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80 articles, 2016-06-11 00:21 1 Ex-Sotheby's Alex Rotter Joins Christie's After 16 years at Sotheby's, post-war and contemporary art expert Alex Rotter will be chairman of post-war and contemporary art at

(2.12/3) rival Christie's. 2016-06-10 09:59 1KB news.artnet.com

2 David Zwirner Confirms Hong Kong Outpost David Zwirner has confirmed that it will open a new gallery space in Hong Kong in the autumn of 2017, which will be located in the city's H Queen's building. 2016-06-10 07:42 2KB news.artnet.com (1.04/3)

3 Hauser & Wirth To Take Over Old Dia Building Powerhouse gallery Hauser & Wirth will temporarily occupy the old Dia Art Center building on West 22nd Street as its new building goes up next door. 2016-06-10 10:51 2KB news.artnet.com (1.02/3)

4 London Collections: Men Gets a New, Consumer-Friendlier Name London Fashion Week Men’s will be the new name, come January. (1.00/3) 2016-06-10 19:06 2KB wwd.com 5 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe.

(0.01/3) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth... 2016-06-10 10:02 2KB contemporaryartprojectsusa.com 6 Live Then, Live Now — Magazine — Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s—on (0.01/3) the cool side for the height of summer in Minneapolis. Diana Ross... 2016-06-10 14:03 11KB www.walkerart.org 7 Judy Blame Celebrates Jo Malone Collaboration at Spotted Pig Blame, who’s staging his first retrospective, put his own spin on Jo Malone packaging. 2016-06-10 20:37 2KB wwd.com 8 lenovo phab2 pro with google's project tango lenovo phab2 pro with tango helps users answer a new set of questions about their world through specialized sensors and apps that map its surroundings to create an augmented reality experience. 2016-06-10 20:30 2KB www.designboom.com

9 Men’s Health Editor in Chief Bill Phillips Out Amid Turmoil at Rodale Phillips, who joined Men’s Health in 2003, was let go, sources said. His departure follows growing unease at the company. 2016-06-10 20:18 3KB wwd.com 10 fabio novembre fades AC milan's red and black colorway onto 2016/2017 adidas home kit fabio novembre's design was developed from an initial vision highlighting a special dripping graphic with bright red fading into black. 2016-06-10 19:15 1KB www.designboom.com 11 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker's Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this... 2016-06-10 18:04 966Bytes blogs.walkerart.org 12 Zadig & Voltaire Fetes Fragrance Duo The French fashion brand held a party in Paris on Thursday night whose guest list included Mélanie Thierry, Inès Sastre and Virginie Ledoyen. 2016-06-10 19:03 2KB wwd.com 13 Tomoko Ogura Leaves Barneys New York as Fashion Director Having worked at Barneys New York for 11 years, senior fashion director Tomoko Ogura has left the company. 2016-06-10 18:55 1KB wwd.com 14 Alexander Wang Recaps 10 Years in Fashion; Talks Apple, Amy Schumer, Balenciaga at The Met Alexander Wang chatted with Alina Cho at The Met about his 10- year run in fashion. 2016-06-10 18:46 2KB wwd.com 15 Beautycon Set to Light Up the L. A. Convention Center with Big Names Ashley Tisdale, Tyra Banks and Sofia Vergara are participating in the upcoming festival at the Los Angeles Convention Center. 2016-06-10 18:36 4KB wwd.com

16 Preciously Paris, The Webster Team Up on a Clutch The handbag is slated to launch during Art Basel Miami Beach in December. 2016-06-10 18:35 1KB wwd.com 17 artek + kvadrat collaborate with kuehn malvezzi for design miami/ basel collectors lounge the space is a landscape of cubic volumes that form an environment of different colors, textures and stripes expressing varying degrees of graphic boldness. 2016-06-10 18:10 2KB www.designboom.com 18 Steph Curry’s New Shoes Sparks Twitter Ridicule Steph Curry’s new Under Armour shoes are turning Twitter into comedy gold. 2016-06-10 18:10 1KB wwd.com 19 Gawker Filed for Chapter 11 Bankruptcy, Ziff Davis is a Potential suitor The technology and gaming publisher, Ziff Davis has indicated its interest in acquiring Gawker. 2016-06-10 18:08 3KB wwd.com 20 Silicon Valhalla: Stockholm Stakes Its Claim on the Future Artist talks from JR and Doug Aitken, Icona Pop, and rumors of 5G internet blew the doors off of the Brilliant Minds conference Day 1. 2016-06-10 17:22 5KB thecreatorsproject.vice.com 21 2016 European Footballer Style Twenty-four European teams will be competing for the title in stadiums across France, with athletes playing for their national teams. 2016-06-10 17:04 2KB wwd.com 22 baggizmo EDC bag combines urban fashion and gadget accessibility business, sporty, casual or formal, baggizmo keeps gadgets and essentials at your fingertips. 2016-06-10 17:00 2KB www.designboom.com 23 Maurizio Cattelan's Wheelchair Performance Sinks Maurizio Cattelan's latest post-retirement antics, in which Paralympic athlete Edith Wolf-Hunkeler was meant to float on water, didn't go down as planned. 2016-06-10 16:48 2KB news.artnet.com

24 'Watchmen' Creator Alan Moore Talks Movies, Magic, and Comics We interviewed the famous screenwriter about his series of surreal short films. 2016-06-10 16:32 7KB thecreatorsproject.vice.com 25 Aram Moshayedi on Made in L. A. 2016 The third iteration of the Hammer Museum’s biennial exhibition, called “a, the, though, only,” opens June 12. Flash Art Associate Editor Eli Diner talked with co-curator Aram Moshayedi. There are so... 2016-06-10 16:30 6KB www.flashartonline.com 26 Auctionata Car Sale Feels the Need for Speed German TV star Horst Lichter hosts the "Need for Speed: Luxury Sports Cars & Yachts" sale at Auctionata featuring a selection of Ferraris. 2016-06-10 15:49 2KB news.artnet.com 27 museum of london shortlist includes BIG + caruso st john the museum of london has revealed the concepts from the architectural teams shortlisted to complete a new building for the institution at west smithfield. 2016-06-10 15:49 3KB www.designboom.com 28 Sculptures of Lust and Temptation Channel Hieronymus Bosch's Demons Alessandro Boezio’s ceramic hybrid bodies are not of this world. 2016-06-10 15:34 4KB thecreatorsproject.vice.com 29 Nature Devours Art in a Series of Eco Sculptures A group exhibition fuses nature with art. 2016-06-10 15:00 4KB thecreatorsproject.vice.com 30 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions... 2016-06-10 16:43 1KB contemporaryartprojectsusa.com 31 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than... 2016-06-10 16:43 2KB contemporaryartprojectsusa.com

32 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 Minneap... 2016-06-10 12:44 867Bytes blogs.walkerart.org 33 Usher Cements Bromance with a Budding Art Star | Insta of the Week Daniel Arsham's portrait is the face of Usher's new single "No Limits. " 2016-06-10 14:37 1KB thecreatorsproject.vice.com 34 Young Royals Attend Queen’s 90th Birthday National Service of Thanksgiving The Duke and Duchess of Cambridge joined the royal family at Queen Elizabeth’s 90th birthday national service of thanksgiving on Friday. 2016-06-10 14:34 1KB wwd.com 35 The Varieties of Violence at BAMcinemaFest 2016 Films at BAMcinemaFest explore violence, from the shootings in Aurora and Sandy Hook to fraternity hazing to the threats hanging over the LGBT community and street kids in Seattle. 2016-06-10 14:23 7KB www.blouinartinfo.com 36 Submit Your Art to This Crowd-Sourced Zine Time Capsule If you're a NY-based artist, here's a chance to be published. 2016-06-10 14:14 2KB thecreatorsproject.vice.com 37 The Tony Award That Lin-Manuel Miranda Probably Wants to Lose According to the pundits, the Tony Award for best actor in a musical will go to “Hamilton” when Broadway’s highest honors are announced on June 12. 2016-06-10 14:03 4KB www.blouinartinfo.com 38 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nat... 2016-06-10 14:03 885Bytes blogs.walkerart.org 39 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... 2016-06-10 16:46 875Bytes blogs.walkerart.org

40 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume,... 2016-06-10 16:46 6KB designawards.core77.com 41 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Ki... 2016-06-10 13:44 972Bytes blogs.walkerart.org 42 zaha hadid's twisting generali tower tops out in milan zaha hadid's twisting 'generali tower' has topped out in milan. originally titled 'lo storto', the 170m structure has been renamed after the insurance firm. 2016-06-10 13:20 3KB www.designboom.com 43 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins's free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27–October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 pho... 2016-06-10 16:46 874Bytes blogs.walkerart.org 44 Longtime CBS Veteran Launches Boutique Communications Firm Murphy’s new firm, 360bespoke, targets the luxury space. 2016-06-10 13:00 2KB wwd.com 45 See and Spin #11: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. Touch of Jay: Meet The Maserati-Driving Deadhead Lawyer Who Stands Between Hackers And Prison (Joseph Bernstein / BuzzFeed) A medical... 2016-06-10 12:59 3KB realart.com 46 studio TK square modular series by toan nguyen based on square modularity, each studio TK piece by toan nguyen can generate many different configurations and combinations, involving all four directions that interact with the surrounding architectural spaces. 2016-06-10 12:50 2KB www.designboom.com 47 'Hold the Door' Game of Thrones Director Made a Children's Book for Adults Jack Bender makes fantastical tales come to life on TV and in his new book. 2016-06-10 12:47 4KB thecreatorsproject.vice.com 48 Rirkrit Tiravanija Brings Ping Pong to Amsterdam’s Museumplein Amsterdam's Stedelijk Museum has brought the Thai artist's interactive work to the museum square. 2016-06-10 12:35 2KB www.blouinartinfo.com 49 Buckingham Palace Releases Another Portrait of Queen Elizabeth Shot by Annie Leibovitz Buckingham Palace has released a new portrait of Queen Elizabeth and her husband Prince Philip. 2016-06-10 12:28 1KB wwd.com 50 Chair Forgery Scandal Strikes Versailles Did Versailles buy fake Louis Delanois chairs, supposedly created for Louis XV's mistress, Madame du Barry, from Paris's venerable Kraemer Gallery? 2016-06-10 12:16 3KB news.artnet.com 51 Mika Tajima's Hot Pink Hot Tub Public Artwork The Sculpture Center has just unveiled its next major project, Mika Tajima's hot pink hot tub that geysers brilliantly colored water vapor skywards. 2016-06-10 12:15 4KB news.artnet.com 52 Brooklyn Museum Elects Barbara M. Vogelstein As Board Chair Barbara M. Vogelstein. COURTESY VASSAR COLLEGE The Brooklyn Museum has announced that Barbara M. Vogelstein will be replacing Elizabeth A. Sackler as chair of 2016-06-10 12:01 1KB www.artnews.com 53 True to Life: Elaine de Kooning on Stuart Davis, in 1957 Stuart Davis, The Paris Bit, 1959, oil on canvas.©ESTATE OF STUART DAVIS/LICENSED BY VAGA, NEW YORK/WHITNEY MUSEUM OF AMERICAN ART; PURCHASE, WITH FUNDS FROM 2016-06-10 12:00 11KB www.artnews.com 54 zach both converts a chevy cargo van into a nomadic filmmaking studio filmmaker zach both has been traveling across the united states in a self-built mobile studio, converted from a decade-old van to a functional dwelling. 2016-06-10 11:50 3KB www.designboom.com 55 L. A. Habitat: Lara Schnitger Lara Schnitger in her Glasell Park studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the 2016-06-10 11:30 4KB www.artnews.com 56 icon 1000 dromedarii the icon 1000 dromedarii is based on the bones of a triumph ‘tiger 800XC’ modified for the apocalyptic conditions. 2016-06-10 11:20 1KB www.designboom.com 57 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... 2016-06-10 14:03 22KB www.walkerart.org 58 Cyber-Mystical Jewelry Will Boost Your Instagram Following STONEDALONE, a jewelry line by Wynn Mustin, fuses 3D printed crystals with cyber- mystical properties to boost your digital following. 2016-06-10 11:01 4KB thecreatorsproject.vice.com 59 Meg Webster at Paula Cooper Gallery, New York Pictures at an Exhibition presents images of one notable show every weekday 2016-06-10 11:00 2KB www.artnews.com 60 Manifesta 11 Is Too Many Things at Once Christian Jankowski curated the 11th edition of Manifesta, which opens in Zurich on June 10, only five days after the Swiss referendum on basic income. 2016-06-10 10:47 8KB news.artnet.com 61 Yayoi Kusama’s Infinitely Stylish Moderna Museet Exhibition “Yayoi Kusama – In Infinity” at the Moderna Museet in Stockholm, Sweden is Japanese artist Yayoi Kusama’s first major presentation in Scandanavia 2016-06-10 10:43 3KB www.blouinartinfo.com

