He says he's hard-up after an expensive operation following an accident in which he broke several bones. He has reportedly tried to support himself as a busboy and as a Lyft driver, though he's currently unemployed. How he was able to afford a manager, given this hard-up situation, is not clear. Tatum O'Neal has said on social media that “Sean does not speak to his father. Nor am I aware if his father speaks to him. " She also says that she's unable to help him financially. O'Neal did not immediately respond to an email seeking comment. Follow artnet News on Facebook. 2016-03-21 10:06 Brian Boucher
45 School of Thought: Amsterdam School Furniture Exhibition at Stedelijk Related Events Living In The Amsterdam School Venues Stedelijk Museum Artists Michel de Klerk The Amsterdam School is well-established as an architectural style: ornate brickwork, organic shapes, and elaborate buildings that formed utopian housing communities beloved by the pre- war Socialist movement. While the furniture and interiors designed by the architects, sculptors, and designers involved in the movement are less well known, these are now being recognized in an exhibition at Amsterdam’s Stedelijk Museum. Unusual timbers, sculptural lines, beautiful fastenings, and an extremely colorful palette of upholstery, bring a distinctive feel to interiors, with an emphasis on intricate patterns and details, and bright combinations of orange, purple, red, and green. The rich use of stained glass is also typical of this style. Assembled under the careful supervision of Ingeborg de Roode, curator in the Industrial Design section of the Museum, the exhibition aims to give international recognition to the interior designers of the Amsterdam School to match that accorded to its architects. Among the 500 exhibited objects will be examples of the works of Michel de Klerk , Piet Kramer, Joan Melchior van der Meij, Hildo Krop, H. Th. Wijdeveld, and Dick Greiner. The exhibition will also examine the dialog between design and visual arts of the period, with colorful paintings by Jacoba van Heemskerck, and expressive sculptures by John Rädecker and Hildo Krop. 2016-03-21 10:00 Jana Perkovic
46 Raoul de Keyser’s “Gentle Fight” at David Zwirner Gallery Related Events Raoul De Keyser: Drift Venues David Zwirner Artists Raoul de Keyser “Gentle fights” is how the architect Paul Robreccht described the working methods of his friend, the late Belgian painter Raoul de Keyser , who is the subject of a stirring exhibition on view at David Zwirner in New York through April 23. It’s an inspiring image, and one that jibes with de Keyser’s practice overall: a model of quaint, romantic workmanship, full of intense, highly personal experimentation. Living and working in the small town of Deinze, Belgium, he toiled at canvases large and small, often taking mundane sights in his immediate surroundings for inspiration. As the show’s curator Ulrich Loock joked during a walk-through, “The radius of his search for motifs was maybe 100 meters around his house.” Those motifs included things within the studio (a staircase, a gate, window-sill clasps) as well as in the town: trees glimpsed through the window, or the geometry of the local soccer field. Because of this relationship to objects actually observed, Loock has proposed a way of looking at de Keyser’s work that, he said, “does not enter the discourse between abstraction and figuration.” These paintings are “almost always referential,” he said — even if the reference in question is to the picture plane, or to a previous painting of his own that the artist has chosen to recall. Loock’s selection of work ranges from the early ’80s through 2012 — de Keyser died in October of that year, and a cluster of small paintings he made in the months before his passing are installed here, exactly as they hung in the artist’s studio. They’re funky little D. I. Y. oddities, slapdash and strange, ranging from a small wood panel punctured with staples to what appears to be a miniature riff on Barnett Newman. This show also includes two canvases that hung at Documenta 9, in 1992, both of them sharing a washed-out bloody tint that brings to mind stained medical gauze or fabric. But even with these works, the atmosphere is one of floating, contemplative beauty; de Keyser might disrupt the surface of an almost-monochrome, as he does in 1990’s “Z” — the title surely a joke about Zorro wielding a palette knife — but the end result remains even-keeled and fairly serene. (There’s one outlier in this show that isn’t afraid to be outwardly ugly: “Closerie I (Berliner Ensemble),” 1998, lays ragged lines of scabby red over a white ground that’s marred with passages