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42 articles, 2016-05-31 18:05 1 Clifton Benevento Gallery Closes Today, Spanish Police Arrest Seven over Stolen Francis Bacon Paintings, and More (2.04/3) A daily round-up of must-read news from the art world and beyond. 2016-05-31 10:24 734Bytes www.blouinartinfo.com 2 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think (1.02/3) fragmented... 2016-05-31 10:20 1KB gdusa.com

3 vo trong nghia venice architecture biennale at the venice biennale, we interview vo trong nghia who has created a small bamboo forest to highlight his firm's recognizable work with bamboo. 2016-05-31 13:18 3KB www.designboom.com (0.02/3)

4 new rome EUR convention center by fuksas nears completion designed by studio fuksas, rome's EUR convention center is nearing (0.01/3) competition ahead of its opening in autumn 2016. 2016-05-31 13:00 2KB www.designboom.com 5 Bella Hadid to Front Dior Makeup The model is to walk Dior’s cruise show at Blenheim Palace and appear in a series of online videos. 2016-05-31 08:00 845Bytes (0.01/3) wwd.com

6 Reza Derakshani’s Palpable Paintings at the Russian Museum The State Russian Museum in St. Petersburg has opened a major (0.01/3) retrospective of works by contemporary Iranian artist Reza Derakshani 2016-05-31 00:45 3KB www.blouinartinfo.com 7 Psychedelic Polka Dots Color Kusama's Latest Show The mega-artist's mesmerizing new exhibition features three new mirror rooms, pumpkin sculptures, and 'infinity net' paintings. 2016-05-31 12:35 3KB thecreatorsproject.vice.com 8 billie tube amplifier by heaven 11 audio moving away from the trend of generic design and disposable materials, heaven 11 audio billie’s shell is made of thick, machined aluminum. 2016-05-31 12:30 2KB www.designboom.com

9 Shia LaBeouf Wants You to Pick Him Up: Last Week in Art LaBeouf, Rönkkö, & Turner are touring the US with strangers for their new project #TAKEMEANYWHERE. 2016-05-31 12:25 4KB thecreatorsproject.vice.com 10 naoto fukasawa driade the japanese designer combines natural stone with rich wood to realize his 'ten' armchair and 'ci' table for driade. 2016-05-31 11:05 1KB www.designboom.com 11 pawel nolbert's reconstructed realities perplex the senses with fictional filters in thinking about the increasing distortion of reality through social media, pawel nolbert has created his own 'perfect' vision of the world around him 2016-05-31 10:40 2KB www.designboom.com 12 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille 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 opi... 2016-05-31 10:00 985Bytes blogs.walkerart.org 13 Paris Aims to Woo International Visitors With Major Campaign The launch of the campaign comes a few days before the UEFA Euro 2016 soccer tournament and while transport strikes and demonstrations against France’s Socialist government’s proposed labor law loo… 2016-05-31 09:29 5KB wwd.com 14 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker's rooftop terrace, the first of 17 new outdoor works that will be joining the newly-renovated Walker campus. The piece—Arcs fr... 2016-05-31 10:00 875Bytes blogs.walkerart.org 15 AD+studio realizes light filled transiting-step house in vietnam a funnel-shaped atrium draws natural light deep into the narrow plot, creating a bright interior that defies the plot's two-sided enclosure. 2016-05-31 08:45 1KB www.designboom.com

16 Boyd Holbrook to Front New Diesel Scent The American actor, soon to feature in the latest Wolverine movie, will front the campaign for the new men’s fragrance, launching in August. 2016-05-31 08:30 1KB wwd.com 17 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-31 10:00 12KB rhizome.org 18 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your... 2016-05-31 10:00 837Bytes blogs.walkerart.org 19 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood a... 2016-05-31 10:00 832Bytes blogs.walkerart.org 20 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power... 2016-05-31 10:00 22KB www.walkerart.org 21 Gwangju biennale Reveals Participating Artists With the announcement of the 2016 Gwanju Biennale's participating artists, we look at the theme and global importance of this South Korean biennial. 2016-05-31 06:17 4KB news.artnet.com 22 mckay nilson's woodrow stereo in collab. with swarm design deceptively simple, the wooden, wall-mounted unit was developed as a functional piece to re-introduce human engagement to the music listening experience. 2016-05-31 06:15 2KB www.designboom.com

23 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-31 10:00 972Bytes blogs.walkerart.org 24 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapo... 2016-05-31 10:00 868Bytes blogs.walkerart.org 25 Charlie Chaplin, Modernism's Greatest Muse Read THE DAILY PIC on a MoMA show of early avant-garde magazines; one admires Chaplin's genius. 2016-05-31 06:00 1KB news.artnet.com 26 Félix González-Torres at Hauser & Wirth, London The London exhibition focuses on work from 1991, a year that commenced for Felix Gonzalez-Torres with the death of his partner Ross Laycock. 2016-05-31 04:55 6KB news.artnet.com 27 Top 5 New Galleries in Tokyo We spoke with the owners and directors of five of the newest Tokyo contemporary art galleries to get a sense of who the most promising younger Japanese artists are, and where the scene might be heading in the next few years. 2016-05-31 04:40 11KB www.blouinartinfo.com 28 alfalfa studio translates well known plays into graphic posters for amphibian theater in texas alfalfa studio designed a series of playful posters to celebrate the 17th theater season at the amphibian stage in fort worth, texas. 2016-05-31 04:05 2KB www.designboom.com 29 Burberry’s Latest Campaign Embraces New Singular Label, Buy Now, Wear Now Strategy Campaign features a mix of original illustrations and images by Mario Testino. 2016-05-31 04:01 2KB wwd.com 30 America's Most Impressive Pigment Collection Harvard's Straus Center for Conservation houses a collection of over 2,500 rare, eye-catching pigments, which are displayed in the center's analytical labs. 2016-05-31 04:01 3KB news.artnet.com

31 Rijksmuseum Names New General Director Taco Dibbits has been appointed the new general director of the Rijksmuseum in Amsterdam, and will replace Wim Pijbes. 2016-05-31 03:57 2KB news.artnet.com 32 The Dominican Republic Burgeoning Art Scene The Dominican Republic lacks a boisterous commercial gallery scene, so its nascent but growing art sector relies almost entirely on private, largely corporate, philanthropy. 2016-05-31 03:00 5KB www.blouinartinfo.com 33 team living residence by masatoshi hirai architects atelier designed for the whole, team living is a perception-changing project that focuses on the diverse relations that influence personal identity and the home. 2016-05-31 02:15 2KB www.designboom.com 34 What’s on TV Tuesday Maya Rudolph and Martin Short revive the classic variety show. And Sally Field plays an invisible officer worker in “Hello, My Name Is Doris.” 2016-05-31 00:00 3KB www.nytimes.com 35 Women on Broadway: A Year of Living Dangerously Roles were spread around this year, but women are often still playing victims. Our critics discuss what worked, what didn’t and what they hope to see. 2016-05-31 00:00 12KB www.nytimes.com 36 'la cité du vin' in bordeaux by XTU architects in bordeaux, french practice XTU architects has completed ‘la cité du vin’, a curvaceous building that celebrates the region’s unparalleled wine industry. 2016-05-30 23:44 3KB www.designboom.com 37 Japanese Hologram Pop Star Hatsune Miku Rolls Into New York WWD goes inside the computer-generated pop star’s New York concerts, which drew a combined audience of 7,000 this past weekend. 2016-05-30 23:15 6KB wwd.com 38 Ink and Antiquities Shine at Christie’s “30 Years: The Sale” Antiquities and older Chinese ink works were the most hotly contested lots at Christie's “30 Years: The Sale” in Hong Kong on May 30. 2016-05-30 23:11 2KB www.blouinartinfo.com 39 xavier delory conceals le corbusier's church of firminy behind a layer of grime xavier delory has envisioned le corbusier's church of firminy in france in a state of ruination, its light concrete façade concealed behind a layer of soot. 2016-05-30 23:05 2KB www.designboom.com 40 VIDEO: Dirimart Opens New Gallery Space in Istanbul VIDEO: Dirimart Opens New Gallery Space in Istanbul 2016-05-30 22:00 2KB www.blouinartinfo.com 41 Elodie K. Launches Fine Jewelry and Enhanced Web Site, New Retail Store to Follow Elodie Khayat launched her fine-jewelry line and enhanced web site, with a second retail store slated for the summer. 2016-05-30 20:29 3KB wwd.com 42 shaddai yacht concept by gabriele teruzzi the captivating vantage point by gabriele teruzzi houses the owner’s cabin to watch sunsets and together with the infinity pool. 2016-05-30 18:25 1KB www.designboom.com Articles

42 articles, 2016-05-31 18:05

1 Clifton Benevento Gallery Closes Today, Spanish Police Arrest Seven over Stolen Francis Bacon Paintings, and More (2.04/3) Related Venues Clifton Benevento Dulwich Picture Gallery Wallace Collection Artists Polly Apfelbaum Wu Tsang Francis Bacon David Shrigley Isa Genzken 2016-05-31 10:24 Taylor Dafoe

2 2016 American Package Design Awards (1.02/3) Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-31 10:20 GDUSA Staff

3 vo trong nghia venice architecture biennale (0.02/3) titled ‘human-meditation-nature’, vo trong nghia architects presents an installation at the venice architecture biennale. speaking to designboom, the architect explains how the aim of his projects is to create buildings that provide a welcoming landscape, while reconnecting people with nature. known for his green-filled architecture, the installation inside the central pavilion visualizes as a small forest of bamboo and plants. visitors are invited to walk through the structure and in turn, show that architecture is not just about function and beauty, but an approach to connect people with nature. designboom talks to architect vo trong nghia at the venice biennale video © designboom furthermore, vo trong nghia provides insight into his studio in vietnam. ‘we see meditation as a beneficial pathway to help people to avoid ignorance, purify their minds, improve their lives and bring people closer to nature. the staff at vo trong nghia architects are required to meditate twice a day and attend 10-day meditation courses throughout the year to continuously reconnect with nature, as well as to understand their minds at a deeper level. it helps to resist cravings, improve concentration and sensitivity to our surroundings, as well as better decision-making in improving our society, not just for our personal interests.’ view our coverage of vo trong nghia architect’s projects here. the installation invites visitors to move around and become immersed in the small forested landscape image © designboom ‘within this forest of bamboo and plants, we invite you to meditate and reawaken your relationship with nature.’ plants are integrated into the bamboo structure image © designboom designboom is reporting live from venice ahead of the biennale’s public opening on may 28th. follow our ongoing coverage of the event here, and stay tuned to our dedicated instagram account — @venice.architecture.biennale — where designboom’s editorial team will continue to feature the latest photos, interviews, and exhibitions live. join us by sharing your favorite images from the biennale using the hashtag #biennaleBOOM. the ‘human-meditation-nature’ installation is located inside the central pavilion at the giardini image © vo trong nghia architects the architect believes that nature can be used to alleviate social issues by encouraging communication among people image © designboom vo trong nghia with simón vélez – both known for their use of bamboo – pictured at their shared exhibition space read our coverage on simón vélez’s exhibit here. image © designboom 2016-05-31 13:18 Natasha Kwok

4 new rome EUR convention center by fuksas nears completion (0.01/3) designed by studio fuksas, rome’s new convention center is nearing competition ahead of its opening in autumn 2016. located in EUR, a historic district of the italian capital located south of the city core, the project will total 55,000 square meters. the design is composed of three distinct architectural gestures: the ‘theca’ — a longitudinally- oriented steel and glass box; the ‘cloud’ — a geometrically undefined shape positioned inside the ‘theca'; and the ‘blade’ — an autonomous edifice containing a 439-room hotel. the focal point of the scheme is the ‘cloud’, a steel-ribbed structure covered with a translucent curtain measuring a total of 15,000 square-meters. this part of the design exists in direct contrast with the rational building that surrounds it, containing an auditorium for 1,850 people and various support services. a parking garage for up to 600 cars is found at the complex’s underground level. the focal point of the scheme is the ‘cloud’ once complete, the flexible building will host a range of events, including conferences and exhibitions. an eco-friendly approach underscores the design, with an integrated climate control system that allows optimal energy use. the building’s façade incorporates photovoltaic panels that not only help produce energy, but also protect the building from overheating through the mitigation of solar radiation. see designboom’s previous coverage of the project here. the ‘cloud’ exists in direct contrast with the rational building that surrounds it once complete, the flexible building will host a range of events the convention center is set to open in autumn 2016 2016-05-31 13:00 Philip Stevens

5 Bella Hadid to Front Dior Makeup (0.01/3) RELATED STORY: Dior Raises a Pint at London Pub Ahead of Resort Show at Blenheim Palace >> The first episode, due out on June 6, will show her backstage with Peter Philips, creative and image director for Dior Makeup , talking about her favorite items. RELATED STORY: Dior’s English Invasion: London Flagship Crowns Resort Showing >> 2016-05-31 08:00 Miles Socha

6 Reza Derakshani’s Palpable Paintings at the Russian Museum (0.01/3) Related Artists Reza Derakshani The State Russian Museum in St. Petersburg has opened a major retrospective of works by contemporary Iranian artist Reza Derakshani , following the success of “ Reza Derakshani : The Breeze at Dawn” at London’s Sophia Contemporary Gallery. Born in Sangsar, Iran in 1952, Derakshani is a painter, poet, musician, and performance artist whose painting practice is grounded in Iranian artistic traditions and influenced by the Italian colorist and American abstract expressionist traditions. The exhibition at the Marble Palace of The Russian Museum in St. Petersburg surveys Derakshani’s career to date, and includes works from “The Breeze at Dawn” at Sophie Contemporary Gallery which consisted of all new works from a number of ongoing series, including the “Hunting,” “Pomegranate,” and “Garden Party” series, as well as two large paintings from a new, previously unexhibited “Calligraphy” series. Derakshani’s ’s colourful, bold, and dynamic paintings exist somewhere between abstraction and figuration. His dynamic brushstrokes reveal the influence of the textured surfaces from Western abstract art movements, while also reflecting his Iranian identity and imagination. His fearless exploration of form and style is derived from what he describes as “a meditative solitude that results in pure freedom of self-expression” Commenting on the exhibition, Alexander Borovsky, Head of the Department of Contemporary Art at the The State Russian Museum said: “We (The State Russian Museum) decided to exhibit an Iranian artist for two reasons. Firstly, the ancient Iranian culture is well-known in Russia. It has been a part of our cultural (academician) tradition ever since the nineteenth century. Secondly, we were excited by the thought of being one of the first national museums to exhibit work from this territory. “We have seen how China and India have begun to play an increasingly important role in the international art scene – both in museums and the art market – and we think the next one could be Iran. It was our friend, collector and, the co-founder of Sophia Contemporary Gallery, Vassili Tsarenkov who turned our attention to Reza Derakshani , one of Iran’s leading contemporary artists. “Why did we chose him? Derakshani's generation has been through all sorts of turmoil. Reza is not a political artist, not at all, but the seismic waves of this civilisation's troubles is hidden ‘inside’ his artworks. What is interesting (for me, for example) is that Reza connects very contemporary ideas and subjects (even gender problems in works like ‘Masters of Pleasure’) with a very individual vision of his cultural tradition. “He fills himself like a fish in the waves of contemporary art, (he moves seamlessly from photo-based imagery to concept-led pieces). His work is the opposite of stylization. Stylization is the plague of every art practice based on such strong tradition, including Iranian art. But Derakshani has the antidote to stylization in his practice: he articulates ‘the art of memory.’ Derakshani works in the visual, the mental and the acoustic. You need only look at the Pomegranate series to see this.” “ Reza Derakshani ” is at the State Russian Museum in St. Petersburg until July 25 2016-05-31 00:45 Nicholas Forrest