62 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to... 2016-06-10 09:40 843Bytes contemporaryartprojectsusa.com 63 Spider Women, Cargo Ships, Chia Grass, and ‘Mommy’: Behind the Scenes of ‘Mirror Cells’ at the Whitney Museum Installation view of "Mirror Cells," 2016, showing Elizabeth Jaeger's "Vessels" series. GENEVIEVE HANSON, N. Y. The term “mirror neurons” refers to the brain 2016-06-10 10:00 6KB www.artnews.com 64 Bottega Veneta Exhibition Opens in Beijing Tomas Maier has brought the latest incarnation of his “Art of Collaboration” initiative to the Chinese capital in a new exhibition running through June 28 at the Ullens Center for Contemporary Art. … 2016-06-10 09:55 1KB wwd.com 65 Duchess of Cambridge Hosts SportsAid Dinner at Kensington Palace Kate Middleton wore a royal blue dress by Roland Mouret. 2016-06-10 09:42 1KB wwd.com 66 Winding Back in Time: ‘Electronic Superhighway’ at Whitechapel Gallery, London January 29 – May 15 2016-06-10 09:30 16KB www.artnews.com 67 Neon Works by Keith Sonnier Light Up Whitechapel Gallery Rare early works by the American sculptor Keith Sonnier are currently on display at London's Whitechapel Gallery. 2016-06-10 09:21 2KB www.blouinartinfo.com 68 13 Instagram Shots of Martin Creed's New Show Yes, Martin Creed's Park Avenue Armory show is full of Instagram fodder, but in addition to a zany balloon-filled room there's also some pretty gross stuff. 2016-06-10 09:20 2KB news.artnet.com 69 ADAA Names Five New Members, Including Altman Siegel Gallery and Maccarone The 2015 edition of the ADAA Art Show. COURTESY ADAA The Art Dealers Association of America announced today that it has added five new members: Altman Siegel 2016-06-10 09:00 1KB www.artnews.com

70 Johnny Depp's Basquiats Go Under the Hammer Christie's London's June postwar and contemporary auctions feature some exciting lots, including nine Basquiat paintings from the collection of Johnny Depp. 2016-06-10 08:24 2KB news.artnet.com 71 10 Mind-Blowing Ways to Use Technology at Design Miami/ Basel 2016 See the technological wonders presenting next week in Basel. 2016-06-10 08:02 2KB www.blouinartinfo.com 72 Asian Art at Art Basel Unlimited: Cheng Ran's Film at Galerie Urs Meile The Lucerne and Beijing gallery will show Chinese artist Cheng Ran's 9-hour film "In Course of the Miraculous." 2016-06-10 07:54 2KB www.blouinartinfo.com 73 Nahmad Projects Launches in London With 30 Performances Over 30 Days 30 performances inspired by the work of Tino Sehgal will launch Mayfair's latest gallery, Nahmad Projects. 2016-06-10 07:20 2KB www.blouinartinfo.com 74 Songlines Beautifully 'Paints' Indigenous Stories on the Sydney Opera House Songlines Beautifully 'Paints' Indigenous Stories on the Sydney Opera House 2016-06-10 06:47 3KB www.blouinartinfo.com 75 The Players Club, A Hidden Gem in New York Read THE DAILY PIC on a club that has barely changed for a century, so works like a time machine. 2016-06-10 06:00 2KB news.artnet.com 76 De Appel Faces Complete Funding Cut Amsterdam's De Appel is now under the threat of having its government funding cut completely and it has launched a petition asking for public support. 2016-06-10 05:42 3KB news.artnet.com 77 'Schiff Ahoy': Minimalist Masterpieces at Brandhorst Munich Works by Andy Warhol, Ed Ruscha, Lawrence Weiner, Sigmar Pole, and more from the Brandhorst collection feature in the Munich museum's latest exhibition. 2016-06-10 05:11 2KB www.blouinartinfo.com

78 Mary Heilmann on 1970s New York and Her New Whitechapel Show We speak to Mary Heilmann about the golden age of New York, her life's work, and her latest exhibition at the Whitechapel Gallery. 2016-06-10 04:28 1KB www.blouinartinfo.com 79 Masterpieces Damaged at Musée Girodet The Musée Girodet has been deeply affected by last week’s floods across France, which have damaged artworks stored in an off-site vault. 2016-06-10 04:00 2KB news.artnet.com 80 creatives continue to beautify india's cabs for the taxi fabric project the taxi fabric project sees creatives from across the country participate by canvassing the interior of rickshaws and cars with vibrant painted murals. 2016-06-10 02:15 4KB www.designboom.com Articles

80 articles, 2016-06-11 00:21

1 Ex-Sotheby's Alex Rotter Joins Christie's (2.12/3) Former Sotheby's global co- head of contemporary art Alex Rotter is headed to rival auctioneer Christie's as chairman of post-war and contemporary art for the Americas, reports the New York Times. He'll start in March 2017. In his new position, Rotter reports to chairman and international head of post- war and contemporary art Brett Gorvy. Deputy chairman Loic Gouzer has been the front man for a series of news-making sales that mix material from across the Impressionist/modern and post-war/contemporary departments. Rotter left Sotheby's in February after serving there for 16 years; that news broke at the same moment that David Norman, vice chairman of Sotheby's Americas and co-chairman of Impressionist and modern art worldwide, was departing after some 31 years. They are part of a historic wave of departures from the house, following its acquisition of the advisory firm Art Agency, Partners for a whopping $50 million. The house had a strong $242-million sale of postwar and contemporary art in May, with nearly every work finding a buyer. That followed a less robust Impressionist and modern art auction earlier that week that tallied just $144 million , with fully a third of the offerings failing to sell. Sotheby's stock is down about 30 percent over the last year, from $46.34 a share to $31.70 as of this morning. Follow artnet News on Facebook. 2016-06-10 09:59 Brian Boucher

2 David Zwirner Confirms Hong Kong Outpost (1.04/3) David Zwirner has confirmed plans to launch a new gallery space in Hong Kong , which will span two floors in the city's new H Queen's building, due to open in the fall of 2017. “We have seen literally explosive growth in the interest for Western art among Asian collectors," David Zwirner told the New York Times . “About two years ago, I had this moment, and I thought, ‘Oh my God, if this is how people are learning and engaging, then we've got to have a gallery in the region,' " he added. The gallery team announced they were searching for space in Hong Kong in January of this year. Zwirner apparently considered other cities in the region, such as Beijing and Shanghai, but in the end there was no competition for Hong Kong due to its European connections and wealth of collectors. “I love the European strain in Hong Kong," Zwirner told the NYT . “There are still so many parallels to the way businesses are done in Britain in Hong Kong, and I can relate to that […]. More importantly, it's a hub now for Asian collectors and curators. " The gallery has been designed by Annabelle Selldorf, the architect responsible for Zwirner's whopping 30,000 square feet New York gallery space. It will occupy the 5th and 6th floors of H Queen's—currently still under construction—and span just under 10,000 square feet. H Queen's—billed as a gallery and lifestyle building—has been designed by Hong Kong architect and collector William Lim and will boast a lofty ceiling height of 4.65 meters and a crane with the capacity to lift up to 1.25 tons of artwork to any of its 24 floors. Follow artnet News on Facebook. 2016-06-10 07:42 Amah-Rose

3 Hauser & Wirth To Take Over Old Dia Building (1.02/3) In September, powerhouse gallery Hauser & Wirth will take over the distinctive building at 548 West 22nd Street building in West Chelsea that notably served as the former space of the Dia Art Foundation for years, but has been in limbo since 2004. The building will serve as the gallery's temporary home while construction of its new building next door occurs, according to the New York Times . Related: Hauser & Wirth Is A Gallery Built Like A Museum- What's Really Going On? In the short time that Hauser & Wirth has been in its cavernous West 18th Street location— having taken over and completely overhauled the former Roxy nightclub in 2013—it has organized an impressive roster of massive exhibitions by Mark Bradford , Dieter Roth, Paul McCarthy, and Roni Horn, to name just a few. Of the new Dia digs, partner and vice president Marc Payot tells the New York Times : "We are thrilled to be in this strongly historic space which was kind of the birthplace of contemporary art in Chelsea. " Hauser and Wirth has hired starchitect Annabelle Selldorf to adapt the space. The new permanent building, which Selldorf is also designing, is expected to open in 2018. (She also designed David Zwirner 's West 19th Street space.) The gallery also operates an uptown location in the Upper East Side of Manhattan, and recently opened— to much fanfare —another massive space in downtown Los Angeles, in connection with partner and former Museum of Contemporary Art curator Paul Schimmel. As artnet News reported in November 2014 , the former Dia building was sold to a new landlord, Property Markets Group, which subsequently didn't renew the leases of two tenants. Center 548, an event venue, confirmed to artnet News that it was leaving the building by the end of June 2015, and art dealer Zach Feuer also confirmed that the new landlord had cut short his existing lease. Feuer's gallery is now located on West 24th Street. At the time, a spokesperson for the Property Markets Group told artnet News that the building site "would be developed in some form" but did not provide further details. Property Markets Group did not immediately respond to artnet News' request for comment. Follow artnet News on Facebook . 2016-06-10 10:51 Eileen Kinsella