of pigment resembling the yellowed teeth of a heavy smoker.) While it might just be personal preference, this show does make clear that de Keyser excelled in small to medium formats, and when he stayed as far away from recognizable shapes or forms as possible. It’s not a hard and fast rule — “Bern-Berlin hangend,” 1993, is a great painting that is obvious in its representation of tree branches; “Detail,” 2005, an almost traditional landscape based on a photograph de Keyser took himself, is one of the most intriguing works in the exhibition. But a trio of large-scale paintings — “Come on, play it again, nr.4,” and “nr.2,” both 2001, and “Siesta,” 2000 — lack the same quirky joy as the more modestly sized works. Those three paintings — with cellular Brice Mardenish blobs, or washy, lozenge-shaped pods of color, or a waterfall of cascading ovals — don’t seem to take the same risks. 2016-03-21 09:56 Scott Indrisek
47 The Art of Wang Guangle’s “Yellow” at Pace Gallery in London Related Venues Pace Gallery Artists Wang Guangle “Yellow” at Pace Gallery in London is the first solo exhibition of work by Chinese painter Wang Guangle in Europe. According to Pace, Wang’s work is rooted in questions of painting’s temporality and the canvas as a vessel of labor and marker of time. “Yellow” features a selection of recent paintings by the artist that evince what is described as “the spirit and style of his work from the past decade.” The exhibition takes its title from Wang’s use of yellow in his work, which is particularly evident in his “Untitled” series. In addition to the “Untitled” series, Wang’s other main bodies of work are his “Coffin” paintings and his “Terrazo” paintings. The “Terrazo” works take inspiration from the eponymous floor tiles, “Untitled” is a series of rectangular field paintings, and the striped “Coffin” paintings are created by a process of layering. To find out more about the exhibition at Pace and his overall practice, BLOUIN ARTINFO got in touch with the artist and asked him a few questions. I specially painted five yellow “Untitled” works for this exhibition, and this is the reason why I named this exhibition “Yellow.” Just like you have painted a still painting of an apple and name it “Apple.” Pace London’s “white cube” space is quite special to me - it is not a normal white cube space of the Industrial Era but classic. The symmetry of my paintings has the same classic character, then I need to use a color that echoes the color tone of the space, and naturally I chose bright yellow. Most of my solo exhibitions are named “Wang Guangle,” but this is my first solo show in Europe, so still naming the show as “Wang Guangle” is pretty much like naming it “Untitled” - who will know Wang Guangle? Of course when I am painting I prefer titles like “Untitled”, which does not have much directivity but focus on the work itself more. However, exhibition and painting are different, and visitors are different for the painting in studio and in a gallery - in studio, not everyone will stop and look at the works. Then why not applying a title on the exhibition to lead and confuse imagination? While I was creating these works, all the meaning of color yellow were connected, such as “yellow skin,” “exotic” in Chinese culture, but the most surprising meaning to me is the meaning of “timid” in English language. Coldplay has a song, “Yellow,” which is also popular in China for decades. I myself sometimes hum it too. Before these yellow Untitled paintings were going to London, I thought about this song and looked up online for what this song is about. By coincidence, the Chinese translator of the lyric is my friends Yao Chien, who used to be Director of EMI Records in China. He translated yellow in this song as “timid”. I had a lot of imaginations out of it. From the realistic point of view, Asian people (here referring to people whose skin tone is yellow) always give others the impression of coward, timid and afraid to cause trouble. Especially cowardliness shouldn’t be brought to the table. If yellow has the meaning of timid and cowardliness, then through this exhibition as entitled yellow, it could also contain my concept of making art: patience. It is the reaction after realizing the repetition of life as its nature, and the compliance of life through the awareness of time. Back to the song, “Yellow,” I understood this song before knowing the Chinese lyrics. It didn’t bother me. “Coffin Paint” series started in 2006, and “Untitled” series started in 2009 - I am still working on both series. For me, if according to “formalism art,” I am more conceptual, but if to “conceptual art,” I am more formalism. My style is in