7 Psychedelic Polka Dots Color Kusama's Latest Show Yayoi Kusama Chandelier of Grief, 2016. Courtesy KUSAMA Enterprise, Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London © Yayoi Kusama Japanese mega-artist Yayoi Kusama 's work has taken over the London gallery Victoria Miro 's two locations, along with their waterside garden. Known for her polka dot designs and artworks that explore a kind of immersive surrealism, but also touch on Minimalism, Pop art, the Zero and Nul movements, Abstract, and Feminist art, the 87-year-old artist's latest features numerous new works including paintings, sculptures, and her signature psychedelic mirror rooms. There three mirror rooms center the new exhibition: Pumpkin’s Infinity Mirrored Room , Chandelier of Grief , and Where the Lights in My Heart Go , where the public can be overwhelmed by mutiplying reflections for reflection, contemplation, or most likely, hypnotic amazement. All the Eternal Love I Have for the Pumpkins, 2016. Courtesy KUSAMA Enterprise, Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London © Yayoi Kusama The rooms explore Kusama's interest in the infinite and boundless, themes that can also found in her intricate paintings. These feature multiplying polka dots and "infinity net" patterns. Also included are continuations of her My Eternal Soul series, which began in 2009 and features eyes, faces, and abstract forms that hum together in improvisational unity. Both the paintings and the rooms conjure a chimeric, visionary state. "Kusama’s obsessive repetition of these forms on canvas, which she has described as a form of active self-obliteration, responds to hallucinations first experienced in childhood," notes the gallery. "The pumpkin, another motif that she has returned to throughout her career, is also present in the form of new polished mirror sculptures. " Kusama's 2015 museum tours in Asia, Central and South America, and Scandinavia all saw record attendances and her exhibitions were the most visited in the world last year—testament to her engaging pop art visuals and the appeal of the enveloping, interactivity of the mirror rooms. She was also 2014's most popular artist. Check out some shots of the artist's latest exhibition, below. Installation, Yayoi Kusama. Courtesy KUSAMA Enterprise, Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London © Yayoi Kusama Yayoi Kusama at Victoria Miro is on now until July 30, 2016 at 16 Wharf Road, London N1 7RW and 14 St George Street, London W1S 1FE. Related CGI Short Animates Ai Weiwei and Kusama Masterpieces Kids Critique: Yayoi Kusama's 'Give Me Love' This Mirrored Rainbow Room Is a Playground for Light 2016-05-31 12:35 Kevin Holmes

8 billie tube amplifier by heaven 11 audio locally built billie tube amplifier by heaven 11 adds analog smoothness to any digital library locally built billie tube amplifier by heaven 11 adds analog smoothness to any digital library all images courtesy of heaven 11 audio named after jazz icon billie holiday, the heaven 11 audio ‘billie’ amplifier plays every type of music source, whether it’s from a phone, television, spotify or vinyl. moving away from the trend of generic design and disposable materials, ‘billie’s’ shell is made of thick, machined aluminum. the simplified casting details are balanced by warm, crafted hardwood knobs all crafted in canada. ‘our goal is to go beyond soundbars and bluetooth speakers, back to how music was meant to be experienced.’ explains itai azerad, heaven 11 co- founder and designer. ‘we believe that the stereo system is still the best way to experience that ‘live in the room’ feeling. we’re not about ‘multi-room’, we’re about ‘in the room’.’ combining the detailed sound staging of digital to the round, analog smoothness of tubes, ‘billie’ features ICEpower amplification by bang & olufsen. it comes with a custom-built tube preamp and a powerful headphone amp for added flexibility. the amplifier can also connect to a pair of headphones ‘we designed something for the pragmatic audiophile because we couldn’t find it out there,’ continues azerad. ‘we built an affordable high-caliber amp that plays all of your music collection – be it vinyl, hi-res digital, line or wireless. design is not just aesthetics, it’s how we use an object, what the object communicates to us and about us. I believe a stereo’s design ought to be closer to an electric guitar than a cable box -what most stereos look like these days. an electric guitar is quite a functional tool, -not too many useless knobs on there- but it’s also such an intimate object, there’s a mystery about it, you gotta feel a connection, you gotta want to touch it.’ heaven 11 audio is a montreal-based company founded in 2015 by itai azerad and andre keilani, two product designers with a lifelong passion for music. the flexible form can be placed anywhere in the home the ‘billie’ also comes in black aluminum 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. 2016-05-31 12:30 Itai Azerad

9 Shia LaBeouf Wants You to Pick Him Up: 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: + For 30 days, LaBeouf, Rönkkö & Turner are hitchhiking across the United States for their new project, #TAKEMEANYWHERE. The trio is posting their GPS coordinates to their Twitter accounts and whoever picks them up first is their ride to their next set of coordinates. Follow their journey on their very own VICE URL. [ VICE ] + A prankster left glasses on the floor of the new SFMOMA and people thought it was art. Twitter and (modern art skeptics) went wild. [ SF Gate ] + Children destroyed a piece of art at the Shanghai Museum of Glass while two adults stood peaceably by, filming them on their smartphones. [ Huffington Post ] + The oldest known cave art, dating back to over 39,900 years ago, was found in Indonesia. [ CNN ] Via + Guccifer, the computer hacker assumedly behind the leaks of George W. Bush's secret painting career and Hillary Clinton's email, pled guilty Wednesday in a U. S. District Court to identity theft. When sentenced later this year, he will be imprisoned for two to seven years. [ AP ] + The Smithsonian's National Museum of the American Indian held an emergency meeting, with NGO officials, tribal leaders, and government representatives, to cancel an auction of human remains and sacred indigenous objects in Paris. [ Hyperallergic ] + Google's Magenta project, due to launch at the end of 2015, is investigating AI systems' capacities to create original artwork, music, and videos. [ Quartz ] + A subversive light display in Hong Kong was canceled after accusations of "disrespect. " The artists behind the show, Sampson Wong and Jason Lam, had been using the lights in a financial skyscraper to project a countdown to June 1, 2047—the date when Hong Kong's exceptional relationship with mainland China expires. [ The Guardian ] Via + A Zaha Hadid penthouse in New York is now on the market for a mere $50 million. [ artnet News ] + Rome's historic sites are in danger of becoming ruins due to Italy's financial crises. [ The Guardian ] + SFMOMA allegedly appropriated this pastry chef's Modern Art Desserts. [ San Francisco Chronicle ] + These are the most expensive female artists of all time, according to artnet News. [ artnet News ] Via + The love locks on Paris' Pont des Arts bridge, removed a year ago Tuesday, are being replaced by rotating art exhibitions. First up: Daniel Hourdé's enchanting La Passerelle Enchanté. [ Newsweek ] + After last week's protests, Brazil has reinstated its culture ministry. [ Art Forum ] + Finally, the battle between Larry Gagosian and Qatar regarding a multimillion dollar Picasso sculpture is over, but the public has been left in the dark: no definitive details about the settlement have been released. [ Financial Times ] + Beyoncé fit right in at the William N. Copley retrospective at the Menil Collection in Houston. [ ARTnews ] Did we miss any pressing art world stories? Let us know in the comments below! Related: Fake Art Heists and Big Ceramic Dicks: Last Week in Art $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Art Fair Asses and New Radiohead: Last Week in Art NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes | Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art ¡Artistas, Arrested! : Last Week in Art [Cuba Edition] Kanye Kissing Kanye: Last Week in Art 2016-05-31 12:25 Sami Emory

10 naoto fukasawa driade naoto fukasawa bonds sky and earth with 'ten' armchair and 'ci' table for driade naoto fukasawa bonds sky and earth with ‘ten’ armchair and ‘ci’ table for driade naoto fukasawa combines natural stone with rich wood to realize his ‘ten’ armchair and ‘ci’ table for driade. ‘ten’ (‘sky’ in japanese) is an ample seating design with a moderately reclined back that is upholstered in either removable fabric, or a fixed leather cover. ‘ci (‘earth’ in japanese) on the other hand is a low sitting table that features a rounded calacatta carrara marble top. both are supported by either ebonized european ash or natural mahogany legs, adding a certain warmth to the collection. together, ‘ten’ and ‘ci’ form a lounge area that harmoniously blends into any interior space—from the classical to the metropolitan. ‘ten’ armchair W76 x D80 x H75 cm ‘after calling the small armchair ‘ten’ (sky in japanese), I thought it might be natural to name the small table ‘ci’, which designates the surface of the earth. the bond between ‘ten’ and ‘ci’, sky and earth, was instinctive.’ – naoto fukasawa ‘ten’ and ‘ci’ by naoto fukasawa for driade were presented at salone del mobile 2016. the ‘ci’ table features a calacatta carrara marble top, supported by a solid mahogany or ebonized ash wood frame the ‘ten’ armchair sits on either solid mahogany or ebonized ash wood feet image © designboom installation view of naoto fukasawa’s ‘ten’ armchair and ‘ci’ table for driade at the 2016 salone del mobile image © designboom 2016-05-31 11:05 Andrea Chin

11 11 pawel nolbert's reconstructed realities perplex the senses with fictional filters in thinking about reality, and its increasing distortion through social media filters and digital enhancement, new york-based designer pawel nolbert has created his own ‘perfect’ vision of the world around him. the series ‘constructed’ draws from themes of human memory, perception of truth, and the creation of subjective, doctored realities often shared through social platforms like instagram. ‘we construct our reality in our own way,’ nolbert describes. ‘we do that everyday on our instagram, blogs and other carefully-curated outlets. knowing that the world around us doesn’t look like this, we somehow want to believe that all those often extremely filtered and post-processed images in our ig-stream are actually the real thing.’ the designer has imagined his own ‘perfect’ vision of the world around him for ‘constructed’, nolbert mixes travel photography with computer-based graphics, neon-hued backdrops and colorfully painted geometries. seamlessly integrated into the scenes, pastel pink skies meet surreal shapes in the landscape, blurring the line between what is real, and what has been digitally added. these vibrant fictional entities highlight the artist’s own strong recollection of color, and their presence in his memory despite them truly existing — or not. for nolbert, the creation of the series raised questions like: where does the ‘photo’ end and the ‘graphy’ begin? what tools make something a photograph, rather than a graphic? does it make sense to create that distinction anymore? ‘constructed’ draws from themes of human memory and perception of truth the project probes the doctored realities often shared through social platforms like instagram neon-hued backdrops and colorfully painted geometries are integrated into the landscape the images blur the line between what is real and what has been digitally added vibrant fictional geometries highlight the artist’s own strong recollection of color the series raises questions such as: where does the ‘photo’ end and the ‘graphy’ begin? 2016-05-31 10:40 Nina Azzarello

12 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille 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, Patrick Marschke shares his perspective on Saturday night’s performance of Devendra Banhart & […] 2016-05-31 10:00 By

13 Paris Aims to Woo International Visitors With Major Campaign “In Paris, we continue to live,” said Paris Mayor Anne Hidalgo at a press conference for the launch held at the Eiffel Tower, also attended by French Minister of Foreign Affairs and International Development Jean-Marc Ayrault and Jérôme Chartier, vice president of the Paris region council. “Children go to school, people go to work — sometimes they’re on strike — they go to restaurants, theaters, etc. There’s life. We must send the positive message. We won’t stop living and we are taking the necessary measures to ensure security,” Hidalgo added. In mid-May, the French parliament extended the country’s post-attacks state of emergency until the end of July in order to cover the UEFA Euro 2016 soccer tournament, set to take place in Paris and other French cities from June 10 to July 10, and the Tour de France cycling race, scheduled from July 2 to 24. The launch of the campaign comes a few days before the soccer championship and while transport strikes and demonstrations against France’s Socialist government’s proposed labor law look set to continue. “There must be dialogue to get out of the situation, which is temporary. I am confident [in the dialogue], given the stakes,” Hidalgo continued. “It’s a crucial time for tourism, which has been ailing for more than six months. It’s an essential sector that employs 500,000 in the Paris region, represents 21 billion euros [or $23.33 billion at current exchange] in economic benefit, and almost 75,000 companies,” noted Chartier. Paris remained the first touristic destination in the world in 2015, with 16 million visitors. But the November 13 attacks continue to weigh on tourism numbers. In the first quarter of this year, the hotel occupancy rate in the French capital was 57.3 percent, down 7.7 points compared to the prior year. Also in the first quarter of 2016, the level of Japanese tourists dropped 56 percent; Italians, 24 percent, and Russians, 35 percent, according to the Paris Ile-de-France Regional Tourism Committee (CRT Paris Ile-de- France). Meanwhile, the number of Chinese visitors decreased 13.9 percent, versus their 49 percent increase in full-year 2015. The campaign — financed primarily by the government (one million euros, or $1.11 million at current exchange) and the city alongside the Paris tourist and convention office (800,000 euros, or $888,856 at current exchange) — includes advertising visuals. They feature a raspberry macaroon; a park or a colorful street art fresco–and are festooned with the slogan “Made in Paris.” Visuals will be used online and plastered in print across the capital, some other cities abroad, in airports and in French embassies, starting in June. In addition, Jalil Lespert, the “Yves Saint Laurent” and “Versailles” director, was tapped to direct a promotional film. “We are going to portray the splendor of Paris,” said Lespert at the conference. He told WWD it comprises 90-second to two-minute clips starring both French personalities and foreigners who live in Paris. The shoot is to take place in the coming days. There’s also a P. R. component to the campaign, which includes flying foreign journalists and trendsetters into town for themed events. After a focus on gastronomy earlier this year and on Parisian nightlife (slated for this weekend to coincide with the ‘We are Green’ festival and ‘The Weather Festival’), there’s a luxury theme in the pipeline and another one focused on shopping (set to take place around the French winter sales period in January), Nicolas Lefebvre, managing director of the Paris tourist and convention office, explained to WWD. Initiatives are targeting 16 key markets starting with European countries and the U. S., said Lefebvre. “We speak a lot about Asian tourists. But Europeans and Americans make up the bulk of the troops; they’re the ones we can get back in the near term,” he said. Earlier in the day, the CRT Paris Ile-de-France alerted the French government to the gravity of the situation that’s exacerbating already low visitor levels. The Paris region’ governing body stated that the social movements visible in central Paris, which have been reported globally, “reinforce the feeling of fear and confusion of visitors in an environment that’s already anxiety-inducing, following the prolongation of the state of emergency,” the CRT stated. “There is still time to save the touristic season by breaking these deadlocks, which have been reported worldwide,” Frédéric Valletoux, the CRT’s president, explained. 2016-05-31 09:29 Laure Guilbault

14 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker’s rooftop terrace, the first of 17 new outdoor works that will be joining the newly- renovated Walker campus. The piece—Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black […] 2016-05-31 10:00 By