4 4 London Collections: Men Gets a New, Consumer-Friendlier Name (1.00/3) More Articles By Organizers said the change reflects the evolution of the event from a two-day showcase to a four-day one, and makes the name clearer and more understandable for the end-consumer. London Collections: Men, they said, was more of an industry- facing name. “It is the ninth [edition] as London Collections: Men. As fashion weeks change and our businesses start showing to consumers, we need to open our doors to more consumer-facing content. Over the next six months, London Collections: Men will embrace London Fashion Week Men’s as a title to better engage with a consumer audience,” said Dylan Jones , the chairman of London Collections: Men, and editor of British GQ, at the opening event on Friday in the new men’s hub, at 180 Strand. Located near the British Fashion Council’s Somerset House headquarters, 180 Strand houses a runway space as well as a sprawling static presentation floor upstairs. This has been a major season of change for London, which has seen many big brands and designers fall off the calendar for myriad reasons — including Burberry ’s see-now-buy-now coed show that has been pushed to September. There are also more coed shows on the calendar, including Sibling , Bobby Abley , Astrid Andersen and Belstaff. Earlier this week, Jones told WWD: “What’s happening in the men’s wear industry is fascinating, and it’s manifesting itself in the fashion weeks. So much is up in the air, and I wouldn’t be surprised to see more women’s wear brands showing during the men’s wear months of January and June. We might even end up with two fashion weeks during those months.” He said the most important thing for London is that it remains “a platform for design talent and creativity.” The shows, which began on Friday, run until Monday. 2016-06-10 19:06 Samantha Conti

5 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe. (0.01/3) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth #405; as the fair celebrates its sixteen successful year this summer July 7th to 10th, 2016, when galleries from around the world will once again offer an outstanding overview of modern and contemporary art. Designated as one of UNESCO’s Creative Cities, Santa Fe is a globally familiar art destination. The city claims the second largest art market in the United States, and draws scores of national and international visitors. The Wall StreetJournal’s Smart Money magazine recently noted: “Santa Fe is dotted with 240 art galleries, and is the home of ART Santa Fe, an international art fair that attracts buyers and tourists from around the world. The Santa Fe art scene is one of the best you will find anywhere.” The Gallery will be showcasing a selected group of contemporary artists curated by Silvia Medina, Chief Curator, that includes as Invited Artist Kelly Fischer, Switzerland, with her master piece, “Horizon”, honoring the theme of the Fair; Robin Apple, USA; Rosario AESTUS Vigorito/Italy; Rajvi Dedhia Unadkat/India; Eliel Perez/Puerto Rico; Miquel Salom/Spain; Ileana Collazo/USA; and the unique Kinetic Sculptures of Gary Traczyk/USA- among others. Well-established artist, Jorge Cavelier/Colombia, will present a curated project by Ms. Medina and Linda Mariano member of the curatorial team of Art Santa Fe titled, “Horizon”, for which he will create an imaginary forest with his murals. The media sponsors for Contemporary Art Projects USA are: Smiley Stones, Conexiones Publications, Art and Beyond Magazine, Art Daily News International Magazine, Art Miami Today, and Avior Magazine. So, join us this summer for Art Santa Fe 2016 alongside an illustrious line- up of art lovers and high-net-worth collectors with average household incomes of $200,000+! For More Information, please contact: Contemporary Art Projects USA Tata Fernandez, Director 786-262-5886 [email protected] www.contemporaryartprojectsusa.com 2016-06-10 10:02 Leticia Del

6 Live Then, Live Now — Magazine — Walker Art Center (0.01/3) August 15, 1981 was a Saturday with temperatures in the 70s—on the cool side for the height of summer in Minneapolis. Diana Ross and Lionel Richie’s Endless Love was at number one on the Billboard Hot 100, and MTV had been on the air for precisely two weeks. This was uninteresting, though, to the crowd pushing into 7th St. Entry, a one-year-old, black-box annex to Sam’s Danceteria (months later to be rechristened First Avenue), a downtown music club in the former Northland-Greyhound bus depot fast becoming one of the Twin Cities’ premier music venues for emerging talent. They were here for punk rock, and for the homecoming of three young musicians from St. Paul: Grant Hart, Bob Mould, and Greg Norton—collectively known as Hüsker Dü—returning to town at the end of a tour they named the “Childrens’ Crusade.” The tour marked Hüsker Dü’s international breakout, as it began in Calgary and Victoria. It then meandered from Seattle to Portland to San Francisco and Sacramento and back to the Midwest through Chicago and Madison. But here at the Entry (as it was called by its regulars), Hüsker Dü was a fixture, having played the venue on at least 50 occasions—sometimes several times in one week—since January 1980. The cramped Entry—capacity 250—had been hewed from the bus depot’s former cloakroom and cafe. In its corner was the low-ceilinged stage, swathed in peeling black paint and scattered with plastic beer cups. It barely accommodated Hart, Mould, Norton, and Hart’s Ludwig drum kit, inherited at age 10 from his older brother, tragically killed by a drunk driver. The crowd in the smoke-filled room was partying, restless, waiting to experience the contagious energy that by now they knew well. Touring had tightened up the material, and new songs had been written on the road, so the band knew it was a moment to capture. Short on funds for a studio album, they had cobbled together $300 to record the show with the intent of releasing it as a live LP. From the moment Hüsker Dü took the stage, the first set was unrelenting. It began with “All Tensed Up” and proceeded to compress 17 songs into less than a half hour, kept on pace by Hart’s ferocious, high-speed drumming: insistent, decisive, with clear purpose. The LP would be called Land Speed Record and was released shortly thereafter with assistance from Mike Watt of the Minutemen and his label New Alliance. The jacket, like those of many hardcore punk and ska records of the time, was requisite black and white, its DIY graphics (designed by Hart via his pseudonymous Fake Name Grafx with Xerox copier and Sharpie marker) advocating the same urgency and immediacy as the music within. While less melodic and textured than Hüsker Dü’s subsequent albums, this one was special in its unruliness: it not only revealed a band on the verge of its collective potential, but also captured the essence of the venue that had been its incubator. For 26 minutes and 35 seconds within its enveloping black walls, 7th St. Entry became a creative tinderbox, encapsulated within Land Speed Record. Eighteen years later, Hüsker Dü had disbanded, as had Hart’s subsequent band, Nova Mob. By the channels through which artists and performers often discover shared sensibilities, Grant Hart, now a solo performer, met Chris Larson. Both were from St. Paul, both had a fascination with a certain history of American culture, both understood music’s relationship to art. Their friendship through the years became a collaborative one: Hart appeared in Larson’s live performance work Shotgun Shack and his film Crush Collision (both 2006), and Larson provided album art for Hart’s independent release Good News for Modern Man (2014). A musician in addition to being a visual artist, Larson has broad interests. His roots in sculpture have led him to explore film, video, photography, performance, drawing, and painting. His most memorable projects have stemmed from architecture—from vernacular building types (coal mine tipples, shotgun shacks) to imaginary, illogical structures—which inspire sculptural or filmic environments rooted in his skilled carpentry. These structures are layered with a strong narrative armature; he often lays plans within them for some unexpected action, such as the rural shack in Deep North (2008) encrusted inside and out with ice and housing a strange, human-powered machine, or the floating house adrift on a lake in the film Crush Collision (featuring Hart among its performers), in which a rough-hewn machine, a gospel quartet, and a drummer share parallel narratives and spaces within. Larson’s works are often linked—a sculpture becomes a film set that then becomes a photograph, for example—and are also regenerative, as an element used in one piece has the potential to appear again in another. While his earlier works embraced archetypal structures and improvised apparatus, more recent endeavors have investigated specific architectural sites. For Celebration/Love/Loss (2013), he meticulously constructed a full-scale wood-and-cardboard facsimile of the only Marcel Breuer–designed modernist home in the Twin Cities, then proceeded to torch it in a grand spectacle of flame. For Larson, the process of replication is a route to new meaning. With Land Speed Record , his latest video installation, he focuses on the objects (and memories) left behind when their context and architectural enclosure have disappeared. In 2011, Hart’s childhood home in South St. Paul caught fire and partially burned. The smoke-blackened contents—furniture, appliances, antiques and collectibles, Studebaker parts, ephemera from gigs, art supplies, clothing, master tapes, guitars, and drums—had to be quickly cleared from the home, and Larson volunteered his studio as a storage space. For almost two years, the accumulation occupied the studio, itself a former warehouse for furniture in transit from factory to home. Hart would occasionally rearrange things on periodic visits, but Larson lived with and contemplated the items as they sat dormant, without framework or circumstance, unmoored from the house in which they had been collected, where Hart had learned to play the drums used at 7th St. Entry on August 15, 1981. Larson did not focus on the house. Instead, he began to build another machine, this time a motorized track for a camera that could provide new perspective and capture a slow, methodical pan across the 85-foot-long drift of Hart’s possessions. This became a pair of films—one in color, one black and white—each mirroring the 26:35-minute duration of Land Speed Record. At first the films, at once reverential and haunting, were silent. But the work wasn’t finished. Larson began a new sculptural element, this time using the less physical materials of sound, memory, and place. He bought drums from Twin Town Guitars (“Keeping your life loud & local since 1997”)—a crystal-clear Ludwig Vista- Lite kit in mint condition. He commissioned a young musician with a passion for hardcore punk to learn the drum track of Land Speed Record , in its entirety and to meet him at 7th St. Entry when he was ready. The empty venue was unlocked, lights turned on, and the transparent drum kit arranged on the stage. Quietly placed alongside it was a Ludwig snare, unearthed from the pile of burned objects. After recording equipment was set up, the musician, sticks poised, donned headphones. Seven seconds passed, during which one could faintly hear through his headset the sound of a crowd, a squeal of feedback, and the opening chords on Land Speed Record . Then he began drumming, playing with surgical precision alongside the recording of Hart. Live then and live now. This time, distilled and stripped away from band and crowd, Larson’s recording captured just two things: the crystalline syncopation and the walls of 7th St. Entry that carried its sound. In Larson’s installation within the dark gallery space, this pure and specific sound is layered with sculpture (based on the venue’s black room divider/drink rail) and with the films. The sound interrupts, then fades through the filmed images, wrapping Hart’s inert and orphaned belongings in the moving image with the liveness of August 15, 1981. Recorded by the camera and scaffolded by sound, the charred objects are no longer ruins but are emancipated—they no longer require the enclosure of the house, the studio, or specific recollections. When Land Speed Record hit stores just before Christmas 1981, a local critic admiringly called it “a repository of strength and horror” ( City Pages ). For Larson, the notion of the repository remains rich and spacious, filled with the possibility for reinvention. Likewise, the vestiges of what a space has once held, whether objects, sounds, words, or memories, can perpetually be re-embodied. In Larson’s Land Speed Record , these remnants layer to form a larger narrative. Hüsker Dü was named after a family board game that tests one’s ability to recall images: a childhood home, a music venue, a furniture warehouse. The words are Norwegian for “Do you remember?” This essay will appear in the Chris Larson: Land Speed Record exhibition catalogue. To be released in August in commemoration of the 35th anniversary of the release of Hüsker Dü’s album of the same name, the catalogue will take the form of a clear vinyl LP bearing a new drums-only recording of the entirety of Land Speed Record , accompanied by four essays that appear as liner notes. Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017. Photo: Larry Smith Photo: Gene Pittman Photo courtesy the artist Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist Photo: Jordan Rosenow Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Photo: Jordan Rosenow 2016-06-10 14:03 By Siri