between, which need to be minimal in formation but with an expression of emotion. It contains both feeling and expressing. I always believe that art comes from real life, and people need to express their understanding of survival. On the premise of feeling from survival to me, my spirit and style of my work is to pursuit the minimal of style, and to express myself through less elements and words. From the earlier “Coffin Paint” series, I established the theme of “time” by the technique of repeating. The painting process reminds me of the burial tradition that was customary for the elderly to cope with their impending mortality by acquiring a casket and adding a coat of paint every year until the elderly pass away in my hometown. I think this behavior is a good preparation for the death that also signifies the will written to one. It provides me both content and technique in working - I imitate the time passing method with applying layers of acrylic on the canvas, each stroke of paint which left on the side of the frame signifies a moment in time. Repetition is the basic process of my practice, and every process is preset. However, just like our unpredictable life, as in the Chinese saying, “changes always go faster than plans.” The process of layering will be different by the size of the works, the texture and toughness of the canvas, the thickness of the paint, or the humidity of weather and others unpredictable factors. To face these factors there are techniques required. But normally I don’t take much in count about technique. I think technique is a status generated from aesthetic, and I believe that each stroke of painting determines the next, and I never worry about my next step. Until now, the three major series of my works can be described as point, line, and plane in formation. They look totally different but the implied meanings are the same, and all themes are about repetition, process and time, and death, self and control derived from them. Terrazzo started in 2002 when I recently graduated from university. I felt the anxiety in China due to the rapidly developed and fast-pace lifestyle. To be specific, everyone seems racing to tomorrow. My conclusion to this is: it’s the same as when you tried to recall the old times in a slowly developed era in China, always unsatisfied about today. I didn’t like myself being unstable and this experience sucks. I hoped myself can be unconditionally peaceful, and it just so happens that my house’s floor was made by terrazzo, and I believed I could find-back my soul by imitating them slowly. So I did until now, and I can control myself better. Terrazzo in Chinese can be understood as a motion which means water polishes the stone to flat. It also echoes a Chinese saying “constant water dropping wears the stone.” This saying means that if you have the perseverance, even a soft object can go through a hard one. Moreover, after “Culture Revolution,” terrazzo has been widely used from public areas to private rural residences in China. I see it as a symbol of the single-ideology period, especially when it was replaced by ceramic tiles in the 90s, like overnight. At that time I felt I need to face everything based on the realistic of this kind of changing. China has been struggling to be modernized for the past century; from to be westernized till to realize that the nation has to resolve its tradition, and this progress is far from ending. The concept of the “Coffin Paint” series is based on how I modernize a vanished burial tradition. A person’s attitude when making the determinate decision to face its own and lone death, and be able to undertake the uniqueness and individuality of his/her own, thus to enter to a real state of living. The meaning of time is an attitude that connect one’s future and past that make one consistent. I need to use a never-before form to describe the thoughts. If I used any existing forms, it would attach an existing meaning in some kind. “Untitled” series is more about the painting itself. Any kind of formation will “die,” and this is why the traditional formation is hard to sustain the concept of eternity. I have never seen myself as an abstract artist. In China, there is no real modern art, and I don’t have the foundation of abstract art. However, art is always happened among the classics. I don’t really care if these works are abstract art, so I don’t know the contradictory of abstraction with these characters - abstraction and those factors are not what I care the most. When I see life from the dimension of time, everything I experience in a day only occupies a certain period of time. I see the repetition of life and that is what I care about the most. The expression, materials, spaces and textures will come along naturally after this. Although my works don’t have recognizable form, it is still from the reality. My favorite artist, Song Dong, called it Realistic Abstraction. I also think this paradoxical naming is more proper. 2016-03-21 08:58 Nicholas Forrest