15 15 AD+studio realizes light filled transiting-step house in vietnam AD+studio contrasts terra-cotta brick, black steel, and marble in ‘transiting-step’, a residential project in ho chi minh city, vietnam. a typical row house, the plan measures 4x15m with a total of four levels. to bring light into the deep plot enclosed on both sides, spaces were pushed to the periphery. this allowed for the creation of a funnel-shaped central atrium, in which are placed staggered stairwells that mimic the gradually widening space. private and common areas are given distance between one another, providing privacy where needed and more sunlight to common rooms closer to the façade. flights of stairs in the atrium create a ‘stepping space’ top level working space, entrance to front garden via glass corridor to the right 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. 2016-05-31 08:45 Ad Studio

16 Boyd Holbrook to Front New Diesel Scent SCULPTING AN IMAGE : Boyd Holbrook is to be the face of a new Diesel men’s fragrance, due out this August, L’Oréal, owner of the brand’s fragrance license, has revealed. The “Gone Girl” actor is soon to star as the leading villain in the next Wolverine movie, and currently features in Netflix series “Narcos.” Also an avid sculptor, he is no stranger to modeling; Kentucky-born Holbrook signed with Elite Models in 2001 and used the money he made walking the runways to study film at New York University. Among his more recent modeling credits, he appeared in Dior Homme’s fall 2015 campaign. 2016-05-31 08:30 Alex Wynne

17 On the Gaze in the Era of Visual Salamis Looking at my.pdf library I recently came across Monte Burch's The Complete Guide to Sausage Making , a book that clearly—and perhaps morbidly—describes some key features of this ancient and mysterious practice. Throughout the reading of this document I somehow realized that I had been learning not only about sausage making as such, but also the mode of existence of some digital images, with whom I coexist. How is such a leapfrog possible? In Burch’s guide, a sausage can be made by grinding and mixing “scraps and trimmings” and, interestingly enough, by also maintaining a prudent period of “seasoning and curing.” The meat’s encounter with a systematic process of recombination and extrusion, say, configures the sausages. Moreover, it is precisely their sausageness that allows us to access them according to polarized protocols: on the one hand, sausage production is analog and continuous—the more meat we add to the grinder, the larger the sausage is. Conversely, its access is developed according to a discrete, digital-like protocol: the slice. Shaping images with our digital gaze An image is no longer a singular thing, but rather it becomes dispersed , distributing its existence along paths, iterations, periplus, and versions provided by both humans and systems. In this sense, images are trajectories through media, devices…and places. Visual characteristics (namely; colors, sizes, textures, compositions, effects, texts, icons, and typographies) are subjected to a large number of recursive and combinatory operations; a memetic modality of some images that supersedes the very notion of internet meme. The world s largest sausage in Kobasicijada Festival (Turija-Serbia) in 2012 This implies that in order to access an image’s narrative, we have to retrace some of its extruded, threadlike trajectories. Our attention is not focused on a singular image, but is distributed along the image’s path. Since the versioning of an image is the image, the increasing accumulation of similar images is nurturing distributed ways of seeing. Slicing images’ sausageness Sausage-like elongation describes the way that images accumulate, but this redundancy of content is not merely piled up, but follows an extruded trajectory that creates threads of dispersed versions. Since any given sausage is not only a sausage, but also the expression of its formal mode of production, what is the shape of our engagement with it? If either sausage and image are being distributed across a potentially endless series of elongated versions, we can only access images by slicing them. Slicing Gucci Mane Capturing the environment with our digital devices creates a discrete, framed incision in our surrounding milieu. Hence, further captures within the digital realm (for instance, by copying, tagging or storing digital files) prefigure the apparition of what I would like to denominate image-slices. These slices have also something that really interests me; an intriguing ability to create their own negative imprint in the form of memory. They remind us that their status as slices conceals the almost invisible process of how our digital gaze deprives images of their own visuality in favor of their memory. If the latter is defined here as a time-based measure of the image's shifting or fading along a trajectory, visuality presents the limits of an image; the contours and deformations produced by its elongation. The shape that a sausage acquires during its extrusion—being limited or arrested by its mold or configuration process—posits visuality as the imprint of energy. The visual cohesion of images is therefore based on modulations; the development of deformations through time. As any salami knows, its own depletion measures its extinction, but its memory increases as the salami diminishes. By day seven in the fridge, the last extant sausage piece compresses a huge amount of time within a narrow meat scrap, which indicates, as if metadata were present, its very process of dwindling. The accumulation of image-slices made by our digital gaze is not indiscriminate; it overlaps and compresses nuggets of visuality seeking an array of coagulated slices, relating images by means of mnemonic paths: spaces, affections, repetition, and desire. In doing so, digital images are increasingly becoming an ancillary verification of memory's circulation through systems and users. Accelerated emblems: when memory eats image The circulation of the digital image is propelled through versioning, elongation, and indexical techniques which optimize access to it by reducing the importance of its immediate visuality. After a certain point, memory’s circulation through systems and users becomes the image’s primary index, pointing to its internal coherence rather than an external frame of reference. Certain images can therefore intertwine themselves toward total memory, devoid of any content apart from their own possible trajectories. Undermining visuality, from Egypt to my smartphone. In an attempt to domesticate the Egyptian landscape during the Napoleonic campaign in the 18 th Century, Nicolas Jacques Conté invented an engraving machine that by virtue of its accuracy brought engineers the possibility of describing the landscape in the most objective way. The free movement of the hand was replaced by up to forty-two possible sequences of lines that guaranteed not only a higher degree of precision, but a faster rendering speed. In the monumental Description de l'Égypte it is possible to find examples of these line patterns; rectangular images that visualize nothing but the expression of their mechanical production. Back in the 21 st century, this undermined type of image reappears in the screen of my smartphone. Whenever I swipe too fast over Google Images’ search results, the accelerated flux of images surpasses by far the device’s ability to display them all. I no longer see images, but an array of plain- colored rectangles. How does this situation correlate with our subtractive digital gaze? My contention is that our digital gaze wants to subsume image within a larger structure of memory. If memory is based on delay—or hysteresis—then our digital gaze must decelerate the image's elongation in order to situate it within memory. In the era of visual salamis, we are no longer pursuing images, but image-slices that allow us to reconstruct their possible trajectories. This implies that the completion of memory is based on the limitation, almost the disappearance of image’s visuality. From a computational standpoint, I imagine that this process erases the constructed distinction between software and hardware to the extent of making both indistinguishable. An example of Core Rope Memory contained in an Olympia 15 digit calculator, circa 1971 The pursuit of memory not only undermines visuality but its interfaces as well. Perhaps digital memory artifacts will no longer need visual access interfaces such as screens…but in the meantime, let us take a look on a particular prehistory of this possibility from 1960s, where NASA's Apollo Program developed a form of ROM memory called Core Rope Memory. This was produced by literally weaving a wire skein along ferrite cores. The method of weaving wires—passing or bypassing the cores—configured the software. Therefore, memory was the outcome of an entangled, self- descriptive weaving motion: memory is what happens along the ferrite cores. Contrary to RAM memory, this Core Rope Memory was a non- volatile repository which keeps all its possible tasks in advance, indefinitely, even without energy supply. David A. Mindell's Digital Apollo: Human and Machine in Spaceflight recalls how the Apollo 12 computer easily rebooted itself after lightning struck the spacecraft. Without tapes or disk drives, Core Rope Memory visually exposes its limits and functions. We can imagine it as an artifact with the ability to keep and describe the totality of its existence, not by upgrading itself further, but through total access to its finite structure. This sheer visuality of its woven core—a kind of hardware— is the software, in absence of any other intermediate symbolic interface. The Core Rope's wire paths undermine images insofar as it constitutes its own memory. To put it simply, its finite woven code exists by itself. A distinct modality of software as the human-readable aspect of the machine is no longer necessary. In the meantime, digital plein-air I have to stress that, although sausage making is a pleasant and mouth- watering activity, is not precisely exempted of risk. Whenever a meat scrap falls off the cutting table, we are in peril of getting a contaminated, even a hairy sausage. As Burch’s guide reminds to us: “the one that eats the most sausage gets the most hair.” Nowadays we are witnessing the process of subsumption of memetic images within memory, but in the meantime, we are finding memetic images in the outdoors as well. The temple of the Seven Dolls in Dzibilchaltun, Yuc. Mexico Despite the fact that the Seven Dolls Temple in Dzibilchaltun (Mexico) perhaps was never conceived as a temporal landmark, during each vernal equinox a multitude of people congregate around the temple. When the Sun emerges, its beams traverse the temple's open door towards a plethora of smartphones, digital cameras, and tablets. The sunlight is not only framed by the door; it continues its trajectory by virtue of the devices’ capturing and the images’ further circulation. After my first visit to this temple in 2012, I became increasingly interested in the particular elongated quality of this sort of memetic images. During the last three years I have been visiting several areas of Southern Mexico, finding along my way a variety of these images: digitally printed cylinders in the shore of Bacalar lagoon, fluorescent hoses in Palenque's jungle, gradient-like car reparations in Merida, polygonal paper dinosaurs in Chicxulub, to name a few. These memetic images incorporate an array of digital textures, patterns, gradients, and even moiré effects, but somehow their physicality produces an interesting disruption in its surrounding milieu. They popped out in our vision by highlighting their obvious digitalness in absence of devices, binary code, or even electricity. How is such a thing possible? If the traits of memetic images can be sustained in spite of devices —or their closeness—we must reconsider them as entities created uniquely by devices. Images linger at a certain distance of them; sometimes closer—even “within”— sometimes too far to be extant. A memetic landscape in Bacalar, Quintana Roo, Mexico. Constituted as trajectories by means of versioning, these memetic images could have existed before the advent of the internet itself. Acknowledging this fact places us in the striking situation whereby the prehistory of digital images comes after their “official” emergence as media; as if in the very moment that we relocate these images from their alleged habitat (digital devices,) devices no longer “create” images. The context of memetic images does not lie in their materiality—for example, their pre-filmic or pre- screening origin—nor in the materiality of the places they represent. Conversely, we find context in the very action of capturing and slicing images, as well as in the device's situational location. The encounter with digital, memetic images in the outdoors and their incorporation within networks and memories denotes also the uneven degree of internet implementation over the Earth. Since bandwidth speed results are affected by geography (and geopolitics!), time is the subsidiary of space. The imbalances in a memetic image's speed of elongation describes real geographical distances between captured places and access to internet networks. This produces a particular phenomenon of historical remoteness, whereby 'antique' memetic images are still in the process of being incorporated, uploaded, elongated. As if the light of a distant sun were rising, we still are receiving and unearthing images pertaining to these memetic realms. — Javier Fresneda is a San Diego-based artist and researcher. His work can be found in www.javierfresneda.com among other places. — References Burch, Monte. The Complete Guide to Sausage Making. New York: Skyhorse, 2011. Mindell, David A. Digital Apollo: Human and Machine in Spaceflight. Cambridge: MIT Press, 2008. — Share this Article — 2016-05-31 10:00 rhizome.org

18 18 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-05-31 10:00 By

19 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood as a kind of technology unto itself. The 3rd Istanbul Design Biennial proposes that the ultimate aim of design is a redesign of the […] 2016-05-31 10:00 By