7 Judy Blame Celebrates Jo Malone Collaboration at Spotted Pig Jo Malone London ’s dinner at Spotted Pig on Thursday night was all about the packaging — Judy Blame’s packaging, that is. The British creative recently rendered the brand’s iconic boxes with his own design, and was in town to celebrate alongside several of his friends and past collaborators: Peter Copping , Rambert Rigaud, Narciso Rodriguez , Sophie Theallet, Jonathan Saunders , Paul Andrew, Jessica Joffe and Chelsea Leyland. “We met years ago in Paris,” Rodriguez remarked. “And like everyone, I am a very big fan.” One of Blame’s biggest fans was gushing over the button-heavy box designs before dinner. “I think it’s fantastic, it’s very Judy,” exclaimed Theallet. “He’s an inspiration to me; I have so much respect for him,” she continued. “I think for me, Judy is what you call — it’s like he’s a genius, he’s the one who makes everything in fashion before everybody else. I have so much admiration for him.” “Easy, Sophie,” Blame said, beginning to blush as he embraced the designer. He created several designs in the style of London’s Pearly Kings and Queens. “It just fits something like Jo Malone,” he explained. “In Pearly culture, all the symbols mean something—so a heart means love, anchor means hope, the crown means royalty.” Blame is heading back to London on Sunday to continue preparing for his first retrospective. “It’s a little bit daunting,” he said of the exhibit, which opens later this month at Institute Of Contemporary Arts in London. “The thing about my career is I’ve jumped around from music, fashion — I’ve always kept it open. So when they asked me they were like look, we’ve never done anyone like you before — what do they call it? — polymath, they keep on calling me. I didn’t even know what polymath was.” 2016-06-10 20:37 Kristen Tauer

8 lenovo phab2 pro with google's project tango lenovo first to introduce google's project tango AR hardware with phab2 pro lenovo first to introduce google’s project tango AR hardware with phab2 pro all images courtesy of lenovo for the past three years, google’s ‘project tango’ team has been working to help devices understand physical space and motion more like people do. together with lenovo, they’re taking the next step with the first ‘tango’ enabled smartphone – ‘phab2 pro’. ‘tango’ helps users answer a new set of questions about their world through specialized sensors and apps that map its surroundings to create an augmented reality (AR) experience. for example, students can place true scale virtual dinosaurs in their classrooms and enhance their learning through AR overlays that appear while they walk around the creatures. ‘tango enables our devices to sense physical motion and space and, as a result, has the power to change how we interact with our surroundings. we believe that devices with positional tracking functionality will be pervasive and are happy that the phab2 pro will introduce these new capabilities, making your phone even more useful,’ says johnny lee, engineering director at google. three core technologies bring ‘project ‘tango’ experiences to life: motion tracking, depth perception and area learning. through the motion tracking, the ‘phab2 pro’ can see its own location in 3D. area learning tells the smartphone its location. depth perception lets the device analyze the shape of the world around it by detecting surfaces and obstacles. it can visualize and understand its surrounding objects and environment via sensors that capture more the 250,000 measurements a second. the phone map its surroundings to create an augmented reality it’s powered by the qualcomm ‘snapdragon 652′ processor, which brings efficient hardware integration and processing, leading, 4G LTE connectivity and a QHD display apable of optimizing image quality based on ambient lighting and content. 2016-06-10 20:30 Piotr Boruslawski

9 Men’s Health Editor in Chief Bill Phillips Out Amid Turmoil at Rodale Bill Phillips , the editor in chief of Men’s Health , is leaving the company. His exit is the latest of a string of departures since chairman and chief executive officer Maria Rodale installed Michael Lafavore as editorial director last year. According to insiders, Phillips, who worked at Rodale for 13 years, was let go. Phillips, who became vice president and editor in chief in November 2012, will for the time being be succeeded by executive editor Bill Stump. Rodale circulated a memo Friday thanking Phillips for his service, noting that he “ushered in successful integrated programs, such as ‘The Ultimate Men’s Health Guy,’” as well as “significantly” expanding the glossy’s digital and social footprint. He also brought the company a General Excellence Award at the 2015 National Magazine Awards. The editor’s last day is today. Rumor has it that many at the company have been unhappy, and as a result, there has been a steady stream of departures (mixed with layoffs) since Lafavore returned to the company in the fall. They include executive editor Matt Marion, vice president and editor Peter Moore, senior art director Mike Schnaidt, senior editors Bill Paynter and Clint Carter, deputy art director Grace Martinez and managing editor John McCarthy. Lafavore, who served as editor in chief of Men’s Health from 1998 to 2000, was brought back to Rodale to work with the brands, and in particular, to tinker with Men’s Health. But his management style has rubbed many of the staff the wrong way. He has been dismissive of editors’ ideas, sources noted, and the changes he implemented came across as dated. One of Lafavore’s ideas included limiting the use of celebrities on covers, which some speculated may be also budget related. In fact, morale is so low that an anonymous employee mailed out a hard copy of a letter to top brass at Rodale in recent weeks. The letter was sent to Rodale herself, and copied to the executive team at the company, including the legal department, human resources and all editors in chief and publishers, decrying Lafavore. A company spokeswoman cited its policy of not commenting on personnel matters. A source who read the letter described the multipage missive to be very “matter-of-fact,” and not vindictive, but more meant to illuminate the problem to the ceo. Insiders said that the letter prompted Rodale to have a meeting with Lafavore, but that no discernible action was taken. But back to Phillips, who joined Men’s Health in 2003, first serving as executive editor and editor of MensHealth.com. His exit follows a sizable round of layoffs of about 40 jobs this year at the company, which also publishes Women’s Health, Prevention and Runner’s World, among others. Rodale also decided to move Prevention to an advertising-free model, which, sources noted, allows the company to slash business-side staffing, and thus significantly reduce operating costs. 2016-06-10 20:18 Alexandra Steigrad

10 fabio novembre fades AC milan's red and black colorway onto 2016/2017 adidas home kit fabio novembre fades AC milan’s red and black colorway onto 2016/2017 adidas home kit all images courtesy of fabio novembre adidas teams up fabio novembre for AC milan’s next 2016/2017 season home kit backed by traditional color-ways. the design was developed from an initial vision highlighting a special dripping graphic with bright red fading into black. the AC milan home jersey comes with thin red and black stripes on the front and totally black on the back. the adidas three stripes are grey to give greater uniformity to the kit. the black v-neck collar features an italian flag on the back with the crest added to the contemporary badge. together with the launch, fabio novembre re-designed the two central glass showcases at la rinascente with matching colors. 2016-06-10 19:15 Piotr Boruslawski

11 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker’s Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this illustrated survey. Celebrating its 10th anniversary, the Sundance Institute’s New Frontier program has provided the highest level of curation in this emerging field since 2007. Virtual […] 2016-06-10 18:04 By

12 12 Zadig & Voltaire Fetes Fragrance Duo Mélanie Thierry, who is a star in “La Danseuse,” the movie by Stéphanie Di Giusto due out in September, said she has another project on deck with director Emmanuel Finkiel, which should start filming this summer. “He is adapting ‘La Douleur’ by Marguerite Duras. I am Marguerite,” said Thierry. So what was her first fragrance-related memory? “The scent of a cake cooking in the oven at my grandmother’s house,” said the actress. Perfumer Aurélien Guichard, who worked on creating Zadig & Voltaire ’s men’s eau de toilette This Is Him! reminisced about a memory from when he was five or six years old in the south of France with his grandfather. “There was a little cabin, where you had the smell of gasoline and dust, together with [jasmine] — it was amazing,” he said. Malgosia Bela recalled when she first took a plane at 21 years old. “I went to the duty-free shop, and I put all the perfumes on me,” she said with a laugh. “Then I had a headache, a big headache.” Ludivine Sagnier is partial to fragrances with a rose or orange flower base. The actress is in an HBO series due to air in October that was written and directed by Paolo Sorrentino. “It takes place at the Vatican and is called ‘The Young Pope,’” she said, adding she plays the role of a fervent Catholic woman. Karin Viard revealed she is gearing up for a theater production of “Vera,” which will open in Paris next March after touring other cities in France. She also stars in the movie “Le locataire,” directed by Nadège Loiseau, which is slated for an early October release. Viard plays the mother of a family she describes as “dysfunctional.” Cecilia Bönström, artistic director of Zadig & Voltaire , said the idea for the label’s new fragrances was to break from what already existed in the marketplace and “to find a balance of something really clean and something darker, more mysterious.” Revelers at the fete, which took place in a stately Right Bank mansion near the Arc de Triomphe, wound their way through a warren of rooms. In one, they could apply temporary tattoos (à la Zadig & Voltaire, in the forms of skulls, hearts or wings), while in another they could dance to tunes mixed by electro-house DJ The Avener. Other attendees included Inés Sastre, Virginie Ledoyen, Anouchka Delon and Pascal Elbé. 2016-06-10 19:03 Jennifer Weil

13 Tomoko Ogura Leaves Barneys New York as Fashion Director Barneys New York’s senior fashion director Tomoko Ogura has exited that post after nearly four years. Ogura has left the company for another opportunity, according to a Barneys spokeswoman. Ogura could not be immediately reached for comment Friday. Ogura first joined the retailer as a fashion merchandising assistant right after studying economics and picking up her diploma from Dartmouth College in 2005. Rising up the ranks, she served as fashion director for the women’s Co-op at Barneys, before taking on the top fashion job at the age of 29. In that role, she reported to Barneys’ chief operating offices and senior executive vice president. At Barneys, Ogura, who was born in New Jersey and raised in Japan, wasn’t only on the lookout for new designers, collections and trends. She was also involved with developing the retailer’s private-label collection, which she described in a 2014 interview as “an exciting learning experience.” At that time, she said, “I love spending time at the factories and seeing each garment fit, develop and come to life. The drive through the countryside in Italy to arrive at the factories, the tailors who come out in their lab coats with their impeccable eye for fit, the constant translations of English to Italian, the cleanliness of the factory floor — all of these things I appreciate and keep me excited.” Barneys is in the process of a finding Ogura’s successor and is still talking to candidates, the Barneys spokeswoman said. 2016-06-10 18:55 Rosemary Feitelberg