48 Morning Links: Shukhov Tower Edition The Shukov Radio Tower. VIA WIKIPEDIA COMMONS ICONS The Shukhov Tower, a 1920s broadcast transmission tower in Moscow that doubles as an icon of modernist structural engineering, has been added to the 2016 World Monuments Fund Watch list of endangered global cultural heritage sites. [The New York Times] A profile of Jean Jullien, the Charlie Hebdo artist behind the cartoons that became “symbols of global defiance.” [The Evening Standard] It’s the spring of Tom Sachs, “mad inventor of the art world.” [Wall Street Journal] Andrew M. Goldstein interviews Team Gallery’s José Freire—”on the messy secrets of his avant-garde, against-the-odds success.” [Artspace] MILLENNIUM Belgian dealers Alice van den Abeele and Raphaël Cruyt are opening a private museum of contemporary art (the Millennium Iconoclast Museum of Art) in Brussels, a city with no public museum of contemporary art. [The Art Newspaper] STUDIES SHOW Here, an explanation for why the average visitor age to L. A.’s Broad Museum is 32—14 years younger than the national average for art museum attendance in the United States. [Los Angeles Times] BLURRED LINES A visit to the TEFAF Maastricht fair, which is eroding the barriers between craft and art. [The Economist] JOSH SMITH Josh Smith at Bonner Kunstverein. [Contemporary Art Daily] 2016-03-21 08:58 The Editors
49 Liang Manqi Plays With Perspective at Contemporary by Angela Li Related Venues Contemporary by Angela Li Following her installation for the gallery at Art Central Hong Kong in 2015, Liang Manqi debuted new work at Contemporary by Angela Li’s Hollywood Road home. “Imaginary Practice,” the artist’s first solo exhibition in Hong Kong, features nine new oil paintings, as well as “Kate’s Space,” a site- specific installation similar to those the artist has undertaken across Asia since she graduated in 2012 from the joint MFA program of Berlin’s University of the Arts and China Academy of Art. Liang’s oil-on-canvas works are made up of geometric abstractions playing with perspective and dimensions, and the installations expand on this idea. Her Art Central space, entitled “Inside | Outside,” for example, was composed of a number of gray trompe l’oeil rods and structures painted onto the walls, with the shifting perspective fragmented further by the works on canvas hung throughout. Although “Kate’s Space” is less reliant on optical illusion than “Inside | Outside,” it still feels like a shifting space, with the walls seeming to recede slightly. The accompanying paintings share this playfulness with dimensions, as well as a pastel color palette that separates them from the primary colors of her last solo show at Seoul’s Arario Gallery. Though largely abstract, the paintings often feature spaces that feel like rooms, which further unites them with her site- specific work, creating a strange world among the gallery’s off-white walls. 2016-03-21 08:15 Samuel Spencer
50 'El Sexto' Arrested Ahead of Obama Cuban Visit Cuban dissident artist Danilo " El Sexto " Maldonado and 50 members of the Ladies in White movement were detained yesterday during a protest in Havana, on the eve of President Obama making the first visit to the country by a sitting US President in 90 years. "A wave of arrests (hundreds and hundreds of people taken into custody) in Cuba in the last day [sic]," said Tor Haldorsen founder of the The Human Rights Foundation, in a statement from Maldonado's gallery . “Including my dear friend the artist Danilo "El Sexto" Maldonado and the leader of the Ladies in White, Berta Soler, both of them recipients of the Vaclav Havel Prize for Creative Dissents. Both of them are in prison at this moment. " The Ladies in White, a group made up of wives of former Cuban political prisoners protest in Havana every Sunday. It was during this weekly protest yesterday—in which the members of Ladies in White walk from church along a regular route—that they were surrounded by government supporters, when the members and those accompanying them began to distribute copies of the Universal Declaration of Human Rights and raised a banner reading: "Obama, traveling to Cuba isn't fun. No to human rights violations," according to Latino Fox News. According to the statement from Maldonado's gallery, the 50 protestors were outnumbered by 300 supporters of the Cuban regime, who