20 20 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan

A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power dynamics. Void of identifying features or specific characteristics, the animated silhouette within Chan’s restive vision invites and prompts us to project possible narratives onto reduced and impoverished images. Embracing what artist and theorist Hito Steyerl has termed the “poor image” of dubious genealogy within digital culture, Chan’s series The 7 Lights (2005–2007), works with “light and light that has been struck out” to depict a shadow cinema of the sacred and profane within contemporary culture. The tangible yet pared down outline of daily life gradually loses form in the series, with lampposts, cell phones, animals, circuitry, weapons, and people slowly breaking up into fragments that have no single point of gravity. As in 6 th Light , on view, the virtual is seen rising and falling in an animated cycle of dissolution. Score for 7 th Light , the final piece of the series, pushes toward total abstraction as a musical score of shadow fragments is laid out and contained within the strictures of the music staff across composition pages, offering near impossible instructions for the as-yet- unmade final projection in the cycle. It is in Sade for Sade’s sake (2009), however, that Chan deploys his poor cinema of the silhouette to truly epic effect, creating an immersive environment of nearly life-sized animated figures engaged in various encounters of sex and violence. Interspersed with floating rectangular forms that recall redacted imagery or censored sections of explicit texts, the mood of Chan’s work speaks to the American psyche at that time. Here, the artist has added a range of toy guns to what is a highly charged site-specific installation of the work. I recently sat down with Chan to discuss this most recent iteration of Sade for Sade’s sake , on view at the Walker, in the Lower East Side office of Badlands Unlimited , the publishing house Chan founded in 2010, devoted to e-books, paper books, and artist works in digital and print forms. Curating Less Than One I noticed a subtheme in the works I was selecting: what does it mean to become American, as opposed to being American? Thinking about your work, I immediately thought: Sade for Sade’s sake needs to be shown—right now. It just felt timely. You don’t over-explain your work, but I know that at the time you were making it there was heightened attention to the extralegal situations of US policy around Guantanamo and Abu Ghraib, and some of the redacted images that were coming out from Abu Ghraib in particular resonate, I think, for a viewer who’s paying attention to these connections. So, I wanted to first just ask you how you got into the whole Sadean project. The origins of the Sade project came from my reading and thinking about Henry Darger. I did a projection piece called Happiness (finally) after 35,000 years of civilization, after Charles Fourier and Henry Darger (2003), and Sade was a part of that mix. Why was he a part of the mix? Because he was an artist and a thinker who I believe was on the same wavelength as Darger, insofar as they were both interested in the look of infinitude. Darger’s landscapes looked infinite, like a world. But what you realized if you looked a little more closely is that this world was actually composed of a finite set of elements, that he only drew something like 24 kinds of flowers, but he varied them in such a way that his landscapes were completely populated with all different kinds of flowers. It’s a basic idea of theme and variation. But he had a theme. He had, say, four types of trees, and then he varied them to a point where you couldn’t tell what was happening. And Sade, in a very similar spirit, did that in his writing around ideas and acts of sex and violence. One of the other things that I thought connected them was the spirit of escape. Darger lived a terribly lonely and isolated life in Chicago, tragic in every meaningful sense. The Marquis de Sade also led a different kind of tragic life, but it’s important for me to remember that he wrote his greatest works while imprisoned, right? The 120 Days of Sodom was written while he was in the Bastille, and the intensity and the feel of infinitude, I think, come from the desire to escape. So, Sade is a part of the mix of that early animation, but I could never make Sade fit , so I took him out and put him in the back of my mind until after The 7 Lights , when I realized, “Oh, this is a thing I should do. I should follow up with that thinking around Sade.” That’s how it came out. After The 7 Lights , I re-remembered Sade, and thinking about Sodom , and rereading it, I realized that we don’t really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people—girls and boys—to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV. They profited from the war of Louis XIV. That really struck me, because at the time that we were living, we were going through a war, the Second Gulf War. We were going through the destruction of countries in the Middle East, and we were hearing stories about war profiteering. Of your use of the silhouette form, I think of Goya and the Caprichos and other artistic approaches to the grotesquery of the silhouette as a tool for speaking to situations of power and misuse of power. In Sade , the silhouette forms are so artificial. Then the animated jitter brings them to life in a way that is artificial, and yet its artificiality prompts a disturbing effect for viewers. Can you talk about why you chose the silhouette form? I’m a terrible drawer [Laughs]. I can’t draw to save my life! And a silhouette makes it much easier. I have less to deal with! [Laugh] Just one line, really, and nothing inside. I think that’s the simplest answer. A more complicated answer may be that I may not be interested in what it is at all. I may be interested more in its movement. I’ve told this story before, but I’m nearsighted. I’ve been nearsighted since I was, like, 12. But I’m so vain that I refuse to wear glasses, and I’ve learned to live that way because I realized when I was young that I don’t have to see with clarity to know what I’m looking at. I’ve adapted, based on my vanity, so that I can recognize people and things based on their movement. So, I may not be able to tell if that’s you from your face down the street, but I’d like to think that if we hang out just a little bit more, I would know how you’d move, and I would recognize you walking down the street from a block away. That’s how I can tell people in the street since I was 15. So, to me, movement becomes the essential way in which I see things, and it may be the case that the through line for the work that I’ve done, regardless of the medium, is movement. I loved drawing the Darger stuff, the Happiness pieces. I loved drawing them all, but what I was more invested in was how they move. And so with Sade , what was important was a particular spirit or style of moving, which I call “petrified unrest.” That jittering is completely artificial, but what’s interesting is that it feels very human to me, insofar as it represents the feeling that I get when I sit in front of a computer [laughs] or when I’m anxious. That movement is the baseline for the whole piece. If you can see it musically, that jittering is the baseline. Nothing stands still; everything is moving. And even if you’re still, you’re jittery. The counterpoint, in the musical sense, is the gliding—the geometry of the squares coming from left to right. I immediately think of visual redaction. But was that tension thought of as a musical counterpart? That’s very astute. I think it’s true. I didn’t necessary think of it as redaction, but I did think of it as a counterpoint to the movement theme of petrified unrest, as the geometric shapes move qualitatively differently. They’re slow, languid, calming. Mesmeric. And I needed that, because it was too painful to watch even artificial shadows of human beings in petrified unrest. Over time, as I was making it, I couldn’t bear looking at it. It needed a counterpart. It needed something to lessen the burden. Can you talk a bit about the mood when you made the piece? My sense in working with you on this installation is that the mood has to have an update each time you install the piece. The variation includes the space itself. Yeah, I think it’s a function of the illusion of it being a shadow; that the pleasure and the challenge of shadows is that they can go anywhere. In fact, the more unorthodox a surface, the more illusionary it looks. That shadow is a sort of story. I showed some of the Lights in Europe in this institution, and because they knew that the projection would be on the floor, they assumed that the floors must look like a screen, so they cleaned the floor and painted it white and glossed it so it was like a projection screen. And it looked terrible. I told them, “It’s not a projection. It’s a shadow, and it looks better as a shadow if it functions like a shadow.” That it falls on whatever it falls on. Right. It elongates, shrinks, and expands. Right, and I think that’s the spirit in which Sade was made. The spirit of The 7 Lights transfers over to Sade insofar as it needs an unorthodox surface for it to give it the mimetic sense of it being a shadow. For the Walker installation, being able to use the former installation walls and pallets and things that call to mind almost a non-space, or a space in between modes, is just so effective, in particular in counterpoint to the kind of mesmeric left-to-right of the geometric movement. Then there are the toy guns. Can you talk about adding the toy guns? Sure. When I found out you guys were installing Sade , I thought it was great, and I knew that we were in conversation about an unorthodox projection surface. At the time, news of guns was in the air—who has a right to own them, who does not—and I thought, “If we need an unorthodox projection surface, why not have the surface be guns?” That’s when I put in the request to just buy guns. [Laughs] It brings to mind a very particular American conundrum, which is the right to bear arms and the inevitability that every decade guns are more and more an issue in American culture. And in some ways, that extends to how guns are mixed with sex, violence, and celebrity, as well as economic inequality in American society, not to mention questions around what police presence and the consideration of what a “police state” might mean in this country. These things really intermingle in ways that are very powerful. To overlay that on the piece itself in Sade , was in some ways directly responding to this moment. I think so. It’s nice to know a work can do that, and I think I’m just taking advantage of how the works are made. Sade needs an unorthodox projection surface. I don’t say what that unorthodox projection surface is, so the opportunity is always there when people install Sade to interject, to intervene in that space, to give it a kind of presence that it may not have had otherwise. I think of that old Chinese adage that the strongest force in the world is water. I think part of the pleasure of the shadow works I’ve made is precisely that they sort of “bend” themselves. There is no ideal situation for how they’re shown. They actually need a less-than-ideal space. The Lights : they need a dirty floor. Sade : you need an uneven surface. It’s almost like a dare. It’s like, “I dare you.” I remember thinking this with Sade : “I dare you to do this. I dare you to project on a brick wall in Venice.” “I dare you to project on the wall that no one uses at Carol Greene’s gallery.” I think it’s pleasurable. Do you think that less-than-ideal aesthetic is perhaps also a way of prompting or working through philosophical ideas? That philosophical engagement, or political-philosophical mix of concerns, has to have, in some ways, a less-than-ideal aesthetic to be able to actually have something to it, rather than just be a declaration or a position? I love that explanation, and I will use that from now on, because what I’ve used is that I’m an asshole. [Laughs] That’s it. We are beholden to our temperament, I suppose. I am. Whether I want it or not, whether I like it or not, my temperament is: I would rather work in less-than-ideal situations. I need it, in fact, for me to think and to feel and to work at the highest level that I think I can. Because at the end of the day, I don’t think I’ve ever been in an ideal situation for anything. And I may not have the temperament to make it, so if that’s the case, I’d rather work with what I’m willing to take. So, there is real pleasure for me in seeing the Lights projected on a dirty, wet floor. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, “Oh, that’s right. Yeah, it can survive here.” Yeah, I think of it like a dare. I think of it like those weeds that you see in concrete. Like, it’ll grow anywhere. You know, you don’t have to give it much. It’ll grow anywhere. I like works that are resilient and tough. We just closed a show with German artist Andrea Büttner. Oh yeah, she’s great. I love her. She introduced a boulder as part of her exhibition and asked us to gather all these mosses that grow in Minnesota, and then we had to let it take hold for about four months before the show. For Andrea, she talks about mosses as being cryptogamous. Their sexuality is not clear, in biological or specialist terms, but also that they can survive all kinds of strange scenarios, resilient and tough. So, we had this really interesting moss garden in the gallery that made it all the way through the show. We brought in a grow light at night and things like that. I bring up the moss garden because of your Schaulager show, I sent Andrea a picture early on in the moss garden process, and I was like, “Man, check out Paul’s moss piece!” [Laughs] And she’s like, “Oh, my God. How did he do that?” “What an asshole.” Something like that. Actually, she was like, “It’s really beautiful.” I thought that was just really a powerful piece in your exhibition at Schaulager. That strikes me as something along the same lines as what you’re referring to: daring something to survive in a certain situation. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. I guess it’s no more different than whatever else we find pleasure in doing. The history of philosophy, for me, is a history of great comedy and drama. There’s nothing funnier and more tragic than reading men and women who think they can figure it out. Like, you read Augustine, and it’s like, “You really think you’re going to get it all, don’t you?” Or Plato. Spinoza. It’s moving to me to imagine someone out there thought once, and perhaps will think again, that they’re going to figure it out. I like that. I’m not going to do it, but I’m glad they are. [Laughs] And I like reading about it; to me it’s very pleasurable. Oddly enough, ironically enough, it’s also given me a kind of intellectual and aesthetic and maybe even emotional sustenance to deal with being on Earth, because it’s terrible here! [Laugh] Just the worst! And whatever sustenance we can find to give ourselves just a little bit more endurance and resiliency is necessary. Some people take steroids. Some people take HGH [human growth hormone]. I read Spinoza, and I think it works for me. I also think of [Giorigio] Agamben , as somebody who writes about religion and the transition from the 20th to the 21st century with an earnestness and not a kind of dismissiveness, though not necessarily as a believer. Your work has a kind of recurrent liturgical aspect to it. Can you talk about that? I think it connects a lot to philosophy. There is no history of philosophy without history of religion. Philosophy is an outgrowth of the history of religious thought in the West. So, you can’t have the one without the other. You may think that we can, but as Agamben shows, we really can’t, historically speaking, at least. He is definitely someone who understands that interrelationship between the history of religion and the history of philosophy and how they entangle each other over time, right up to now. And I think, you know, like we talked before about war. Our time involves seeing the emergence of a new religiosity in the US that, I think, has surprised everyone. Who knew in the 21st century we’d have to think about that again? I didn’t. And who would’ve thought that religion would continue to be such a mobilizing force, socially and politically? I didn’t think it was going to happen, but here we are. So, even just as a person curious about politics, I feel like it’s incumbent upon me to be open and to be curious about religion in all its aspects. I think a lot of it comes from my political work. When I was in Baghdad, religion played such a large part in social life there that it really changed my views. It was after my trip to Baghdad , my experience doing anti-war work in Iraq, that I realized I needed to learn much more, and just be familiar with it. Interesting. Roberto Calasso—you ever read him? He runs the Adelphi Publishing House in Italy, but he’s also a writer and specializes in Vedic traditions. He studied at the Warburg Institute at the same time as Agamben, so he has this kind of intermingling curiosity. And he also talks very much about how philosophy and literature cannot extract themselves from moving toward and away but also around the consideration of God or religion. What Agamben shows is the clarity with which we can look at certain aspects of contemporary culture if we allow ourselves a religious vantage point. That if the goal is to see things with a certain kind of clarity, then seeing it from an aspect that can be considered religious is an important component to that clarity. To me, you can’t understand Jeff Koons except through religion. It gives him a kind of clarity that no other outlook can give you. Same thing with the religious right, the Tea Party. If you look at it purely from a kind of secular, capitalist, class, or geographic standpoint, you can get some semblance of clarity, but not all of it. An outlook that allows religion in is, to me, a kind of greater clarity about certain aspects of contemporary life—which, again, is shocking to say because this is 2016. One of the really interesting responses to the Sade piece is— “Is he on drugs?” [Laughs] No rather a response to violence being mesmerizing in the piece. It’s disturbing in terms of a kind of artificial violence, but it also is incredibly mesmerizing. It really draws you in, and you kind of hang out with it. There’s actually a lot of engagement with portraying violence in your work. Is that just, again, a kind of gravitational pull? Maybe the simplest way of saying it is that I think violence is mesmerizing. And we have an example of this right now insofar as we hear Trump’s rhetoric. There’s a violence and aggression to it that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us. You see? I think part of the appeal of belonging to something that shows those kind of tendencies is the belief that if we belong to it, it will protect us—that that aggression and that violence will protect us because we have identified with it. And if we identify with it, it may identify with us and see us as being a part of it. So, I think part of the mesmerizing-ness of it may be this. I don’t know what it is, but I think that’s the dynamic of it. I think that’s part that is the aesthetics of violence. I recently read a journalistic piece tracing a certain kind of populist American demagoguery, from Huey Long to [George] Wallace, to Trump, where this kind of appeal, as you say, is made to a protectiveness through violence, or, a promise of protection through courting a violent aesthetic. It is really sort of shocking to see it be so unfettered in 2016. It’s true. And I think it shows how powerful and compelling that draw is, that pull of violence, and how it echoes with a kind of air of authority that people feel like they ought to belong to if they want to be protected because of the precarious nature of contemporary life—which we all know and feel. I mean, talk about petrified unrest. “I would rather work in less-than-ideal situations. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, ‘Oh, that’s right. Yeah, it can survive here.’” “There’s a violence and aggression to Trump’s rhetoric that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us.” Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016. Photo: Gene Pittman, Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel Collection Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan. Photo: Tom Bisig, Basel Courtesy of the artist and Greene Naftali, New York Photo: Gene Pittman, Walker Art Center Courtesy the Artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel © Paul Chan. Photo: Tom Bisig, Basel Photo: Gene Pittman, Walker Art Center 2016-05-31 10:00 By Fionn

21 Gwangju biennale Reveals Participating Artists The Gwangju Biennale has revealed the list of participating artists in the upcoming 2016 edition, opening on September 2 and running through November 6. The 66-day exhibition will be dedicated to the exploration of the state and function of art. Curated by Binna Choi, artistic director Maria Lind , and assistant curators Azar Mahmoudian, Margarida Mendes, and Michelle Wong, the 11th Gwangju Biennale focuses around the question “what does art do," and aims to answer this question in both present and future contexts. The curatorial team is also interested in active public interaction with the exhibitions and hopes to facilitate this both through activities, screenings, reading groups, and seminars as well as through the Biennale's main venue in the Gwangju Biennale Exhibition Hall, which is one of the city's focal sites. The emphasis on public participation aims to create a link between Gwangju's local community and the international public. Founded in 1995, the Gwangju Biennale is Asia's oldest contemporary art biennial, and is recognized by the Biennale Foundation as an important player in the international contemporary art biennial circuit—reflecting the growing interest in Asia's art and culture as well as its rapidly changing physical and cultural landscapes. Originally founded in memory of the civil uprising around the 1980 repression of the Gwangju Democratization Movement, the Gwangju Biennale has become a basis of cultural communication for the city—not only from Korea to the rest of Asia but also to the rest of the world. Last year, the Gwangju Biennale presented a new brand identity by inaugurating a new logo that symbolizes the biennial's innovation and influential role in the global contemporary art world. The new logo's avant- garde approach fittingly accompanies the 2016 Gwangju Biennale's pressing question regarding the future of art. The list of participating artists for the 11th Gwangju Biennale includes: A Ade Darmawan Adelita Husni-Bey Agnieszka Polska Ahmet Ogut Aimée Zito Lema Alma Heikkilä Amalia Pica Andrew Norman Wilson Ane Graff Ane Hjort Guttu with Daisuke Kosugi Anicka Yi Ann Lislegaard Annie Wan Anton Vidokle Apolonija Sustersic with Dari Bae Arseny Zhilyaev Ayesha Sultana Azar Alsharif B Babi Badalov Barbora Kleinhamplová and Tereza Stejskalová Bernd Krauss Bik van der Pol Bona Park C Celine Condorelli Christian Nyampeta Christopher Thomas Kulendran Claire Barclay Cooperativa Cráter Invertido D Dale Harding David Maljkovic Diogo Evangelista Dora Garcia Doug Ashford E Elena Damiani Emily Roysdon Eyal Weizman F Fahd Burki Fernando Garcia-Dory Flo Kasearu G Goldin+Senneby Guillermo Faivovic & Nicholas Goldberg Gunilla Klingberg H Hajra Waheed Hito Steyerl I Ingela Ihrman Insun Park Iza Taraszewicz J Jeamin Cha Jasmina Metwaly & Philip Rizk Jewyo Rhii with Jihyun Jung Jinghu Li José Léon Cerrillo Joungmin Yi Julia Sarisetiati K Katie Paterson L Lawrence Abu Hamdan Lili Reynaud Dewar M Mariana Silva Marie Kölbaek Iversen Matias Faldbakken Metahaven Michael Beutler Mika Tajima Mohammad Salemmy Mounir Farmanfarmaian N Nabuqi Nadia Belerique Natascha Sadr Haghighian Nazgol Ansarinia Nicholas Mangan O Oasias Yanov Otobong Nkanga P Pauline Boudry & Renate Lorenz Philippe Parreno Prajakta Potnis Pratchaya Phinthong R Rana Begum Raqs Media Collective Ruth Buchanan S Sachiko Kazama Saskia Noor Van Imhoff Seola Kim Siren eun young jung Sojung Jun Sören Andreasen Suki Seokyeing Kang T Tania Perez Cordova The Otolith Group Tommy Stockel Trevor Paglen Tromarama Tyler Coburn W Walid Raad Wasif Munem Y Yu Ji Yun Hu Z Zhou Tao Follow artnet News on Facebook. 2016-05-31 06:17 Carol Civre