14 Alexander Wang Recaps 10 Years in Fashion; Talks Apple, Amy Schumer, Balenciaga at The Met Sometimes serious, sometimes laughing, Alexander Wang raced through his 10-year career Thursday night at “The Atelier With Alina Cho.” Guests at the hourlong talk at the Metropolitan Museum of Art learned how the designer left Parsons at the age of 19 for what he thought would be a break. Instead, he wound up starting his own signature knitwear label that evolved into a global business. Along with a cadre of awards, Wang spoke of his three-year run as Balenciaga’s creative director, his new deal with Apple and one “very special” lesser-known gift — he never gets hangovers. Wang also clued them in to the fact that “Everywhere I go people say, ‘Is your Mom Vera Wang?’” he said. “It probably would have made everything a lot easier, but no.” Such off-handed insights seemed to give the crowd the greatest charge, like the fact that bringing Amy Schumer as his date for this year’s Met Ball made a lot of people shout, “Get out of the way. We want her.” But at 32, Wang said he now saves his partying for the weekends but he still loves his fashion week after parties. “As much as I love fashion and I work in fashion, there are two things about people in fashion: Sometimes there is too much ego or too much shade. I’m not perfect, but I like to have fun. If I’m going to have a party, I want people to have fun and not sit around drinking Champagne saying, ‘Hiiiii.’ You’ve already seen me three times today — let’s dance.” Here, Wang’s approach to a number of issues. 2016-06-10 18:46 Rosemary Feitelberg

15 Beautycon Set to Light Up the L. A. Convention Center with Big Names More Articles By Ashley Tisdale, Tyra Banks and Sofía Vergara are participating in Beautycon Festival Los Angeles, and it’s not just because they’re fans of Kandee Johnson. The star wattage at the upcoming fourth annual L. A. edition of the party/convention/entertainment program/community meet-up that connects digital content creators with their fans demonstrates the importance beauty brands today place on commanding eyeballs, likes, clicks, shares and sales on social media. In addition to the celebrities, which include Amber Rose, Olivia Culpo and Christina Milian, the event’s roster boasts around 85 brands, 230 influencers and the pop music duo Jack & Jack performing live. “At the c-suite inside any beauty brand, they would tell you the landscape has changed. That traditional celebrity endorsement they might have solely counted on in the past is now a multipronged approach. I don’t believe digital replaces magazines or TV, but I do believe that rather than digital being a small percentage of a brand’s budget, it will be 50 percent or more,” said Moj Mahdara, chief executive officer of Beautycon Media, the company spearheading Beautycon on July 9. “My office is filled with people in their early 20s, and they don’t even have a TV. I don’t know if they would see much difference between Michelle Phan and Katy Perry. One of them has built a $1 billion brand, but hasn’t had a half-time show.” As the power of digital influencers has surged, so have Beautycon’s crowds and footprint. It’s expected to draw 15,000 attendees this year to the Los Angeles Convention Center, a new venue for Beautycon that allows it to occupy 200,000 square feet, up from roughly 3,000 attendees when it made its debut. Within five years, Mahdara predicts Beautycon will reach at least 50,000 attendees and expand from one day of festivities to a packed weekend. Celebrities, influencers and brands are involved in Beautycon to interact with those attendees — and an audience far greater than them. On the Friday preceding the festival, Banks will host a breakfast for a group of 15 or so content creators and, in the afternoon, Vergara will introduce her latest fragrance to 75 to 100 of them. During Beautycon, Banks will be the focus of a fireside chat and invite guests to Tyra Beauty’s booth, and Tisdale will greet fans to promote her collection with BH Cosmetics called Illuminate by Ashley Tisdale. Among the key influencers appearing at Beautycon are Teala Dunn, Angel Merino, Tana Mongeau, Alisha Marie, Mia Stammer, Claudia Sulewski, Adelaine Morin, Chelsea Crockett, Vivian Vo Farmer, Kayley Melissa, Shaaanxo and Johnson. Some retailers and beauty brands taking part are QVC, Perfumania, Milani, Tarte Cosmetics, Maybelline New York, Garnier, NYX Cosmetics, Shea Moisture, Lime Crime, Pixi Beauty and 100% Pure. Beautycon has branched beyond beauty into health and wellness with a Wellness Village housing the brands Nike, Gardein, The Edible Apartment, Conscious, L. A. Fresh, Feather and Bone and Califia Farms. Befitting an event that owes its existence to social media, Beautycon is harnessing social media networks to spread its message outside of the Convention Center. In partnership with Garnier, it will rev up interest in Beautycon globally via Snapchat’s Live Stories platform. During the event, Facebook Live broadcasts will capture the excitement. For Instagram, Beautycon will be producing 30-second and one-minute videos featuring select content creators. “I love living in a world where people who are important on these platforms are not from traditional backgrounds. The content is so much better now. It’s really a creative time in publishing and commerce,” said Mahdara. “Four years ago, people thought our commerce and digital content [concept] was silly. Four years later, it’s amazing retention and engagement tool, opportunity to collect data and create entertaining content. People are spending the time and energy to go festivals, parties and events. People want a sense of community, and that’s what we’re creating offline and online.” 2016-06-10 18:36 Rachel Brown

16 Preciously Paris, The Webster Team Up on a Clutch “I met with Laure during Art Basel Miami Beach,” said Tessier, a former architect and interior decorator. “Laure picked a vintage wallpaper that’s at her store — it was our inspiration for the aquariumlike motif with fishes on a black background,” she explained. The bag is slated to hit the Miami store during the upcoming edition of the sprawling art fair Art Basel Miami Beach in December. It comes in two sizes, the smaller format being priced at around $1,900; the larger one at around $2,300. Another handbag, with a cowboy-boots theme, is in the works for The Webster’s Houston boutique. In the meantime, Tessier is mulling its third trunk show with Moda Operandi that’s set for July. It consists of a 12-piece collection of tweed and satin- lined clutches created exclusively for the e-tailer. The collection, which can be customized, is called “Who Is Who” and includes models festooned with “Lauren” or “LSD”, as a nod to Moda Operandi’s cofounder Lauren Santo Domingo. Coming up next in October, Preciously Paris is to present its spring 2017 collection called “Swim With Marilyn” of 10 bags inspired by Marilyn Monroe, the photographs of Slim Aarons and the work of architect Richard Neutra. They’re to be displayed at Valery Demure’s showroom during Paris Fashion Week. Each model comes in a limited edition of 38 bags. 2016-06-10 18:35 Laure Guilbault

17 artek + kvadrat collaborate with kuehn malvezzi for design miami/ basel collectors lounge the collectors lounge at design miami/ basel 2016 is a collaboration between artek and kvadrat, who commissioned berlin-based keuhn malvezzi architects to create the overall scheme. the finnish furniture company and danish textile manufacturer chose the firm because of its strong affinity to the arts, along with its vast museum and exhibition design experience. the space that keuhn malvezzi has conceived highlights artek’s ‘kiki’ collection that was originally designed by finnish master ilmari tapiovaara in 1960, but which has now been upholstered in contemporary fabrics by raf simons for kvadrat. the blended wool textiles—the third collection between kvadrat and the belgian fashion designer—explore the stripe in varying degrees of graphic boldness, drawing influences from modernist furniture, pop and contemporary art, fashion textiles and music. the fabric by raf simons for kvadrat that upholsters the furniture explores the stripe in varying degrees of boldness the 2016 design miami/ basel collectors lounge is a landscape of inverted spaces or solid rooms, in which cubic volumes form a striking environment of different color and texture combinations for ilmari tapiovaara’s modernist furniture. variations of kvadrat/raf simons’ brightly coloured textiles will form a strong graphic presence on horizontal and vertical surfaces, as well as on ‘kiki’ sofas and lounge chairs—at times in contrast, at times homogeneous. the lounge is furnished with artek’s ‘kiki’ collection by finnish master ilmari tapiovaara (1960) with the support of two like-minded companies that are both deeply rooted in the nordic design tradition, keuhn malvezzi’s impactful setting for the collectors lounge will provide a space for relaxation and respite at the centre of the global design forum, while celebrating the merging of design, art and architecture. ‘kiki’ bench sporting subtle black striped textiles designed by raf simons for kvadrat 3/4 view of the ‘kiki’ bench back view of the ‘kiki’ bench the graphic boldness of raf simons’ stripes in black and white the graphic boldness of raf simons’ stripes in beige and yellow ‘kiki’ chair 2016-06-10 18:10 Andrea Chin

18 Steph Curry’s New Shoes Sparks Twitter Ridicule More Articles By The new shoe from NBA basketball star Steph Curry and Under Armour is causing an internet sensation – but not in a good way. The white sneaker called the Curry Two Lows “Chef Curry” generated an avalanche of Twitter one-liners and memes that basically called them “dad” shoes and suggested that the sport should be shuffleboard. Proposed names for the shoe ranged from Papa 12’s to Metamucil 6’s. Then the photoshop machine cranked up and the shoes appeared with Forest Gump, Mr. Rogers and in an AARP ad. Plus, an old lady who had fallen and couldn’t get up wearing the shoes. Only his brother seemed to like them as he posted a picture on Instagram wearing the shoes saying, “I thought I em looking straight last week.” Adding a cry/laugh emoji for good measure. The Golden State Warriors are playing the Cleveland Cavaliers in the NBA Finals this week. The Warriors are up 2 to 1 in the series, but Curry has been criticized for averaging just 16 points a game and posting more turnovers than assists. Under Armour ’s sales and revenue increase are credited to the success of the Curry shoe line. Not only is he an amazing player, he’s also a fan favorite. It’s been a rough week for the sporting goods company. Under Armour lost its sneaker designer to Nike, but then poached him back and gave him a new title. In the meantime, Twitter is having a field day with the shoes and it seems everyone has become a comedian. 2016-06-10 18:10 Debra Borchardt