blocked their passage, chanting "Fidel, Fidel! " and "This street belongs to Fidel. " It was then that Maldonado and other men accompanying the traditionally female protest were arrested by the Cuban Police and detained. Berta Soler, head of Ladies in White told EFE that they were appealing to President Obama to “give a very clear message of support to the Cuban people, since the U. S. has always wanted the best, and democracy, for the island. " This is the second time that Maldonado has been arrested since being released from his 10- month detention without charge last October. His initial arrest occurred after staging a performance piece that saw him spray paint two pigs with the names Raul and Fidel in criticism of Cuban leaders Fidel and Raùl Castro. He had just recently restaged this performance as part of “PORK," an exhibition of his work at Market Gallery, in Miami. Soler called for the release of all those arrested at the protest in what is being seen as a crackdown on dissidents ahead of President Obama's visit. This may come as a surprise to some, especially after Maldonado's initial release and the Cuban authorities' allowing performance artist Tania Bruguera to travel to the US last August following her release after eight months in prison. Follow artnet News on Facebook. 2016-03-21 07:06 Amah-Rose
51 An Indian On America's View of Indians– THE DAILY PIC (#1515): The title of this photo is Indian Photographing Tourist Photographing Indians, Crow Fair, Montana , and it was taken by the American Indian photographer Zig Jackson in 1991. I saw it on a recent trip to the Portland Art Museum in Oregon, in an important show called " Contemporary Native Photographers and the Edward Curtis Legacy. " I love the way Jackson has turned the tables on the snapshooter in his photo, making her objectification and exoticization of American Indians into the subject of objectification and exoticization of his own. At the moment that the tourist is treating the Indians like creatures in a zoo, Jackson is giving the tourist the same treatment. It did cross my mind, however, that Jackson's table-turning may be doomed to failure. There's a risk that the artist himself, like all artists, may also be treated as an exotic object by the haut- bourgeois artworldians who visit the museum. (Most museumgoers everywhere are rich in either dollars or status.) I could imagine pairing Jackson's images with Tina Barney's photos of America's bluebloods , who are themselves presented as exotic objects, and with Louise Lawler's images of works of art as exotic objects in such bluebloods' homes. Come to think of it, is most visual culture, whatever its subject, really about the exotic object that is “other" than us? (Image courtesy the artist) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-03-21 06:00 Blake Gopnik
52 10 Blockbuster Shows In Europe This Spring Spring has sprung, and it seems so are the blockbuster shows. Big institutions Europe-wide are opening retrospectives of well-known artists, or highlighting influential art periods these next few months, with an interest in approaching the better- known with a fresh eye. We've gathered a list of exhibitions sure to be crowd magnets, encompassing everything from antiquities to Modern and contemporary art, 20th century design, and even music legends. You might want to reserve your ticket online to avoid the queues. 1. “Conceptual Art in Britain 1964-1979" at Tate Britain, London. Spanning 15 years of artwork, “Conceptual Art in Britain 1964-1979" considers the lasting impact fo the conceptual art movement. The exhibition revisits the artworks that went against traditional approaches to place focus on the idea over the product, and surrounds them with other influential artists of their time, featuring works by, among others, Conrad Atkinson , Margaret Harrison , Susan Hiller , Mary Kelly , John Latham , and Richard Long. “Conceptual Art in Britain 1964-1979" will be on view at Tate Britain from April 12 – August 29, 2016. 2. “Sunken cities; Egypt's lost worlds" at the British Museum, London. The cities of Thonis-Heracleion and Canopus were recently discovered due to technological advancements after being submerged underwater for more than a thousand years: their discovery gives us new information about the social and commercial interactions between ancient Egypt and ancient Greece. The British Museum exhibits objects discovered in these lost cities for the first time in the UK, along with potential narratives of the lives of their ancient inhabitants. "Sunken cities: Egypt's lost worlds" will be on view at British Museum from May 19 – November 27, 2016. 