22 mckay nilson's woodrow stereo in collab. with swarm design salt lake city, utah based designer mckay nilson, in collaboration with local consultancy swarm design, presents the ‘woodrow stereo’. deceptively simple, the wooden, wall-mounted unit (26”diameter) was developed as a functional piece to re-introduce human engagement to the music listening experience. ‘woodrow’ was driven by the desire to explore interactions between users and an analog electronic device in essence, ‘woodrow’ is little more than a giant volume dial. rotation counter-clockwise lessens sound, clockwise increases. but, as is the case with most minimal pieces, refinement was no easy task. hundreds of hours of engineering, prototyping, and testing — supported by swarm’s in-house furniture brand woodrow & co. — were invested into the project. devices connect to the system wirelessly via bluetooth, but physical interaction remains paramount. altering volume is simultaneously novel and familiar, and when not in use ‘woodrow’ remains present as a tactile decorative element. ‘woodrow’ is made using CNC-cut, laminated plywood. the main body, uniform except for a notched section for volume indication and handling, hides a secondary unit behind. technical components including speakers, power, bluetooth, mount points, etc. are housed in the back compartment. a functional prototype was presented by nilson at his senior exhibition at the university of utah. 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. 2016-05-31 06:15 Mckay Nilson

23 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional contexts. The conference was held on occasion of the tenth anniversary of the Young Curators Residency Program (YCRP), which annually brings three non-Italian recent graduates of curating courses to […] 2016-05-31 10:00 By

24 24 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artist- centric values. Following up […] 2016-05-31 10:00 By

25 Charlie Chaplin, Modernism's Greatest Muse THE DAILY PIC (#1560): The show called “ The Electro-Library: European Avant-Garde Magazines from the 1920s " is one of the most fascinating exhibitions of the current crop at the Museum of Modern Art in New York. But if you haven't heard of it, you probably aren't alone: It's just a few vitrines, hidden away on the lower level of the Cullman Education and Research Building, which has its main door on 54 th street. What's in those vitrines is breathtaking, and underlines yet again how deeply and quickly the innovations of radical modernism spread beyond Paris, Berlin and Moscow, to be absorbed, understood and contributed to by artists working right across the West. Today's Daily Pic is a page from a lovely avant-garde magazine called Pásmo: revue internationale moderne , published in Czechoslovakia in 1925, which curator David Senior said was one of the more obscure objects in his display. I chose it because it gets at modern art's obsession, almost from its birth, with the figure of Charlie Chaplin. As I argued on Friday , modernist artists often went “slumming" for inspiration in the worlds of low- or non-art, often with a condescending attitude toward those sources. I don't think that was their attitude when they borrowed images of Chaplin's tramp. They simply realized that Chaplin had made some of the most innovative, exciting work in 20 th -century culture, and hoped that some of his glow would rub off on them. For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-05-31 06:00 Blake Gopnik

26 Félix González-Torres at Hauser & Wirth, London Hauser & Wirth 's vast main London space has never looked larger, or more mournful. One in a series of three Felix Gonzalez-Torres exhibitions being held this summer in New York, London, and Milan, curators Julie Ault and Roni Horn have reimagined this gallery as a cenotaph. There are works here, though they are spare and restrained, and a re-positioning of the gallery's internal wall serves to isolate them further. While Gonzalez-Torres drew on and subverted the formal language of Minimalism, here the controlled, repetitive forms of the works feel like a withdrawal or a signal to absence. All are drawn from 1991, a year that commenced for Gonzalez-Torres with the death of his partner Ross Laycock. Entering the gallery, one is met by a white wall dressed with the plain blue mirror work “Untitled" (Fear). Reflections in the glass feel diminished, viewed through a mournful veil of color that renders the skin sickly. This act of imperfect (or transformative) mirroring offers the show its structure. Beyond the mirror, the main exhibition space is formed of two pairs of walls each meeting at a right angle. The left and right walls are hung with a sequence of small oblong puzzle works, all in washed out greys and grey- blues, echoing the bloodless color of skin as reflected in the blue mirror. Two white electrical cables twine up the back wall, descending to a nuzzling pair of incandescent lightbulbs. The light work faces a pair of mirrors, “Untitled" (Orpheus, Twice) , each scaled to reflect a standing human form. An explicit reference to the glass membrane of the Underworld in Jean Cocteau 's Orphée (1950), the vision of the afterlife these mirrors afford is altogether earthly. You see yourself present in the exhibition space, but only in one mirror at a time—the other mirror is empty, and thus the "picture" they present is incomplete. The Orpheus mirrors are reproduced in the Milan exhibition at Massimo de Carlo —the only artwork that appears twice across the three venues and a formidable reminder of the importance of physical presence and the participatory role of the audience in Gonzalez-Torres's work. It is perhaps a point worth underscoring in these shows, since Ault and Horn have steered away from the more crowd-pleasing "consumable" works (offerings of posters and mounds of sweets) that linger in the memory from the Serpentine Gallery exhibition of 2000. Wrapped neatly in plastic bags and balancing on white-tipped pushpins, the puzzles themselves are arranged in an echoing sequence on opposite walls: newspaper cutting, handwritten message, typed love letter, photograph. Love, death, and intimacy are the threads that bind them. Each is cropped just a little too close, so the content of the images is incomplete and no given limit is evident. Both the handwritten “Untitled" (Lover's Letter) and “Untitled" (Last Letters) carry fragments of Salome's monologue by Oscar Wilde: "There was nothing in the world so black as thy hair. In the whole world there was nothing so red as thy mouth. Thy voice was a censer that scattered strange perfumes, and when I looked on thee I heard strange music. " Note the past tense—this is an address to the dead, though the handwriting, as we see from his signature on the puzzle “Untitled" (Last Letter) is Laycock's. Three of the puzzles show prints of newspaper clippings that relate to David Souter, a Supreme Court judge appointed by George H. W. Bush in 1990. Other clippings are from a New York Times article from June 11, 1991 describing the return of troops to New York at the end of the first Gulf War. Interspersed with these are puzzles showing Laycock with his dog Harry, or excerpts from intimate, loving correspondence. The personal and the political, then, sit side-by-side: emblematic of an era when, for a person with Aids, the personal was very political indeed. The stuff of the museum giftshop and a medium for the reproduction of popular paintings, the puzzle carries with it symbolism of a composite whole or fractured self. There is a lingering threat of destruction that comes with the loss of one small piece, as well as associations of play and of understanding, of seeing the whole picture. Each puzzle, in turn, shows a fragment of an object (a scrap of a letter, for example). Shown together in this way, there is also a suggestion that the grouped fragments offer a bigger picture. In 1991 Andrea Rosen Gallery in New York presented a month-long Gonzalez-Torres exhibition "Every Week There is Something Different" in which, true to the title, the artwork switched each week. “Untitled" (Natural History) , which occupied the gallery in the opening week, offered other individual fragments of a whole: thirteen black-and-white photographs each of one carved word from the Theodore Roosevelt Memorial. That series of fragments, like the puzzles, was itself part of a greater whole: the four-part exhibition. While their curatorial statement is gnomic, one imagines Julie Ault (who worked with the Gonzalez-Torres as part of Group Materials) and Roni Horn (who was a close friend and artistic fellow spirit) to have been inspired by "Every Week" in approaching this new series of exhibitions, held 20 years after the artist's death. They echo Gonzalez-Torres's audacious approach to space, and look to the relation between fragment and whole—each puzzle a part of some larger truth, each exhibition a component in a bigger picture, all speaking of independence and interdependence, disintegration but also continuation. Felix Gonzalez-Torres is on view at Hauser & Wirth, London until July 30. Follow artnet News on Facebook. 2016-05-31 04:55 Hettie Judah

27 Top 5 New Galleries in Tokyo Top Lists 20th Century & Contemporary Sales at Christie's & Phillips Top 10 Exhibitions in Asia in May 2016 See All » Related Venues Asakusa Notoriously diffuse and shape-shifting, Tokyo’s ecosystem of contemporary art galleries is challenging to keep track of, even for longtime residents of the Japanese capital — what more the occasional visitor hoping to get a quick handle on the key players, art enclaves, and emerging hotspots? In recent years, a new generation of gallerists has emerged, seeking to remake the contemporary art landscape of a city often overshadowed by the more recent and explosive development in other Asian cities like Beijing, Hong Kong, Shanghai, and Singapore. BLOUIN ARTINFO spoke with the owners and directors of five of the newest contemporary art galleries to get a sense of who the most promising younger Japanese artists are, and where the Tokyo scene might be heading in the next few years. The newest gallery on this list, which opened its doors in March 2016, is located on a quiet street in one of central Tokyo’s loveliest, undiscovered neighborhoods, not far from Meiji Jingu Stadium, the youth mecca of Harajuku, and the tony fashion enclaves of Aoyama. “At the same time, this area also has a sense of history to it — the small lovely slope behind the gallery dates from the medieval era, and there are several historical temples and shrines around the gallery,” Kubota points out. Also nearby are the Watari Museum of Contemporary Art, the Tokyo gallery of Blum & Poe, Tomio Koyama Gallery, and Taka Ishii Gallery. Before opening her eponymous gallery earlier this year, Kubota served as a director at veteran Tokyo dealership SCAI The Bathhouse for 17 years. Despite a general sentiment that the market for contemporary art in Japan is rather subdued — to put it somewhat generously — Kubota felt that the time was right for her to strike out on her own. “Despite the rather unstable economic situation at the moment in Asia, I’ve started noticing that Japanese people have started paying attention to things that are more personal, and which have something to do with one’s state of mind. And art has the power to represent some of these tendencies that are in the air, so to speak,” says Kubota. Having served on the selection committee of Art Basel Hong Kong for several years and witnessed the “dynamism of an Asian art market in full bloom,” Kubota admits that the market in Japan is “quite small” compared with growing markets elsewhere in Asia. “In Japan, there is a certain distance between art and the economy, or the real world of business,” she says. “Although there are many Japanese who have built successful businesses and accumulated huge fortunes, most of them seldom pay much attention to art. And in many cases, they don’t even know how to start.” In Kubota’s experience, a certain lack of cultural patriotism also seems to be responsible for the anemic Japanese art market. “From what I have seen, Chinese collectors really support Chinese artists, and Korean collectors support Korean artists. But the Japanese art market doesn’t give much support to our own artists,” she notes. “More and more cafés, design ateliers, and shops have opened up here,” she says. “People have started walking around with a cup of coffee in hand, and I would say that there are more young people on the streets as a whole compared with several years ago.” In terms of the gallery’s roster of artists and its target audience, Oe professes to wanting to cultivate “more young collectors who are of a similar age as the artists.” At the same time, she hopes to court a new generation of Japanese collectors, “even if it’s often said to be a small market.” “People — including myself — are always saying that the Tokyo contemporary art scene is small,” says Oe. “It’s true in a way, but at the same time, I would say that it’s quite complex, existing in many ways at the same time. I enjoy discovering these small elements who share Tokyo’s contemporary art with me.” Representative of the gallery’s predilection for younger artists working in a rather freestyle, eclectic fashion with multiple media is Chihiro Mori, whose works are in the collection of the Museum of Contemporary Art, Tokyo and the National Museum of Art in Osaka. “Although she studied Japanese painting at the Kyoto City University of Arts, Mori doesn’t follow the traditional ways associated with the medium,” notes Oe. “However, she borrows its skills and creates her own world of vivid acrylic colors on paper, in addition to a mix of sculptural pieces, animation, and photographs.” Started in the Piramide Building in Roppongi in July 2015, where several other contemporary art galleries (Ota Fine Arts, Wako Works of Art, and Zen Foto) are located, YKG/Yutaka Kikutake Gallery is run by a former director of Taka Ishii Gallery. “While working at Taka Ishii Gallery, which I joined in 2008, I was also involved in publishing,” says Kikutake. “I released the art criticism magazine Kyoku in 2011, followed by the inaugural publication of the lifestyle-culture magazine chic, in 2014.” Although barely a year has passed since the gallery opened, Kikutake has ambitious plans to expand into the overseas art scene and market as soon as possible. “Some of my immediate goals in terms of art fairs are to participate in Art Basel Hong Kong, LISTE in Basel, and the young gallery section of Frieze London,” he says. Two artists whom Kikutake is particularly excited about working with are Nerhol and Reina Mikame. “Nerhol create works that lie somewhere between photography and sculpture. They were invited to hold a solo exhibition at the Foam Museum in Amsterdam last year, while their first ever solo show at a Japanese museum recently opened just this month at the 21st Century Museum of Contemporary Art, Kanazawa.” Japanese painter Reina Mikame, on the other hand, creates works that “appear to drift back and forth between opposite ends of the spectrum of the abstract and the objective,” according to Kikutake. Regarding the current state of Tokyo’s contemporary art scene, Kikutake is only cautiously optimistic. “Although I do think that there is still a lot of potential here, I cannot say that the current market is in the best situation in terms of the younger generation of artists,” he notes. “But there definitely seems to be a firm platform developing that would allow for good works to be recognized quickly.” Founded just last year in the upscale residential district of Minami Azabu, Kana Kawanishi Gallery focuses on experimental work by younger emerging Japanese photographers. Owner Kana Kawanishi, who studied fashion history in Tokyo and New York before working as the Tokyo coordinator for Rizzoli’s New York office for more than a decade, also worked as an agent managing photography shoots and as an artwork loan coordinator for an exhibition planning foundation before opening her eponymous gallery in 2015. For Kawanishi, opening her own gallery was a natural extension of her previous endeavors. “It was natural for me to start as an art office focusing on art books and curating group exhibitions because of my background, which gradually led me to distribution for European photo book publishers, participating in European photography fairs, and then finally to open up a gallery space in Tokyo,” she reveals. In terms of programming, Kawanishi is careful to “not look too much at trends,” choosing rather to just focus on “introducing good artists with strong philosophies.” Even when it comes to showing at art fairs, Kawanishi strives to give her target audience the most surprising and refreshing experience possible. “We never bring the same artists to Europe, even at different fairs and cities, unless the artist in question has evolved extensively. We only want to show works that the audience has never seen.” Although Japanese photography as a whole is warmly received at European photography fairs such as Unseen in Amsterdam and fotofever in Paris, Kawanishi ventures to divide this audience into three different segments. “One group is interested in vintage prints by the older generation of photographers like Daido Moriyama, Nobuyoshi Araki, Masahisa Fukase, Shomei Tomatsu, and Ikko Narahara,” she says. “Another group is keen on the vintage photography books by these photographers. And the final group is interested in the younger photographers like Daisuke Yokota, Yoshinori Mizutani, and Nerhol.” Nestled down a quiet side street in the lively east Tokyo district of Asakusa is a new gallery space opened in October 2015 that takes its name from its surrounding neighborhood. Asakusa was developed as a collaborative project between Zurich-based Kosaku Matsumoto (of Blue Architects), and Tokyo-based Koichiro Osaka (of SCAI The Bathhouse), Asakusa is a compact 40 square meter space housed in an old wooden structure dating from 1965. During Asakusa’s second exhibition, devoted to British artist Oliver Beer, Noriko Yamakoshi joined as a co-director, alongside Osaka. Although the surrounding area contains hardly any other infrastructure related to contemporary art, Osaka appreciates both the past and present circumstances related to the neighborhood. “Asakusa once prospered as one of Tokyo’s most flourishing pleasure and entertainment districts. It also houses Sensoji, Tokyo’s oldest temple, and so I would say that it naturally merges the sacred and the secular,” he notes. “Asakusa is now also home to a large immigrant population, making the community more diverse. I see potential here — a little like what London’s northeast, or that of Berlin used to be.” Currently hosting a solo show devoted to Mexican artist Yoshua Okon, with support from SCAI The Bathhouse, Asakusa is slowly building a reputation for some of Tokyo’s most challenging exhibitions. “Okon’s work is akin to a sociological experiment executed for the camera, exploring issues of labor and authority and its legitimacy, often on the boundaries of marginalized communities,” says Yamakoshi. “I think we have much to learn from Okon's attitude and commitment, against the climate of ‘soft’ censorship that filters through Tokyo’s art scene.” While art world denizens used to the cavernous proportions of galleries in Beijing or centrally located white cubes in Hong Kong may be surprised to find a relatively modest space seemingly marooned in this consummately low-key area of the Japanese capital, Osaka sees Asakusa partially as a reflection of Tokyo’s waning position in the Asian art world. “I think you make the best out of what is available to you. Tokyo is still a large economy, but no longer a leading force,” he concedes. “It seems to me that the economy here lives through a sense of inertia, with a relatively large domestic market that supports itself. But what’s interesting in this transition from a strong economy to a weakened one is that more people have come to believe that growth, whether economic or financial, isn’t necessarily a prime objective that ought to be pursued.” 2016-05-31 04:40 Darryl Wee