19 Gawker Filed for Chapter 11 Bankruptcy, Ziff Davis is a Potential suitor Ziff Davis appears to have the inside track on acquiring the assets of the newly bankrupt Gawker Media. On Friday afternoon, Ziff Davis chief executive Vivek Shah circulated a memo, following reports that his company was interested in acquiring all the sites under the distressed property’s umbrella. Gawker Media has filed for Chapter 11 Bankruptcy, following a final judgment issued by a Florida judge for $140.1 million in favor of Terry Bollea a.k.a Hulk Hogan. Bollea squared off against Gawker in March, after the site posted a clip of him having sex with a friend’s then-wife in 2012. In court, Bollea claimed the video was taken without his knowledge. After a two-week trial, a Florida state jury found that Gawker, in publishing the video, had violated the plaintiff’s right to privacy. Earlier this week, presiding judge Pamela Campbell said via court papers: “The fact that people, even celebrities talk about their sex lives or make private recordings of themselves naked or having sex in the privacy of a bedroom, does not give the public the right to watch that person naked having sex without the person’s consent.” According to the bankruptcy filing, Gawker obtained a loan from Silicon Valley Bank for $7.7 million with a credit line of $5.3 million. The media company, which operates its namesake site, Jezebel, Deadspin, Gizmodo and others, secured a second credit agreement from US VC Partners for $15 million. Gawker has hired investment bank Houlihan Lokey to advise it on a potential restructuring strategy or sale. Sources had indicated earlier to WWD that Gawker could seek a stalking horse bid and sell off some of its other properties, in order to pay its legal bills. During the Bollea trial, it was revealed that all of Gawker’s assets amount to $83 million, and that last year it earned a gross revenue of $48.7 million. This month, it was revealed that Silicon Valley billionaire Peter Thiel had been bankrolling Bollea’s lawsuit with the goal to put Gawker out of business. Gawker and its sister site ValleyWag had exposed Thiel as a gay man In his memo, Ziff Davis’s Shah said Gawker plans to sell its media properties Gizmodo, Lifehacker, Kotaku, Jalopnik, Deadspin, Jezebel and Gawker. He noted that Ziff entered into an asset purchase agreement to acquire all the properties “free of Gawker Media Group’s liabilities, subject to the outcome of a Court-supervised auction.” “Under the Chapter 11 process, the Bankruptcy Court will soon set a schedule for other potential bidders to enter the sale process,” he said. “There will then be an auction, which will likely take place at the end of July.” Shah said the acquisition of consumer and gaming titles, Gizmodo, Lifehacker and Kotaku, would “fortify” its position in consumer tech and gaming. The remaining properties would help underpin its move to “broaden” its position as a lifestyle publisher. 2016-06-10 18:08 Alexandra Steigrad

20 Silicon Valhalla: Stockholm Stakes Its Claim on the Future Icona Pop performs at Stockholm Symposium. Photo by Kristoffer Ruckermann This is a story about a little country that could... do whatever it wanted, because it figured its shit out like a century ago. Anyone who's ever been to Sweden will tell you three things: It's clean, it's humble, and it's doing just fine on its own. That's not to glaze over its growing pains: I arrive as the guest of Stockholm Symposium just a day after Scandinavian Air pilots narrowly avoided a major strike ; gang violence is present , though by no means outstanding; and M&Ms aren't allowed to use lowercase letters. By and large, the Nordic nation is far more geared toward solving the great problems of the future than exacerbating them. Instead, the next two days are devoted to new ideas, new technologies, and the people bringing them to life. Like in Silicon Valley, these efforts take the form of startup summits, tech talks, and accelerationist conferences. But these are not the Randian, ego-tarian pursuits of Bay Area billionaires—it's about creating a better Stockholm, and ultimately a better world, for everybody. Brilliant Minds, the Symposium’s flagship event, begins with a statement: “Stockholm has reached the future first.” I am, of course, skeptical, but as the first day of events and presentations kicks off, I have a hard time arguing with it. Universal healthcare, paternity leave, education, and 17 years of broadband internet notwithstanding, something like 25 percent of songs on the Billboard Hot 100 were made by Swedes; the gaming industry lays claim to Angry Birds , Mirror’s Edge , Uncharted , and not to mention, *ahem* Minecraft. The country is, by and large, more concerned with helping refugees than fearing them; part of this tech push predicates itself not on the projection, but the adaptive understanding that 50 percent of jobs will be robotized within the next 20 years. Instead of fighting the future, Stockholm is creating it. Wikipedia founder Jimmy Wales discusses Sweden's impact on the site. Photo by Kristoffer Ruckermann It is, perhaps, no more evident than at the Symposium: a joint venture between Spotify founder Daniel Ek and Avicii manager Ash Pournouri. The second year of forward-thinking festivities boasts a stacked lineup geared towards getting the country to, well, start boasting. At the opening press conference, Stockholm Symposium CEO Natalia Brzezinski, also the Brilliant Minds’ moderator, says she hopes the Nordic tech boom is the “cure” to Swedish humility. It’s a matter of positioning: Symposium banners bear the words “the Creative Capital of the World,” but, if last month’s summit between President Obama and Nordic leaders is any indication, the world has taken notice. As the day’s events progress, artist JR explains how one of his floating artworks incidentally rescued 213 refugees ; Spotify declares it won’t sell ; Alphabet chairman Daniel Schmidt crushes Elon Musk’s “evil AI” fantasies. Performances by up-and-coming artists Janice , Mavrick , and The Royal Concept make the case for Sweden’s pop music supremacy; a discussion with RAC , and a performance by Icona Pop solidifies it. Wikipedia founder Jimmy Wales explains how Swedish is the #2 language on Wikipedia. Artists Doug Aitken and Jordan Wolfson discuss art’s intrinsic humanity with Moderna Museet ’s Daniel Birnbaum, Harper’s Bazaar ’s Laura Brown, and Cahiers d’Art’s Staffan Ahrenberg. Charity Water founder Scott Harrison provides VR headsets allowing attendees to “visit” an Ethiopian community that previously lacked clean water infrastructure, and an anonymous donor contributed $100 for every person who tries them on. Though the Symposium’s steep price tag might sound prohibitive (tickets for last year’s event ran upwards of $2,900), the whole point is that the money directly goes back into building a better Stockholm and, ultimately, a better world. Today, I’m headed to ruminations on the future of sex with Made.com’s Chloe Macintosh and VICE's own filmmaker Vikram Gandhi; a studio visit with post-photography artist Jacob Felländer; a discussion on “hard truths” between Peek CEO Ruzwana Bashir and Ronan Farrow; a talk on artists as startups with Linkin Park’s Mike Shinoda; Quincy Jones and Quincy Jones III in conversation; and a debut performance by liv, a supergroup comprising Andrew Wyatt, Lykke Li, Björn Yttling, Pontus Winnberg, and Jeff Baskert. Basically what I’m saying is, though the sun may be setting for parts of the West, it’s bright 18 hours out of the day here. French artist JR on the Stockholm Symposium stage. Photo by Kristoffer Ruckermann Click here to learn more about Stockholm Symposium. Related: Take a Look Inside Sweden's Fabulous Ice Hotel A 2,000-Marble Instrument Sounds Like a Synth for the Apocalypse Swedish Pranksters Create Underwater Art and Underground Galleries 2016-06-10 17:22 Emerson Rosenthal

21 2016 European Footballer Style The 2016 UEFA European Championships, or Euro 2016, the soccer competition that takes place every four years, starts today and runs until July 10. Twenty-four European teams will be competing for the title in stadiums across France, with athletes playing for their national teams. Fashion plays a role — on and off the pitch — for players including Cristiano Ronaldo and Daniel Sturridge, who have appeared in brand campaigns, sat front row, or modeled in fashion shows. Cristiano Ronaldo Team: Real Madrid and Portugal. Position: #7; Forward and captain of Portugal. Ronaldo has his own underwear line called CR7 and has teamed with designer Richard Chai on shirts for his label. Last month, he modeled for Olivier Rousteing’s collaboration with Nike. The “Football Noveau” collection was photographed by Nick Knight. The 31-year-old launched his fragrance Cristiano Ronaldo Legacy in September. Last year, he also launched an un- retouched photo shoot of his CR7 Underwear campaign, which he fronted. He was Tag Heuer’s brand ambassador in 2014 and the face of the Jacob & Co. Watch campaign in 2013. Daniel Sturridge Team: Liverpool and England. Position: #15; Forward The 26-year-old was seen during London Collections: Men in January taking in shows such as Casely-Hayford and Matthew Miller. He was nominated for the British Style Award at the British Fashion Awards in 2014, but lost out to actress Emma Watson. Eden Hazard Team: Chelsea and Belgium. Position: #10; Midfielder Hazard is ambassador for Nike F. C. Summer 2016 Cesc Fàbregas Team: Chelsea and Spain. Position: Central midfielder The 28-year-old linked with Puma on a “EvoPOWER” soccer boot in 2011 and helped launch a fragrance by fashion designer Angel Schlesser. He took part walking in Naomi Campbell’s Fashion for Relief Haiti show in London in 2010. Joe Hart Team: Manchester City and England. Position: #1; Goalkeeper The 28-year-old walked in Shay Given’s annual charity fund-raiser fashion show, Fashion Kicks, held at the Lancashire County Cricket Club in 2011. Gareth Bale Team: Real Madrid and Wales. Position: #11; Midfielder The 26-year-old designed his own logo with the consultancy Brane, and in March was recruited as a brand ambassador for Footlocker. 2016-06-10 17:04 Lorelei Marfil

22 baggizmo EDC bag combines urban fashion and gadget accessibility ‘baggizmo’ merges contemporary urban fashion with constant tech-awareness to put all your favorite gadgets within fingers’ reach. the every day carry (EDC) bag by croation design collective manufakturist features multiple- sized pockets at various angles, ensuring easy access in any situation. made to hang directly beneath the wearer’s arm, ‘baggizmo’ can accommodate a tablet, two smart phones, keys, wallet, power stick (for charging devices), a pad of paper, and writing utensils. ‘baggizmo’ can be worn above or beneath a suit jacket without ruining the natural lines of the garment the ergonomic design looks slim even when totally packed, and due to its polygonal shape, always stays exactly where it should. it’s made of high- quality materials that cling to the body, but offer plentiful circulation between the two. ‘baggizmo’ is fixed in a single point — one shoulder — and uses creative organization of elements to hold the satchel during usual movements: walking, sitting, standing up, gently tilting, etc. for dynamic situations like running, leaning forward on a bike, jumping; a secondary buckle can be pulled out and attached to pants, belt, or back pockets. sample of items you can fit into the bag between compartments there are specially tailored passages which provided clearance for charge cables and headphones. the earbud pocket is located directly on the padded shoulder strap for immediate access, and avoids messy tangling. ‘baggizmo’ is made of quality materials well equipped to protect against mechanical or heat damaging. it’s abrasion- resistant, breathable, and nearly water-proof. currently, the bag is gathering funds for its first production run on kickstarter; to support or for more information, please click here. an additional bike hook shackle is available for security-conscious cyclists the polygonal pattern enables good grip of the bag to the torso, and the adjustable strap provides customization click on the image above to see the product on the designboom shop! designboom has received this project through its ‘DIY submissions’ feature, which welcomes readers to submit their own work for publication. see more designboom readers submissions here. 2016-06-10 17:00 Tatjana B