3. “ Francis Bacon : Invisible Rooms" at Tate Liverpool. Tate Liverpool opens the largest Francis Bacon exhibition ever in the north of England, with more than 30 paintings to be exhibited. Also shown in the exhibition are seldom-seen drawings and documents: perhaps the viewer can discover something lesser-known and piece together a more complete narrative of this British great. “Francis Bacon: Invisible Rooms" will be on view at Tate Liverpool from May 18 – September 18, 2016. 4. “Exhibitionism: The Rolling Stones" at Saatchi Gallery , London. The Saatchi Gallery presents in April the first-ever exhibition on the Rolling Stones, with a focus on their influence on the art and design worlds. In addition to memorabilia and personal items from the band, "Exhibitionism" includes works by Andy Warhol , Shepard Fairey , Alexander McQueen, and other artists and designers who collaborated with and were impacted by the Rolling Stones. “Exhibitionism: The Rolling Stones" will be on view at Saatchi Gallery from April 5 – September 4, 2016. 5. “ Paul Klee : L'ironie à l'oeuvre" at Centre Pompidou, Paris. More than 250 works by Paul Klee come together from both public and private collections internationally, including the Zentrum Paul Klee, for Centre Pompidou's retrospective of the Swiss-German artist. It is the first major French retrospective of Klee's work in almost half a century, with the last survey being Le Musée National d'art Moderne's in 1969. The exhibition is divided into seven sections based on the time in Klee's life and the context in which the artworks were created, allowing the viewer to follow Klee's life and changing practice. “Paul Klee: L'ironie à l'oeuvre" will be on view at Centre Pompidou, Paris from April 6 – August 1, 2016. 6. “Carl Andre: Sculpture as Place, 1958-2010" at Hambuger Bahnhof, Berlin. In early May, Hamburger Bahnhof will show more than 50 of Carl Andre 's sculptures along with more than 200 of his poems and writings. The exhibition also includes rarely-seen assemblages entitled "Dada Forgeries" alongside personal photographs and letters to give particular insight into the evolution of an American artist who repeatedly redefined sculpture. “Carl Andre: Sculpture as Place, 1958-2010" will be on view at Hamburger Bahnhof, Berlin from May 5 – September 18, 2016. 7. “Manet, Painting the Gaze" at Hamburger Kunsthalle, Hamburg. Marking the reopening after renovations, Hamburger Kunsthalle introduces its refurbished space with an extensive exhibition of Manet works. The show considers the controversy of Manet's work, especially surrounding his tendency to paint his subjects in a way that makes the viewer feel they have entered a personal or intimate space. Even over 100 years after his death, Édouard Manet still forces an intriguing reconsideration of who is being seen and who is doing the seeing. "Manet: Painting the Gaze" will be on view at Hamburger Kunsthalle from May 27 – September 4, 2016. 8. "A History: Contemporary Art from the Centre Pompidou" at Haus der Kunst, Munich. Haus der Kunst invited Centre Pompidou curator Christine Macel, who is also the artistic director of the upcoming Venice Biennale in 2017 , to curate this exhibition based on change in the art world in the second half of the 20th century, following events such as the fall of the Berlin Wall and the events of Tiananmen Square. "A History: Contemporary Art from the Centre Pompidou" features more than 160 works from 100 different artists on loan from the Parisian institution, including Jean-Michel Basquiat and Thomas Hirschhorn. The choice to select only contemporary works made since the 1980s asks the viewer to consider what defines this period. "A History: Contemporary Art from the Centre Pompidou" will be on view at Haus der Kunst, Munich from March 25 – September 4, 2016. 9. “The New Human" at Moderna Museet, Stockholm. "The New Human" in Stockholm features numerous established artists alongside up-and- coming ones, all posed with the same question: What is the human condition today? In the current contexts of globalization, migration, and technological advancement, where do we stand in relation to each other, and in relation to ourselves? The video-based exhibition features works by Ed Atkins , Frances Stark , Hito Steyerl, and Ryan Trecartin among others, all questioning the current state and future fate of humanity. "The New Human"will be on view at Moderna Museet, Stockholm from May 21 – 4 December, 2016. 10. “Charles and Ray Eames" at Bild Museet in Umeå . The Bild Museet explores the interactions between product and person in a retrospective of one of the most influential design pairs in history. Including furniture pieces, products, models, and illustrations but also private memorabilia such as photographs and letters, the show explores the forces which influenced Charles and Ray Eames , and the influence they hold on the design world. "Charles and Ray Eames" will be on view at Bildmuseet, Sweden from April 17 – September 4, 2016. Follow artnet News on Facebook. 2016-03-21 05:56 Harlie Rush