28 alfalfa studio translates well known plays into graphic posters for amphibian theater in texas alfalfa studio translates well known plays into graphic posters for amphibian theater in texas (above) the eight posters designed for the amphibian theater in texas all images courtesy of alfalfa studio to launch the 17th theater season at the amphibian stage in fort worth, texas – alfalfa studio designed a series of posters to help kickstart the bold campaign. the graphic advertisements each interpret eight different plays which are included in the program. to begin the project the design company started by reading all of scripts, then loosely sketched a few ideas before deciding on the final concept. the idea was to create a visual language that would appeal to long term supporters of the company and to a new generation of theatre-lovers. saturated colors, kitschy patterns and playful illustrations were combined to form one simple image that reflected the chosen play. the ‘isaac’s eye’ poster uses a portrait of newton with a giant eye placed at the center of his head. this tounge-in-cheek graphic was used to metaphorically symbolize the blurred line between fact and hypothesis that was expressed by the author lucas hnath. all of the designs follow a similar process, translating drama, conflict and tension in a witty ‘pop art’ style. the posters displayed at the southside area in fort worth, texas 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. 2016-05-31 04:05 Rafael Esquer

29 Burberry’s Latest Campaign Embraces New Singular Label, Buy Now, Wear Now Strategy More Articles By An announcement is expected later today. The campaign — in which whimsical, cartoonish images by the British artist Luke Edward Hall complement Testino’s portraits of Edie Campbell and Callum Turner — will break in June and run through September, in keeping with Burberry’s strategy of allowing customers to buy what they see online, in print and on the catwalk. The company showed its fall 2016 collection in February and, come September, it plans to sell its men’s and women’s collections in-store and online as soon as the runway show ends, in a bid to align itself with the changing needs of the consumer and close the gap between showing and selling. As soon as the June ads break, consumers will be able to purchase some of the pieces that feature in the campaign, including the Burberry Heritage trench. A selection of The Patchwork — Burberry’s multitextured and patterned hero bag this season — will also be available to purchase. No two Patchwork styles are the same and each one is named for a British town, street or village. Materials include the house check, snakeskin and suede. The makeup that Campbell is wearing in the ads — dark and metallic eyes and Burberry’s Shimmer Dust Loose Glitter, will launch in August. Christopher Bailey, Burberry’s chief creative and chief executive officer, said the combination of Testino’s images and Hall’s illustrations — done in watercolor, chalk, oil pastels and acrylic — “capture the artisanal spirit of the collection.” Hall said he was “lucky to be given free rein” with the project “and to be able to interpret the iconic trench coat in my own way.” The campaign — which has no fall, spring or holiday tag — reflects the changes Burberry has been making in terms of clarifying the brand offer and speed to market. Earlier this month, during a presentation to analysts, Bailey said Burberry’s plans for the joint men’s and women’s see-now-buy- now September show were “on track” as the company seeks to become “more agile and consumer-focused.” Burberry’s next big campaign will launch in September, and be fully aligned with the changes the brand is making to its retail and runway calendar. The June campaign will break across print and outdoor outlets, and on Burberry’s social media platforms. 2016-05-31 04:01 Samantha Conti

30 America's Most Impressive Pigment Collection Art conservation departments are more or less ubiquitous in museums today, but it wasn't always this way. The first dedicated conservation facility in the United States wasn't founded until 1927, when Edward Forbes, then- director of Harvard University's Fogg Museum , founded the museum's department of research and restoration. Forbes began a colorful inquiry into the science of pigment that has since evolved into Harvard's brightest rainbow. Forbes had a personal stake in art preservation. Attending to his own collection of Renaissance paintings (like this Madonna he bought in Italy), he traveled the world collecting rare pigments to improve identification and conservation efforts—and he created a chromatic archive in the process. The Fogg's department of research and restoration is now the Straus Center for Conservation and Technical Studies , one of four research centers at the Harvard Art Museums. Helmed by director and senior conservation scientist Narayan Khandekar, the collection comprises over 3,600 items which are on display in the Straus Center's analytical labs. Besides the meticulously-organized pigments, the center also houses binding media, historical scientific equipment, and raw material samples. While the Forbes Collection and the Straus Center improved conservation efforts, they've also been instrumental in research and, notably, authentication. In 2007, Harvard Art Museums undertook an investigation into 3 of 32 paintings thought to be by Jackson Pollock. The paintings were found in a storage facility in Long Island in 2002 by Alex Matter, who claimed they were finished by Pollock in the studio of Matter's father, photographer Herbert Matter. The authenticity of these paintings were questioned soon after the study. Using a technique called laser desorption ionization mass spectrometry (LDI MS), the researchers identified some common nineteenth- and twentieth-century pigments, like synthetic yellow ochre, synthetic ultramarine blue, and titanium white. But they also found materials like PO 43, an orange pigment that wasn't commercially available as paint until 1950, as well as PY 151, another hue of orange that wasn't patented until 1969, and PR 254, a red pigment discovered in 1974. The paintings in question were thought to have been created between 1946 and 1949, and Pollock died in 1956. He was also known to use commercial housepaints, rather than mixing his own pigments, so the study cast serious doubt on a number of paintings that already lacked the aesthetic sophistication of authenticated Pollocks. The pigment collection holds other scandalous stories. One researcher found Indian Yellow in Seurat's 1879 Vase of Flowers , a pigment outlawed in 1908 on grounds of inhumanity—the color was made from the urine of cows that had been fed nothing but mango leaves. And if that seems awful, just wait until you hear about Mummy Brown , a pigment made from the ground-up remains of Egyptian mummies. In a quest to conserve a beloved personal collection, Forbes began a decades-long exploration into color. In contrast, the Metropolitan Museum of Art didn't create a conservation department of their own until 1942—and it was a Fogg alum who established it. Follow artnet News on Facebook. 2016-05-31 04:01 Alyssa Buffenstein

31 Rijksmuseum Names New General Director The Rijksmuseum in Amsterdam has named Taco Dibbits, who's served as director of collections at the national museum since 2008, as its new general director. The 48- year-old art historian has been working at the national museum since 2002, where he started as curator of 17th century paintings after heading the Old Masters department at Christie's London. Dibbits takes over from Wim Pijbes, who will step down on 15 July to head up Voorlinden , a new private museum and nature reserve in Wassenaar, a tony suburb of the Hague. "Taco Dibbits combines great international experience with his passion for art and history," Jaap de Hoop Scheffer, chairman of the museum's Board of Trustees, said in statement, while referring to Dibbits as a "figurehead" in the museum. "Taco is eminently capable of shaping the process of innovation and development necessary to inspire and surprise the museum visitor again and again," he added. Dibbits played a central role in reshaping the new Rijksmuseum, which reopened its doors in 2013 after a 10-year renovation, and was deeply involved in the development of the Rijksstudio, the Rijksmuseum's new website. He played a central role in several of the museum's major acquisitions, such as Bacchant by Adriaen de Vries and Rembrandt's Marten en Oopjen , which were added to the permanent collection in 2015 and 2016, respectively. Last year, he was also instrumental in negotiating the joint acquisition of two portraits by Rembrandt, together with the Louvre, from the collection of Éric de Rothschild. He also spearheaded the two blockbuster exhibitions "Rembrandt & Caravaggio," in 2006 and "Late Rembrandt," in 2015. "The Rijksmuseum is one of the most beautiful museums in the world, and therefore it is fantastic to be entrusted with its leadership" Dibbits said. "The treasures of the museum have the strength to bring people together. The museum belongs to everyone and is for everyone. " In 2013 and 2014, following the museum's reopening after the decade-long, €375 million renovation, the Rijksmuseum was the most visited museum in the Netherlands, with record numbers of 2.2 million and 2.45 million visitors. It is also the largest art museum in the country. Follow artnet News on Facebook. 2016-05-31 03:57 Hili Perlson

32 The Dominican Republic Burgeoning Art Scene Related Artists Paolo Chiasera Quisqueya Henríquez In the Dominican Republic, there are a few things you must wrap your head around before beginning to comprehend the country's nascent, but growing, art scene. The capital city, Santo Domingo, lacks a boisterous commercial gallery scene; instead, collectives like Sindicato have adopted a nomadic model, moving studios and exhibition locations around town, challenging a viewing public to roam further afield. But overall, support for the arts here relies almost entirely on private philanthropy. Nowhere is this clearer than at the Museo Bellapart, the country’s best collection of work by Dominican artists, where access to the fifth-floor museum takes you through the lobby of the car dealership once operated by Honda representative Juan José Bellapart, a native Catalan for whom collecting the work of artists from his adopted country became a passion. The Altos De Chavón School of Design is also a case study in the unexpected ways in which money, art, and patronage collide in the DR. The director of its fine arts department, Raul Miyar, is also the chief curator at a relatively new initiative, Casa Quien, which combines the traditional concept of a gallery with a brick-and-mortar shop that sells locally fabricated designwares (bolstered by an online boutique). Chavón offers competitive scholarships for a two-year program, giving students the option to complete their bachelor’s degrees in New York at Parsons School of Design. (Many go on to do just that—about 10 per year backed by full financial scholarships.) The institution is set in the town that shares its name, a replica 16th-century Mediterranean village built in the mid 1970s, and enclosed within the 7,000-acre grounds of the Casa de Campo, a gated tourist complex that’s a favorite among golfers. The gated community, town, and school were all the brainchild of American Gulf+Western tycoon Charles Bluhdorn, whose sugar holdings first drew him to the area and who tasked the set designers at Paramount studios with creating the picturesque (if somewhat bizarre) hamlet. The Altos de Chavón Cultural Center Foundation, now run by Bluhdorn’s daughter, supports the school and oversees the Regional Museum of Archaeology, a residence program, and a gallery in the town. A partnership with the Davidoff Art Initiative saw the first new construction at Chavón in 30 years, when in 2015 Davidoff, the Swiss luxury cigar brand, situated a residency for international artists on the school's campus. Established in 2013, the residency program is the initiative’s centerpiece, although it also operates an extensive grant program and dialogue series and commissions projects that complement the corporate brand—a limited- edition artwork delivered via cigar box, for example. Davidoff began by overseeing four international locations where Caribbean artists—most of whom have been Dominican-based—could complete three-month, fully funded stays in New York, Berlin, Beijing, and Basel. Beginning on June 1, when Natalia Ortega Gamez takes up residence at FLORA ars+natura in Bogota, they’ll add a fifth city to the global roster. Meanwhile, artists from around the world are invited to live and make work at Chavón, where they provide invaluable first-hand experiences for enrolled students. This past April marked the second full exchange when artists Paolo Chiasera , Oscar Santillan, Louis Henderson, and Jimmy Robert completed their stints in the studios at Chavón. “The training we give tends to be more traditional and technique-oriented,” Miyar says of the school’s teaching method, “so I think it’s essential that the students’ traditional notions of art be challenged.” For his project, Robert, a Berlin-based multimedia artist, flew a handful of his students from the Universität der Künste Berlin to Chavón to collaborate with Dominican students on a performance. The Dominican students will then fly to Berlin to continue the piece in a performance at the Universität der Künste slated for July 23. The three-person art collective Sindicato also counts two alumni of the Davidoff initiative as its members: Engel Leonardo and Quisqueya Henríquez. Henríquez was the first artist to participate in the program’s editions project, and Leonardo completed a stint in its Beijing residency in 2015. While he's no longer under the generous wing of Davidoff, the company has kept its eye on his career. At the recent opening of Leonardo's exhibition—an intervention in the decaying Venezuelan Pavilion, left over from Santo Domingo’s 1955 World’s Fair—rum was flowing and a humidor was humming. Davidoff had signed up to play host. 2016-05-31 03:00 Juliet Helmke

33 team living residence by masatoshi hirai architects atelier a client’s offhand comment about home caused a revelatory moment in the mind of japanese architect masatoshi hirai of MH architects atelier. further introspection lead to a disenchantment with modern residential design, wherein the personalities of inhabitants and family are lost, or hidden away, in favor of indiscernible galleries for public display. this newfound distaste laid the foundation of ‘team living’, an apartment renovation project in downtown tokyo. both name and concept, ‘team living’ represents the significance of outside factors in relation to personal identity. in practice the principle is quite simple. unity, rather than individualism, is emphasized. private rooms and LDK are foregone, and the home’s various components, human and otherwise, are consolidated into a single unit — a team. unified, the individual is able to perceive the living environment, and what exists within it, as crucial components of self. architecturally, the interior is a series of environments that support, without dividing, the behaviors and necessities of each family member. with exception of the bathroom, spaces are grouped according to function. beds are in the bedroom, desks are in the study, clothing and storage is in the closet. at its core, ‘team living’ enables true personality to emerge by lessening the importance of the individual. no one exists in isolation. belonging, in spirit and space, serves as the driving force for a healthy, unique life. intersection of new and original elements; tea room entrance 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. 2016-05-31 02:15 www.designboom