23 Maurizio Cattelan's Wheelchair Performance Sinks Olympic and Paralympic athlete Edith Wolf- Hunkeler was supposed to walk on water— or, more precisely, to appear to roll on water in a wheelchair—as part of a new work by Maurizio Cattelan on June 10 at Manifesta, the recurring art exhibition that takes place in a different European city each time and is in Zurich this year. But it didn't go exactly as planned. Lake Zurich was the setting, and art-world insiders headed to the waterfront for the performance by the Swiss silver-medal– winning Paralympic racer, who became a paraplegic in a car accident at 22. For Cattelan, the resulting images were meant to be uplifting. Related: Manifesta Is Too Many Things All at Once “Human progress has always moved forward through inspirational images coming from the arts," he told artnet News in a recent interview . “In 1865 Jules Verne's From the Earth to the Moon was a science fiction novel, a hundred years later it was a fact: as human beings we continuously raise the bar of our goals, and expand our frontiers. " But the raft that was meant to float just under the surface of the water, making Wolf-Hunkeler seem to wheel herself along on its surface like some Swiss Jesus, never quite disappeared, and at moments she seemed to flounder. At one point, a fully-clothed assistant plunged into the water to lend a helping hand. Reactions from those in attendance ranged widely, both on the success of the optics and in their assessment of the stunt's ethics. Related: Maurizio Cattelan Will Have Paralympics Athlete Ride Wheelchair on Water for Manifesta "It was a success," proclaimed Italian journalist Sara Dolfi Agostini. “She looked beautiful and proud, and it was quite a challenge for her. " When asked if the wheelchair had flipped or had an accident, Art International Istanbul fair director Stephane Ackermann said, "Neither nor! It was an unexpected performance, and that's the way it should be. " "It looked like she was having fun," Monica Salazar of the website Berlin Art Link told artnet News, “but it was supposed to look like she was rolling on water. Instead, it just looked like she was on a raft on the water. " One observer was more critical. "To me, it didn't feel like just Cattelan's usual gimmicks," said an art dealer who declined to be quoted by name. “It felt more like exploitation. " Follow artnet News on Facebook. 2016-06-10 16:48 Hili Perlson

24 'Watchmen' Creator Alan Moore Talks Movies, Magic, and Comics Alan Moore as the mysterious Frank Metterton in Show Pieces. All Photos courtesy of Lex Records. Poor Jimmy…he’s lost his way and suddenly finds himself in one of the strangest gentlemen’s clubs in the world. Through five interweaving short films written by Alan Moore, collectively known as Show Pieces , viewers get a taste of the strange attractions, rules, ceremonies, and terrors of the gentlemen’s club. Now available online and as a physical box set , Show Pieces is just the start of a much larger tale. Moore the comic creator of Watchmen , V for Vendetta , From Hell, is also a novelist ( Voice of the Fire , and the upcoming Jerusalem ), musician, and magician. We interviewed Moore about Show Pieces , his screenplay for The Show , and his creative process. Jimmy (Darrell D’Silva, Left) learns his fate from the stripper Beryl (Khandie Khisses, Middle) and the clown (Andrew Buckley, Right). The Creators Project: Can you tell us about the genesis of Show Pieces? Alan Moore: Some years ago, in 2009, I had a compulsion to bring out an underground magazine, which was the beautiful but doomed Dodgem Logic. For the second issue, I was contacted by my great friend, the photographer Mitch Jenkins who offered to do a burlesque shoot. This corresponded with an article that my wife Melinda Gebbie was doing for the issue about burlesque. Mitch decided that we’d use a local working men's club in Northampton as our setting and we’d have the various burlesque girls and a few random characters to sit in the background. That original photoshoot led to the collection of short films? It was some time after that Mitch turned up and said that he was getting a little bit frustrated for being known for all of his glorious high end celebrity portraiture when back in the day he’d done a bit of directing. He was talking about doing a short film for his reel. At that point, perhaps unwisely, I said ‘Do you want me to write a screenplay for it?’ and he said ‘that couldn’t hurt.’ And this was the genesis of the project. Jimmy realizes he’s in some trouble in the bathroom. From there you created a total of five short films, and now you’ve written a script for a feature-length film based in this world called The Show. How have you found writing for film different than writing for comics? Prior to this, I’d only been writing scripts for comics. Yes, I’ve done novels, lots of other things, but in terms of narrative writing I had only really been working in the comics field, where you can more or less do what you want to your characters, because they don’t exist, they’re made out of paper. All of the things I’d done to my characters, sometimes horrible things, had only been done to paper individuals. And when I saw Siobhan Hewlett’s performance in the rushes it was very gruelling and I began to rethink some of my approach. [Note: Siobhan plays Faith, a woman who dies from an unfortunate erotic asphyxiation accident. Moore says he declined an invitation to be on set for that particular shoot.] I’m not saying I would not want anything bad to happen to any of my characters in film, I’m a little bit tougher than that, but it certainly made me think that I wouldn’t want to do any of that gratuitously. Faith (Siobhan Hewlett) prepares for a daring night of lovemaking. Being who you are, I imagine people will come knocking looking for a comic adaptation of all this. Is that something you’d consider? No, that’s never going to happen. [Laughs] One of the things I don’t like about modern cinema is that everything has to be realized upon multiple platforms. This gives us comic books that really want to be films, it gives us films that really want to be lunchboxes. Everything is trying to be eight things at once, to the detriment of what it was meant to be. What were some of your influences going into these projects. One of my biggest influences was Jean Cocteau. He was a poet, he was a magician. This is already a pretty irresistible combination as far as I’m concerned. He was profound. Cocteau's thinking upon movies is one of the things that has inspired me. I mean yeah, Hitchcock did some brilliant things. I don’t think he was a very pleasant man. I think he would have gone along to watch Siobhan being choked to death in the wardrobe, that would have been one of the perks of the job for him. But as a filmmaker, there is stuff to be learned from him, from all of these people, and I’d be an idiot if I didn’t. But we’re trying to make this a piece of our own cinema. This is me, and Mitch, and the wonderful people we’re working with. Jimmy and Faith stick together in the gentlemen's club. Do you approach writing for the screen any differently from the way you approach other mediums? My approach to comics, when I was starting, was to look at them, read them, observe them, and look at what was being done in the field, and more importantly look at what wasn’t being done. This has basically been my approach to everything. It’s basically the only way I know to approach anything. You play. You roll your sleeves up, you try to understand the medium that you’re playing with, and then you play creatively until something emerges. Looking out into the grim beyond at what lies past the gentlemen’s club. Nice work if you can get it. Well yeah, [Laughs] it’s certainly been the work that’s been sustaining me for the past 35 years of my life. This is the only way I know how to do things. To look at the possibilities of a medium, to try to understand them, and then get in there. Make some shapes. Put some ideas together. Think it through, think about the structure, think about everything. I tend to work in a lot of different areas. I know that the comics that I wrote in the early to mid-80s tend to dominate a lot of people’s thought. But I’ve done six or seven albums, there’s a lot of bands that don’t get that far. I’ve done a couple novels. I’ve always enjoyed performing, I’ve always done an awful lot of things. One of the things about The Show is that it enables me to do all the things that I find fun. This is very, very liberating for me. And I hope that comes through in the finished product. Show Pieces is available online and physically via Lex Records and other streaming services. Related: Announcing Our New Collaboration With High Priest Of Sequential Art Alan Moore Unearthing Alan Moore's New Multimedia Creation Russian Sci-Fi Short Film Is '2001' Meets 'District 9' 2016-06-10 16:32 Giaco Furino

25 Aram Moshayedi on Made in L. A. 2016 The third iteration of the Hammer Museum’s biennial exhibition, called “ a, the, though, only ,” opens June 12. Flash Art Associate Editor Eli Diner talked with co-curator Aram Moshayedi. a, the, though, only There are so many pitfalls with a local biennial, the very premise of which seems to be that there is something distinctive about art here. And that seems like a pretty hard case to make in 2016. Interestingly, Eckhaus Latta, who are in the show, were also included in the most recent Greater New York. Were you looking for artists who engaged with the city somehow? Do you think there is something like LA art, or is it really all just made in LA? We were trying to avoid any semblance of Los Angeles as a site of inquiry. But naturally the city is going to seep in to the work that’s made here. The clichés of Los Angeles still persist to some degree (even when those clichés are contradicted), so we tried to unlearn what we already knew about the city and avoid any topics that would be seen as exclusively tied to this context. The perception of a so-called regional biennial like Made in L. A. is that it’s about an inward gaze — that it’s about boosterism. But this doesn’t necessarily have to be the case. The series that the initial Hammer biennial initiated in 2012 was really about creating a platform for the artists who live and work here. Those artists may come and go, they may move on to other contexts and cities, and this is a condition of any place today. The perception of art in Los Angeles has always tended toward a kind of regional identity based on the canonization of a handful of mostly white men and their particular brand of art-making. But that isn’t the reality of the place. You were interested in including a range of artists at various points in their careers. You have blue-chip types, emerging artists (some more widely recognized than others) as well as some older, overlooked figures. I’m interested in these two “monographic surveys” of the work of Kenzi Shiokava and Huguette Caland. I saw that show of Caland’s early work at Lombard Fried a couple years ago, which really impressed. How did the inclusion of these two artists come about? And what will the surveys entail? There are a handful of condensed “mini-surveys” that perforate the exhibition. Caland and Shiokava are two such instances where a broad range of work is assembled to reflect the long arc of their respective careers. Rather than represent artists who have been working for decades in relative obscurity by selecting from a particular period or body of work, we chose to really go for it and pursue a retrospective impulse. But still it’s a challenge to condense a life’s work into an exhibition of this scale. It’s an even greater challenge to put figures like Caland and Shiokava in relationship to another artist like Daniel R. Small, who has been working for the past six years on a single project centered around the archaeological excavation of the site where Cecil B. DeMille filmed The Ten Commandments in 1923. While the impetus and approach of someone like Small may differ from the older artists I mentioned, the depth, heaviness and conceptual weight of this gesture is squarely on par with their shared commitment and rigor as artists. It’s a relatively paired-down list in comparison to some more recent Made in L. A.s, but of course is expansive in other ways, with Todd Gray dressing in Doors keyboardist Ray Manzarek’s clothes and Guthrie Lonergan “inhabiting the museum’s expansive digital spaces.” What can we expect from these projects? The participation of artists like Todd Gray and Guthrie Lonergan is, in many respects, linked to how we envisioned the inclusion of Eckhaus Latta and writer and artist Aram Saroyan. Saroyan’s minimal poem—“a, the, though, only”—which was commissioned for the context of the exhibition’s subtitle, is encountered wherever Made in L. A. is mentioned, printed or advertised. It’s very much a poem with legs and there is a certain degree of heft to this. Although “work” by Saroyan isn’t physically located within the museum, his poem casts a much wider net than any static object might be able to do on its own. And in so far as language is his medium, it seemed fitting to give this space over to him. To a similar end, Gray is wearing the clothes of Manzarek throughout the run of the exhibition. This was something that Gray originally felt compelled to do for a year just after the keyboardist — and a good friend of Gray — passed away, but he is restaging it for Made in L. A. As a work, it reflects any commitment as great as the shift of art into life, and therefore any encounter with this gesture is fleeting at best. Gray won’t inhabit the museum and he won’t document the project as such. Instead we were interested in the work’s capacity to overrule the activities of his daily life as an artist. Within the context of the exhibition, this plays with the very ideas of substance, weight and heaviness that one may encounter elsewhere — for example, in the span of time reflected in the history of labor politics covered by Labor Link TV since its founding by artist and labor organizer Fred Lonidier in 1988. The exhibition provides a context for considering the disparity of these two approaches alongside one another, while also maintaining their independence and an engagement with their specific needs on their own terms. by Eli Diner 2016-06-10 16:30 www.flashartonline