53 mecanoo completes last renovation of villa 4.0 in the netherlands mecanoo completes last renovation of villa 4.0 in the netherlands image © pedro kok all images courtesy of mecanoo dutch studio mecanoo has completed the last of a series of renovations on a 1967 home in hilversum, the netherlands, called villa 4.0. the original floor plan began as a somewhat hexagonal form in a lush green site surrounded by a natural wall of dense trees and a small brook running along one side. over the years, various owners have added onto the house to accommodate a larger program but in turn have also made the house increasingly more inward-looking and disconnected from the site. as a result, the design strategy was based on re-opening the home to the exterior while updating the structure’s sustainable performance. to begin with, all windows were replaced with more high efficient glazing, and outer walls and roofs were given insulation. image © pedro kok the walls in the central area of the house were demolished to open up a new living area with views on all four sides to the exterior. off of this space, the only addition project out onto the site- a pavilion fully enclosed in glass walls extends out towards the brook, placing the interior within the exterior setting. opaque and transparent walls alternate to form new views of the outside naturally guarded by the surrounding vegetation. much of the fenestration is oriented to the south so that the home can be heated naturally by sunlight in the winter, while a new concrete floor contains a radiant heating system that lends to the energy efficiency of the house. white interiors help refract the natural light throughout while skylights in the polygonal roof illuminate the deeper spaces so the interior now feels more a part of the exterior. the house is renovated to become more connected with the exterior image © pedro kok site lines through the house offer views of the site from all angles image © pedro kok glass pavilion extends into the site offering views of the outside image © pedro kok large skylights help the house feel as part of the outdoors image © pedro kok size: 542 m2 status: completed project design: 2008 – 2009 project realisation: 2010 – 2011 address: hilversum, the netherlands client: private design team: dick van gameren in collaboration with iding interior design and michael van gessel landscape program: fourth time renovation of an originally 1967 villa. awards: bna project of 2012 2016-03-21 02:30 Danny Hudson
54 [VIDEO] The Age of Tolstoy and Tchaikovsky Relived Through Portraits at the National Portrait Gallery, London Related Venues National Portrait Gallery Anton Chekhov, Fyodor Dostoevsky, Nikolai Rimsky-Korsakov, Igor Mussorgsky … the Who’s Who of Russia’s artistic golden age are being celebrated at the National Portrait Gallery by a portrait exhibition. A testament to the vibrancy of Russia’s cultural life in the late 19th century and early 20th century, “Russia and the Arts: The Age of Tolstoy and Tchaikovsky” features 26 portraits of key figures painted between 1867 and 1914. The portraits had been commissioned or bought directly by Pavel Tretyakov, a merchant and philanthropist who founded the State Tretyakov Gallery in Moscow, and are on loan from the Russian gallery under a cultural exchange program — “Elizabeth to Victoria: British Portraits from the Collection of the National Portrait Gallery” will open at the State Tretyakov Gallery on April 21. Beyond putting the spotlight on celebrated artistic icons, the exhibition also highlights a new self- confidence developing in Russian portraiture during the period, moving from the Realism of the 1870s and 1880s to the brighter hues of Russian Impressionism and the increasing stylization of figures toward the end of the Tsar’s rule. Amongst the highlights are Vasily Perov’s portrait of Dostoevsky, the only portrait the writer posed for, Valentin Serov’s portrait of the actress Maria Ermolova, painted over the course of 32 sittings, and his portrait of the art patron Ivan Morozov in front of a painting by Matisse that Morozov had just acquired (photo). To learn more about this exhibition, BlouinArtinfo talked to Rosalind P. Blakesley, the curator of the exhibition in this video. 2016-03-21 02:03 Sonia Kolesnikov
Total 54 articles. Created at 2016-03-22 00:03