34 What’s on TV Tuesday Maya Rudolph and Martin Short, who last teamed up on the “Saturday Night Live 40th Anniversary Special,” try their hands at the classic variety show in “Maya & Marty.” “Peaky Blinders” returns for a third season. And Sally Field plays an invisible officer worker who is finally noticed in “Hello, My Name Is Doris.” MAYA & MARTY 10 p.m. on NBC. Maya Rudolph and Martin Short try to make the classic variety show their own, with a frothy mix of sketches, music, shenanigans and celebrity guests, including Miley Cyrus, Larry David, Jimmy Fallon and Tom Hanks. “You never know, going in, what the end result’s going to be,” Mr. Short said during an interview with The New York Times. “But you do know if the company you’re keeping makes you feel happy.” For a taste of what could be in store, check them out on the “Saturday Night Live 40th Anniversary Special.” Early birds can also find them on “Today,” at 7 a.m. on NBC. (Image: Ms. Rudolph and Mr. Short) THE ROYAL TENENBAUMS (2001) 7:30 p.m. on Showtime. Bring on the brats: Ben Stiller, Gwyneth Paltrow and Luke Wilson tap into their petulant sides to play grown-up prodigies — a financial whiz, an award-winning playwright and a tennis champion — whose estranged father wants to weasel his way back into the fold. This Wes Anderson comedy is set in a fantasy New York with a fantastic ensemble, including Gene Hackman, Anjelica Huston, Owen Wilson, Bill Murray and Alec Baldwin. The movie is “at once endearing and unbearably show-offy” and “finally elicits an exasperated admiration,” A. O. Scott wrote in The Times. ROOTS 9 p.m. on History, A&E, Lifetime and LMN. Part 2 in this Alex Haley saga, updated for a Black Lives Matter era , about the slave Kunta Kinte (Malachi Kirby) and his descendants. (Image: Mr. Kirby, foreground left, with Emayatzy Corinealdi) WOMAN 10 p.m. on Viceland. Gloria Steinem’s show examines child marriage in Africa as it follows a 14-year-old Zambian girl through a prewedding ritual until she marries a 48-year-old man. PEAKY BLINDERS on Netflix. This British crime melodrama — set in 1920s England, and starring Cillian Murphy as the boss of a gang named after some obscure weaponized headgear — sits “at the confluence of ‘Les Misérables’ and ‘The Godfather,’” Mike Hale wrote in The Times. Season 3 lands in its entirety on Tuesday. HELLO, MY NAME IS DORIS (2016) on Amazon and iTunes. Doris (Sally Field), an invisible office worker of a certain age living in hoarderdom in the Staten Island home she shared with her recently deceased mother, is jostled by a handsome young man (Max Greenfield) in a crowded elevator. And as he straightens her glasses, he does something that no one else seems to: He sees her — and in the process makes her visible to herself. “Like his heroine, the director Michael Showalter eagerly oversells the goods,” Manohla Dargis wrote in The Times. Doris’s dowager-Dumpster wardrobe, mutterings and facial contortions all scream too much, she added, “and together they announce that you’re in for an ingratiatingly cutesy slog about a lovable kook — except that the movie and Doris aren’t easy to love, which is partly why they work.” (Image: Ms. Field) 2016-05-31 00:00 By

35 Women on Broadway: A Year of Living Dangerously On Broadway, it has been a year of women: waitresses, shopgirls, concubines, Revolutionary sisters, a literary editor, a morphine addict and many victims of abuse. Is this cause for celebration or despair? Or pie? The musical “Waitress” and the play “Eclipsed” featured all-female creative teams. Yet even as women constitute two-thirds of the Broadway audience, women still lag far behind men as playwrights, composers, directors and designers. In a season hailed for racial and ethnic diversity , what about gender parity? The New York Times theater critics Laura Collins-Hughes and Alexis Soloski recently discussed the role of (and roles for) women this year, on Broadway and off. Here’s an edited version of their conversation: ALEXIS SOLOSKI Let’s get right to it. Has this been a good year for women? LAURA COLLINS-HUGHES There’s been progress, sure. But I wouldn’t say that makes it a good year. It’s interesting that this is the season when the producers of “Waitress” and “Eclipsed” have marketed their shows by touting the presence of women in key creative roles. If that weren’t a rarity, it wouldn’t be a marketing point. SOLOSKI I think it’s always helpful to see women in creative roles; the numbers in those fields are still pretty terrible. At the same time, many of these shows were telling the same kinds of stories about women, stories that sometimes needle me. I think we both had problems with “Waitress” on Broadway, right? COLLINS-HUGHES Going there already, are we? Yeah, my head popped right off at the end of “Waitress,” which in the hands of Sara Bareilles , Jessie Nelson and Diane Paulus has become tonally a very different creature than the much more nuanced Adrienne Shelly movie it’s based on. One of the few interesting aspects of the central character here, a waitress named Jenna, played by Jessie Mueller , is that she is an unhappily married woman who gets pregnant and adamantly does not want the child. Yet — this will be a spoiler for anyone who hasn’t seen it — the moment she gives birth, she is utterly transformed as a human being, which I found creepy and reactionary. But the show does have a pink and baby blue logo, so I should not have been surprised. SOLOSKI That the show is popular with female audiences mystifies me. I don’t read it as empowering. It condemns bullying behavior from Jenna’s abusive husband and then rewards it from the nerdy suitor of another waitress and the crotchety diner owner who bankrolls Jenna’s liberation. And the baby aspect of “Waitress” wouldn’t have rankled so much if reunions with children — and here we go with the spoilers again — hadn’t been the finale of two other female-centered Broadway shows, “Bright Star” and “The Color Purple.” No matter how much women achieve — Alice of “Bright Star” is the fiction editor of an important literary journal, Celie of “The Color Purple” reinvents herself as an entrepreneur — they’ll never be complete without their children. COLLINS-HUGHES Those reunions didn’t bother me, since they were part of restoring to those women the children they’d lost. For Celie and for Alice, the children’s absence has been an ache that’s followed them through life; it was never their choice to be separated from them. So the reunions are part of alleviating the suffering they’ve endured, largely at the hands of men. Speaking of which, that’s also been a big theme this season — women who are abused and transcend that to triumph. Which is kind of disturbing as something that investors are willing to gamble on commercially. SOLOSKI I don’t know if it’s more or less disturbing that in many cases, it’s paying off! In the same way that I wouldn’t mind stories that culminate in women reunited with children so much if there were similar narratives for men, I’m also bothered by the fact that women’s struggles are about overcoming or confronting abusive men — “ The Color Purple,” “Waitress,” “Bright Star,” even “Blackbird” and “Eclipsed” in their way — whereas men get to struggle with politics and power and art and conflicts deep within the self. I’m thinking of “Hamilton,” “A View From the Bridge,” “The Crucible,” “The Father,” “Shuffle Along” and even “American Psycho.” With the exception of the Arthur Miller plays, the women in these stories don’t even have that much to do. COLLINS-HUGHES That’s true. Is that something that’s always on your radar? It’s always on mine. The first time I saw “Hamilton,” blown away as I was by it — and I am staunchly in the “Hamilton” is a work of genius camp — I was disappointed that there was so much terrific stuff for so many men to do, and basically two substantial female characters who are crucial to the story but still pretty much on its margins. SOLOSKI Yeah, I can and will go completely fangirl for “Hamilton,” but that show is never passing the Bechdel test. The women are sensational, Renée Elise Goldsberry, as Angelica, his whip-smart sister-in-law, particularly, but the characters exist only to love, marry and seduce Hamilton. I’m glad that the script makes us aware of how brilliant Angelica is (“I’ve been reading Common Sense by Thomas/Paine./So men say that I’m intense or I’m insane”) and how much Eliza, Hamilton’s wife, achieves after his death, but there’s no getting around how marginal they are. After they meet him, do they ever talk about anything else? COLLINS-HUGHES I knew you were going to pull out that quote! I love that line. But I do think the Bechdel test argument is not the strongest when these two characters, Angelica and Eliza, are sisters whose relationship predates and outlasts their relationships with Hamilton. Each has the other’s back, which matters, and it also matters that Angelica — who breaks my heart every time I listen to that cast album — has a relationship with Hamilton that’s not just about sexual attraction. It’s about intellectual companionship, too. SOLOSKI I read recently that Lin-Manuel Miranda likes the idea of cross- casting some of the men’s roles with women once the show is licensed to high schools and colleges. A few years from now, I’d like to see a female Aaron Burr just killing it. That’s what I want to see all the time — not necessarily women in men’s roles, but roles for women that are just as rich and complicated and brave and villainous and surprising and messed up as those available to men. But what are some good examples of rich roles for women this season? What was your take on “Eclipsed,” Danai Gurira’s play about female captives in the Liberian civil war? COLLINS-HUGHES What I liked about “Eclipsed” was that it didn’t prescribe one way of living for its characters. They all end up making different choices — one of them particularly worrisome — but the important thing is that they’re in charge of determining the course of their own lives. SOLOSKI And I really loved how strong and varied their relationships were with each other. What did you think of the relationships among the women in “Waitress” and “The Color Purple”? COLLINS-HUGHES There’s a lot of sisterhood in action, which is also the case in “Eclipsed” and, to a lesser but still striking degree, “Shuffle Along,” in which Audra McDonald’s character, a star named Lottie Gee, acts as a mentor to Adrienne Warren’s young Florence Mills. Refreshingly, the women in these shows are mostly looking after one another rather than pitted against one another, competing for men. That said, I was bothered by how lightly “The Color Purple” treads in depicting the romance between Celie and Shug Avery. SOLOSKI Yes, the lesbianism was handled so delicately it became more or less invisible. What shows were you enthusiastic about? I know we both adored “She Loves Me.” COLLINS-HUGHES I had the weirdest reaction to that show: I wished Nora Ephron were around to see it. It’s pure fun: an old-fashioned musical whose plot is familiar to anyone who’s seen “You’ve Got Mail” — which means that Laura Benanti, in the starring role, has to escape the shadow of Meg Ryan. Which she does, particularly by bursting into song. She and Jane Krakowski do a fantastic job of subverting roles that might have had uncomfortable shades of subservience, especially when they get their men. SOLOSKI And Ms. Krakowski does all that while doing the splits. I also liked how the script emphasizes that each is actually really good at her job, Ms. Benanti’s character especially. If they’re both lovelorn, well, so are the men! I was thinking back through this season, and a lot of the shows that had compelling female characters for me were ones that played or started Off Broadway — Annie Baker’s “John,” Stephen Karam’s “The Humans,” Dominique Morisseau’s “Skeleton Crew,” Paula Vogel’s “Indecent” — all plays in which the women’s characters are as richly drawn as those of men and the obstacles they face are comparable. And it’s probably not an accident that there are so many female playwrights on that list. COLLINS-HUGHES Martyna Majok’s “Ironbound” is another one — although she told me that when she was developing it, before she was sure whether the central character, Darja, would have a child, audiences found Darja unlikable when she was aggressively trying to survive just for her own benefit. When she was doing it partly for her kid, it was O. K. I also fell hard for Alice Birch’s “Revolt. She Said. Revolt Again.,” which is brilliant and hilarious and absolutely furious — its anger, and Darja’s, dovetailing nicely this spring with Beyoncé’s baseball-bat moment in “Lemonade.” Female rage: not something we’re used to seeing undisguised or unapologized for. On Broadway, I was surprised at how much I liked “Bright Star” — and thrilled that a show whose characters include a talented young man determined to make it big as a writer is not centrally about him. SOLOSKI I think we’re both on board for shows in which female journalists triumph. COLLINS-HUGHES What was your take on Jessica Lange in “Long Day’s Journey Into Night”? That’s a more traditional role for a woman, but a huge and complex one, and, oh, it is so nice to see something really substantial for an actress at 67. SOLOSKI Yes, maybe more traditional, but her emotional life is just as vivid as those of the men around her. I know it’s a divisive performance, but I was very much taken with her, how cruel she could be and how tender: That last monologue broke my heart, just as it should. Michelle Williams in “Blackbird” also divided people. What did you think? COLLINS-HUGHES I didn’t know at first what to think, but then it mostly worked for me. She’s playing a woman who confronts the man who preyed on her when she was a child, and I came to view her as a walking victim impact statement. She’s unstable, but for good reason, and if the character seems to be presenting a front to him, well, that’s probably what she needs to do to be able to walk into the room. You? SOLOSKI Same. During the first 15 minutes or so, I couldn’t figure her out. She didn’t know how to walk in her heels, her voice seemed strained, her gestures mannered. And then it clicked: The character experienced such a trauma at such a pivotal age that she’d never really figured out how to be a person and continues to try on different identities, none of them very successfully, which is a tough and risky thing to play. It devastated me. COLLINS-HUGHES It feels to me like more producers are getting the message female artists have been sending: that it’s not O. K. to exclude them and that they’ll make as much noise as necessary to get doors opened to them. That issue was only amplified at last year’s Tonys when the creators of “Fun Home,” the wondrous Lisa Kron and Jeanine Tesori, got their book and score awards off - air. But I’d love to see greater daring by producers — and I’d like them to keep in mind that female theatergoers are a majority but not a monolith. SOLOSKI This season, I’ve worried that we still need to approach female characters as victims to accept them as heroes. (More cynically, I’ve discovered that if you want a Tony this year, lose a child. Or survive a rape. I’m sure Ms. McDonald would have received a nomination had her “Shuffle Along” character been more anguished.) Next season, I’d like to see women suffer a little less and run the world a little more. 2016-05-31 00:00 By

36 'la cité du vin' in bordeaux by XTU architects in bordeaux, french practice XTU architects has completed ‘la cité du vin’, a curvaceous building that celebrates the region’s unparalleled wine industry. the eye-catching structure, located on the banks of the garonne river, serves as wine theme park — offering tours, tasting areas, boutique concept stores, and a panoramic rooftop restaurant. the design team, led by anouk legendre and nicolas desmazières, sought to create a link between the new building and its context by generating a sense of perpetual movement. ‘this building does not resemble any recognizable shape because it is an evocation of the soul of wine between the river and the city,’ explain the architects. ‘every detail of the architecture evokes wine’s soul and liquid nature: seamless roundness, intangible and sensual’. the eye-catching structure is located on the banks of the garonne river image © julien lanoo designed to represent wine swirling in a glass, the building’s sinuous façade comprises silk-screen printed panes of glass and perforated, iridescent aluminum panels. changing appearance depending on the time of day, the building establishes a dialogue with the river through its reflections — thus generating a correlation with wine’s constantly changing appearance. two entrances, deliberately positioned on either side of the scheme, create an impression of movement — an ebb and flow between inside and outside. one entrance faces the city, while the other is oriented towards the river. at its highest point, an elevated tower provides visitors with sweeping views across the city below. internally, the wine tour itself has also been conceived as an organic flow of movement. visitors pass through the building like a river, with guests becoming voyagers circulating around the central staircase. ‘each person discovers a new world in a fluid, rotating motion leading to an unusual, limitless destination, like a journey through the meanderings of a cultural landscape, which feeds the imagination,‘ surmises the design team. ‘la citè du vin’ opens its doors to the public on june 1, 2016. tasting areas form an important part of the scheme image © XTU architects gallery space is found throughout the building image © julien lanoo an elevated tower provides visitors with sweeping views across the city below image © XTU architects ‘la cité du vin’ opens its doors to the public on june 1, 2016 image © julien lanoo program: 10 levels between the core and the tower, a permanent tour, three tasting areas including 1 multi-sensory immersive space, a reading room, a boutique concept store, 2 restaurants and a panoramic restaurant client: city of bordeaux owner: fondation de la cité du vin architects: XTU architects — anouk legendre + nicolas desmazières project leaders: mathias lukacs, dominique zentelin on site team: delphine isart, claire leroux, thibault le poncin, joan tarragon research team: joan tarragon, gaëlle le borgne, stefania maccagan, cristina sanchez project dates: competition: april, 2011 build: september, 2013 completed: may, 2016 site: 13,644 sqm surface area: 12,927 sqm, including 2,800 sqm of permanent exhibition budget: 81M€ excluding VAT/ 55M€ (architecture and scenography) 2016-05-30 23:44 Philip Stevens

37 Japanese Hologram Pop Star Hatsune Miku Rolls Into New York Miku’s only human quotient is the community of fans who conceive her. Her voice is computer-generated and her song catalogue is entirely the creation of everyday people — a phenomenon known as “vocaloid.” For about $200, aspiring producers can purchase software loaded with Hatsune Miku proprietary voices — the only method used to compose her songs. Should a track take off within Miku’s active Internet community, the song can become part of her onstage act. Miku’s albums are sold as compilations and credit the online username of each song’s creator as its track artist. In addition to techies and futurists, Miku has spurred interest from the fashion world as well. In 2013, Marc Jacobs was named as the digital wardrobe designer for her virtual opera tour, “The End.” Jacobs clothed Miku in a monochromatic checkered outfit inspired by designs from his spring 2013 collection for Louis Vuitton. Earlier this month, Riccardo Tisci gave the vocaloid a sartorial makeover in his gothic haute couture. RELATED STORY: They Are Wearing: Hatsune Miku’s New York Concert >> While Miku’s persona — a 16-year-old school girl arbitrarily measuring just over 5 feet and weighing 93 pounds — is entirely made up, fans treat her with the same ardor they would a human act. “I like the idea that it’s a hologram and a lot of people judge you for the fact that it’s not a real person — but I feel like that’s the coolest part. I’m a tech fan so I feel like I’m seeing what’s going to be new for the future,” said Eunice, an 18-year-old student from Flushing, Queens, who asked that her surname not be used. “All the songs playing are made by normal people who bought the software and got famous online because they’re talented. For the most part you don’t know what they look like or who they are — anyone can do it. [Miku] is the manifestation of a whole community rather than just one person’s work,” she added. Miku landed in New York on Saturday to play two sold-out shows that drew a combined audience of nearly 7,000. She was accompanied onstage by four professional musicians, who lend a rockish grit to what is otherwise a surreal experience. Like a human pop star, Miku’s saccharine radio edits take on a rawer edge when seen in the pixelated flesh. In the hours before each show, fans queued for an entire block’s stretch of 34 th Street, snaking well down Ninth Avenue. Most ranged in age from their mid-teens to early 30s, and wore Cosplay ensembles or outfits emulating early-Aughts Harajuku attire. While Miku’s entire two-hour act is performed in Japanese without subtitles, the majority of fans surveyed by WWD didn’t speak the language, or had ever traveled to Japan. They sang along nonetheless. Among them was Lily, an 18-year-old from New Jersey who coordinates social media for a medical marijuana firm. Dressed in neon pink platform boots and an iridescent biker jacket, she declared the Hatsune Miku phenomenon as, “Clap if you believe. “We are all here to see her, but she doesn’t exist. The idea is to build a community around songs that are fan-made.” Said fashion model and photograher Marcel Castenmiller, an avid Japanophile: “So many of these people, like myself, spend a lot of time inside playing video games and it’s good for them to get out and meet other people.” The “expo,” as organizers call it, unfolded on a wide frosted screen mounted onstage. It also featured five of Miku’s lesser-known vocaloid counterparts — all owned by Sapporo, Japan-based firm Crypton Future Media. While watching the show, it was difficult to discern if the spectacle was a total gimmick or offered a visionary glimpse into the future-perfect. A high-wattage projector glowed from behind the screen, delivering vocaloids onto the stage, and fading them away after each song. The holograms’ illusionary eyes are engineered to connect with those of each audience member, no matter their location in an arena — perhaps explaining their fans’ emotional attachment. 初音 HatsuneMiku ミク A video posted by Marcel Castenmiller (@marcel.castenmiller) on May 28, 2016 at 9:38pm PDT Many behaved as if a human was onstage. When Miku sat down at a “piano” to sing, the audience hushed itself in a sign of respect. When her fellow vocaloid Meiko took the stage and gyrated her derriere, the crowd erupted in shrill screams as if she were Shakira. If vocaloids can become more widely proliferated, they could signal major financial gains for a struggling music industry. Miku’s virtual status alleviates many of the management and production headaches bestowed by human performers: costly riders, travel fees and tabloid fodder among them. Plus, it is feasible for the holograms to perform in multiple locations at the same time — maximizing tour income. With her schoolgirl uniform, tartlet dance moves and pithy lyrics — one could easily draw parallels between Miku and Britney Spears. Pete Berkman, guitarist and producer for Anamanaguchi — a Brooklyn band that has been on tour with Miku as her opening act for the past two months — said of vocaloids: “To make [music] programmatic makes a lot of sense because if you are in the studio with Britney Spears, she will probably record 100 or 200 takes of just one line that will be compiled together. “Instead of spending all that time physically in a recording studio, saying, ‘No, do it like this,’ to get the pronunciation just so, that can be done now without spending human hours and stress. With Miku, a Britney Spears head-shaving moment would have to be programmed, instead of the natural byproduct of a psychosis that comes from trying to appeal to a lot of people.” While Miku’s voice software has included an English-language database since 2013, the vocaloid medium has yet to take off among Western amateur producers. But according to Berkman — whose band just created an English song with the program, called “Miku” — that could soon change. “Virtual programmatic things are only going to expand, unless there is some kind of rebellion where we break every machine in the world,” he said. “It might eventually flip to opposite, where it’s novel for an actual human to be singing onstage.” 2016-05-30 23:15 Misty White

38 Ink and Antiquities Shine at Christie’s “30 Years: The Sale” Related Venues Christie's Christie’s much-anticipated “30 Years: The Sale,” which celebrated the three-decade mark of its Asia-based operations, proved to be a most auspicious milestone for the venerable auction house in Hong Kong yesterday, May 30. 100% of the 30 lots sold, with over 40% of the lots selling above their high estimate. The top lot was A Magnificent Large Blue and White ‘Dragon’ Jar (1426- 1435), which fetched HK$158.04 million (US$20,447,642), almost exactly double its high estimate of HK$80 million (US$10,350,616). Significant works by auction favorites in the Chinese painting category performed respectably. Zhang Daqian’s “Summer on California Mountain” (1967) fetched HK$39.32 million (US$5,087,328) against a high estimate of HK$28 million (US$3,622,716), while Qi Baishi’s set of four hanging scrolls, “Between Likeness & Unlikeness — Amaranth, Wisteria, Aquatic Life, Lychees” (1943), sold for HK$16.24 million (US$2,101,175), nearly double the high estimate of HK$9 million (US$1,164,444). On the contemporary front, Zeng Fanzhi’s “Enigmatic Night (07-18)” (2007) sold for HK$18.04 million (US$2,334,064), compared with a high estimate of HK$10 million (US$1,293,827). In general, however, antiquities and older Chinese ink works were the most hotly contested, pushing hammer prices to double, triple, or even quadruple the pre-sale estimates. The star lot in this regard was “Landscape and Calligraphy,” an ink on silk handscroll by Dong Qichang (1555-1636), a court favorite of the Emperors Kangxi and Qianlong, which blazed past its conservative high estimate of HK$3.5 million (US$452,839) to fetch four times that: HK$14.44 million (US$1,868,286). Also performing beyond expectations was “Spirit Rock,” an ink painting by Liu Dan (b. 1953), which fetched HK$6.28 million (US$812,523), more than twice its high estimate of HK$2.8 million (US$362,272), and A Very Rare Imperial Bronze ‘Dragon’ Censer, Xuande Cast Six-Character Mark and of the Period (1426-1435), which comfortably doubled its high estimate of HK$2 million (US$258,765) to fetch HK$4.24 million (US$548,583). 2016-05-30 23:11 Darryl Wee

39 xavier delory conceals le corbusier's church of firminy behind a layer of grime xavier delory conceals le corbusier's church of firminy behind a layer of grime xavier delory conceals le corbusier’s church of firminy behind a layer of grime (above) south view all images © xavier delory xavier delory‘s ongoing ‘pilgrimage along modernity’ project sees the degradation of 20th century architectural monuments as a subversive homage to the modernist movement. iterations of the series previously featured on designboom include le corbusier’s ronchamp chapel covered in graffiti and villa savoye pictured in a state of disrepair. the brussels-based artist continues the series with this latest opus: ‘eglise saint-pierre de firminy: post-mortem’. the project envisions le corbusier’s saint-pierre church in the french region of firminy decaying beyond recognition, its light concrete façade concealed behind a layer of grime and soot. delory has hidden the exterior of the landmark behind a dirty, polluted coat, distorting its exiting architectural qualities and rendering it in a state of neglect and ruination. ‘what is left of the utopia,’ delory questions, ‘the better future that the modern movement promised us at the beginning of the 20th century? these ‘museum buildings’, preserved like precious objects, are the sole vestiges of all that remains of this movement.’ construction on the original structure began in 1970, five years after le corbusier’s death. due to budgetary and political complications, the project’s realization was remarkably prolonged. by 1978, only the substructure was built — for 30 years, this base, nicknamed the ‘blockhouse’, remained severed from the rest of the building. in 1993, the town of firminy became keen to the cultural and touristic interest in the building, and work resumed in 2004 under the control of the le corbusier foundation and the direction of josé oubrerie, a former colleague, who had assisted le corbusier in the project’s design. the building finally opened its doors in 2006, and stands as a witness to the architectural ingenuity of le corbusier. delroy renders the east view of the structure the artist hides the southeast view of the landmark behind a dirty coat the north view is rendered in a state of neglect and ruination 2016-05-30 23:05 Nina Azzarello

40 VIDEO: Dirimart Opens New Gallery Space in Istanbul Related Venues DİRİMART Artists Franz Ackermann Bernard Frize Isaac Julien Sarah Morris Shirin Neshat Eva Rothschild Tomas Saraceno Haluk Akakce Ayse Erkmen Established by Hazer Özil in 2002, Dirimart has become a leading players in the Turkish contemporary art gallery world by promoting Turkish artists internationally, while also bringing in provocative works by the like of Shirin Neshat , Sarah Morris , and Ghada Amer. Last week, the gallery opened a second space, in Istanbul's Dolapdere area, close to the proposed contemporary art museum, which is due to open in 2017 and will house the Vehbi Koç Foundation’s contemporary art collection. Designed by StudioMDA, which is also behind the design of Lisson Gallery and Paul Kasmin Gallery in New York, the new Dirimart space is spread over 1,000 square meters (almost 10,800 sq. ft.), including offices and an outdoor sculpture garden, making it the largest commercial art space in Istanbul. It opened its doors with a group exhibition, “Surface and Beyond,” that mixes works by internationally renowned contemporary artists ( Franz Ackermann , Bernard Frize , Isaac Julien , Sarah Morris , Shirin Neshat , Eva Rothschild , Tomás Saraceno ), along with Turkish artists (Haluk Akakçe, Autoban, Ayşe Erkmen, and Ebru Uygun) Curated by Heinz Peter Schwerfel, the exhibition invites viewers on a visual journey beyond the surface, with the concept of the “exposed surface” investigated from various perspectives (click o n the slideshow to see installation views). So while Frize seems to sculpt color in his abstract and flat paintings, Ebru Uygun physically challenges the structure of her canvas by destroying their painted surface, breaking them into large strips before reconstructing them and in the process, creating a strong three-dimensional effect. Watch the video as we talk to Hazer Özil, Heinz Peter Schwerfel, and Franz Ackermann about the new exhibition. “Surface and Beyond” runs through July 30. 2016-05-30 22:00 Sonia Kolesnikov

41 Elodie K. Launches Fine Jewelry and Enhanced Web Site, New Retail Store to Follow More Articles By Five years after designing her first jewelry pieces — including snake studs that became Miley Cyrus ’ staple for two years and snake rings worn by Demi Lovato on her album cover — retailer and designer Elodie Khayat has relaunched her Elodie K. fine-jewelry collection along with her web site, where she sells her baubles along with a selection of high-end European resort-themed apparel and accessories also available in her two-year-old Melrose Place boutique by the same name. The collection of earrings, bracelets, necklaces and body chains, in five color ways ranging from yellow gold, green tsavorite, yellow sapphire and pink sapphire combinations to black gold, opal, diamond and blue sapphire, borrows Native American motifs for modern pieces such as hinged chokers, ear cuffs, double rings and chain bracelets. Retail prices range from $290 for a yellow gold, turquoise and gray diamond ear cuff to $3,900 for a rose gold, pink opal, brown diamond and pink sapphire body chain. The collection, the first time Khayat has worked with colored stones, follows last season’s “Resurrection” collection of rhodium-plated black gold with black-and-white diamonds in a thorn motif. The web site features fashion films, a blog called “The Fashion Files” and profiles on some of the designers she carries, including Aquazzura, Bella Freud , Gianvito Rossi, Illesteva, Lisa Marie Fernandez and Pop St. Barth. “The first year I spent finding the right assortment for my store, consisting of brands from Europe and resort towns like Ibiza and St. Barths that you can’t get elsewhere in Los Angeles,” she said. “Now, I have the time to focus on my jewelry.” Khayat, a Paris native and niece of Serge Azria, dabbled with a costume jewelry line as a response to the demand for the styles worn by Cyrus and Lovato, but said her heart wasn’t in chasing trends and manufacturing in China. She also designs apparel under her label; her next project is a capsule collection of embroidered dresses sourced in India and a fragrance developed in Paris (currently a sample, in the form of a scented candle, burns in her store). Her sister Leslie, meanwhile, has a fashion jewelry line called Helles, which she also sells in Elodie K. This summer, Khayat will open a smaller, by-appointent-only store in the same Melrose Place courtyard complex as her original store. The 1,100- square-foot space will provide a more private shopping experience for fine- jewelry clients as well as serving as her office space. Eventually, she hopes to wholesale her jewelry via a New York showroom. 2016-05-30 20:29 Marcy Medina

42 shaddai yacht concept by gabriele teruzzi looking to contemporary skyscrapers has an alternate creative expression, gabriele teruzzi frames the futuristic ‘shaddai’ yacht concept with a suspended private terrace. the captivating vantage point houses the owner’s cabin to watch sunsets and together with the infinity pool, the 38 meter tower produces a visual effect of water with no boundary, merging with the sky. the main hull is 150 meters long and includes a beach club and main deck connected by scenegraphic infinity pool. influenced by the most luxurious and exclusive hotels, the 300 square meter beach club features a main aquarium in the middle that divides the two sides of the yacht. both the color combinations and arrangement distribute the space in ultimate luxury. 2016-05-30 18:25 Piotr Boruslawski

Total 42 articles. Created at 2016-05-31 18:05