26 Auctionata Car Sale Feels the Need for Speed Auctionata is hoping buyers will take a page out of the Top Gun playbook for its upcoming classic car and luxury boat auction, titled " Need for Speed: Luxury Sports Cars & Yachts. " The 27 lots include a selection of Porsche, Mercedes-Benz, and Ferrari models. The June 11 proceedings will be streamed live as usual on Auctionata's website, but interested parties are also able to bid in person for the first time. The sale will be held outdoors in Berlin at the company's auction studios on the Havel river, with German TV star Horst Lichter, a passionate mustachioed car collector, serving as host. "For over 25 years, classic cars have had my heart racing," said the dedicted car enthusiast in a statement, adding "one can feel especially wild and free when driving a Ferrari—it's pure bliss! " Among the auction's expected highlights is a bright red Ferrari 512 BB , which was with its original owner for 27 years before being purchased in 2014. One of only 929 globally-produced cars in the series, the vehicle has a 180 V engine, similar to the racing engines used for Formula 1 Ferraris. The opening bid is 200,000 ($225,000). There's also a black Ferrari 458 Speciale from 2014 still under the manufacturer's warranty. Nearly brand-new, the car features carbon racing seats and Ultrasuede leather interior fittings, along with a starting price is €170,000 ($191,000). In addition to the impressive array of cars, bidders will also have the opportunity to see some impressive boats, starting at €50,000 ($56,000), for a 1961 Riva Super Florida No. 573 mahogany motorboat, which will be docked on the riverside during the sale. The Riva Super Florida boat, produced between 1953 and 1969, has been called the "Ferrari of the boat world," and this particular model once featured in a music video for French cover band Nouvelle Vague. The boat would certainly provide a stylish getaway for the winning bidder. Follow artnet News on Facebook. 2016-06-10 15:49 Sarah Cascone

27 museum of london shortlist includes BIG + caruso st john new museum of london shortlist includes BIG, caruso st john + lacaton & vassal (above) BIG – bjarke ingels group with hawkins​rown all images courtesy of malcolm reading consultants the museum of london has revealed concepts from the six architectural teams shortlisted to complete a new building for the institution at its new west smithfield site. the museum, which has a £130- 150 million ($185-215 million USD) construction budget, aims to regenerate a historic part of the city through securing the future of a series of heritage buildings. the project will relaunch the museum, which has seen its audiences soar in recent years. in alphabetical order, the shortlisted teams are as follows: BIG – bjarke ingels group with hawkinsrown, donald insall and gehl architects caruso st john architects with alan baxter associates diener & diener architekten with sergison bates architects, east architecture and graphic thought facility lacaton & vassal architectes with pernilla ohrstedt studio, allies and morrison and alan baxter associates stanton williams with asif khan, julian harrap, J&L gibbons and plan A studio milou architecture with RL&associés, axis architects, and alan baxter associates each of the designs will now go on display at the museum of london — from june 10 to august 5, 2016 — giving the public an opportunity to learn more about the schemes and the museum’s move to west smithfield. the shortlisted entries will be judged by a panel of well-known figures, chaired by governor of the museum of london and television and radio presenter, evan davis. the winning team is expected to be announced later this summer, following ratification from the museum of london’s board of governors. the team will then work with the museum to refine its original design concept. the museum intends to submit a planning application for the site in 2017 and deliver the new museum by 2021. ‘every time I visit smithfield I come away buzzing with ideas and the energy of the place,’ said sharon ament, director of the museum of london. ‘it is clear from their concepts for a new museum that the architectural teams have been equally captivated by smithfield’s vivid history and vibrant character. these six concepts which suggest a fascinating range of options will give the jury plenty to consider when deciding upon an architect to work with us to design the new museum.’ the museum of london cares for more than six million objects in its collections and attracts over one million visitors each year. the institution’s ambition is to be at the heart of a new, well connected cultural hub and be one of london’s most visited museums. with the move to west smithfield, the museum will relinquish its current building, designed by powell & moya and opened by queen elizabeth II in 1976. located on london wall – with fragments of the roman wall just outside its entrance – it forms part of the barbican complex of buildings created in the 1960s and 1970s. scroll down for more images of each of the shortlisted proposals. 2016-06-10 15:49 Philip Stevens

28 Sculptures of Lust and Temptation Channel Hieronymus Bosch's Demons Images courtesy of the artist Anatomical dysfunction is everywhere in the latest unsettling sculptures by Italian artist Alessandro Boezio. Legs and fingers are woven into a braid, a ceramic vessel gets anthropomorphic with two legs kicking at its sides, and seven pairs of legs and butts form a fragmented human centipede. His imaginary arrangements are inspired by the father of surrealism, Hieronymus Bosch, and one work in particular: the Triptych of the Temptation of St. Anthony , as a three-part opus filled with demons and witches tormenting the Christian monk, who manages to remain uncorrupted. Boezio first saw the work at the Royal Museums of Fine Art of Belgium, and thought it symbolic to use as inspiration for an exhibition in Brussels, currently on view at Macadam Gallery . “Each painted figure within Bosch’s work hides a precise, symbolic meaning related to the theme of temptation,” he points out. For example, in the right panel, a naked man has his foot stuck in a jar, which is an allusion to sex. Elsewhere, a demon is riding a wine vessel with animal legs, and further off, a naked woman— symbolizing luxury—hides inside a tree trunk, offering herself to the saint. One finds traces of that imagery throughout Boezio’s work. The woman inside the tree is referenced with a rendition of two palms, with long branches for fingers. The vessel reappears twice. With the addition of human legs jutting out from the sides, the opening of the vase starts to look like an oversized orifice. From another angle, the vessel looks like a headless torso, with legs where its arms should be. The rest of Boezio’s hybrid bodies, while less directly related to Bosch’s illustrations, tackle the same themes. It’s unclear whether the chaotic piles of limbs have found what they’re looking for—they seem stuck in a state of perpetual longing. “The temptation of lust has been a strong theme in the past, and has never lost its power. It is still an issue today. The imagery has changed, but the feelings haven’t,” remarks Boezio. “That's what I tried to do by reinterpreting Bosch.” “My work is a middle ground between the past and the contemporary,” adds the artist. “This is also reflected in the materials I use for the final realization. Marble and ceramics are materials rooted in Italian tradition.” All of the sculptures in this series are draped in white, leaving us to focus solely on the silhouettes and the shadows they create. In the gallery, alongside the twisted body parts working together to satisfy their desires, 12 sets of crossed fingers hang in a circle from the ceiling. The work is inspired by a different work by Bosch or one of his followers, The Temptation of St. Anthony. “St. Anthony, who is not to be tempted by the small demons that surround him, assumes a squatting position that is inscribed in a circular shape. His hands, in a gesture of prayer, are inscribed in a circle.” The installation is the only one of Boezio’s works lined with a saintly, golden glaze. Installation view at Macadam Gallery View more of Alessandro Boezio’s work on his website and Facebook page . Related: Heaven and Hell Meet in Hieronymus' Hometown Twisted Sculptures Put Body Parts in All the Wrong Places Visit Bosch's 'Garden of Earthly Delights' Inside a Gorgeous Web Tour 2016-06-10 15:34 Noémie Jennifer

29 Nature Devours Art in a Series of Eco Sculptures Cristian Lei Rodriguez, Relic 1 from Greenhouse (Xanadu), 2011. All images courtesy of the artists and Burning in Water. Whether considering en plen air Impressionist painting or the cultural tradition of landscape painting, nature and art have always been intertwined. These artistic styles and movements focused on depicting nature rather than having nature as an active participant within the works. A show at Burning in Water in NYC, titled a certain kind of Eden , focused on how nature directly engages with and physically interacts with the works on display, transcending the exclusive act of depiction and becoming a series of hybrid nature-art objects. Named after a poem by Kay Ryan , a certain kind of Eden, is thematically inspired by the last stanza of Ryan’s poem that reads “the greenest saddest strongest kind of hope.” The curator of the exhibition Barry Malin tells to The Creators Project, that the poem “evokes the image of the lone tendril of a plant that is struggling to survive and grow.” Valerie Hegarty, Return to the Catskills (detail), 2008 The exhibition comes out of an ecologically conscious standpoint, with works that hope to “reflect a fragile equipoise between creation and destruction, evoking the dynamic equilibrium underlying the biological, environmental, and climatic systems that facilitate life,” according to the press release. The centerpiece of the exhibition is a sculpture by artist Valerie Hegarty, Return to the Catskills. An amalgamation of canvas, paint, nature, and moss, the piece is nature-art hybridity, depicting a moss-covered tree (and a small woodpecker) devouring a painting. Malin says that the piece “directly attacks the idea of the landscape as something that exists outside the ravages of time and the impact of society.” It is a painting that persists in dangling, tattered pieces and a golden decaying frame, while the rest is consumed by the surrounding natural forces. Sam Falls, Untitled (California Palm Rubbing 10) and Untitled, 2014 and 2013 The works on display by Sam Falls question photography’s potential of representation. Rather than shooting images of nature, Falls goes back to photography’s roots and makes analog photogram imprints of natural elements, including palm trees and fern leaves. His work begs the question: what is a more accurate representation of nature; a mechanical, detached photograph of a palm tree, or the physical contact of a palm tree on a piece of photo-sensitive paper? Retreating from idyllic trees are the works of Kasper Sonne. Fire is his natural element of choice. Borderline (New Territory) is a monochromatic painting that has been set ablaze and then eventually put out, resulting in a burnished center that reveals the other hollow side of the frame. Kasper Sonne, Borderline (New Territory) PW, 2015 Two enormous photographs by Matthew Brandt depict threatened bodies of water across the United States. The point of interest of these pieces lies outside of what they portray; each print has been soaked with water samples from the sites they depict, allowing the present chemicals and elements within the lake to directly alter and interact with the image output. Despite the entwined relationship between art and ecology in this exhibition, the curator is not aiming to be didactic about environmental issues. “Within American politics, it does not seem like the issue is really a lack of awareness. The climate science, for example, is characterized by a remarkable degree of consensus,” Malin tells to The Creators Project. Instead, this exhibition aims to respond to already ingrained environmental issues. “We consider it our mission to present contemporary art in the context of broader societal concerns,” says Malin. “As a gallery, we have a voice based on what art we show and promote, and we do so with a purpose.” Matthew Brandt, Rainbow Lake, 2013 a certain kind of Eden(Installation View) Burning in Water’s next show is Jason Alexander Byers: 50 States, 50 Birds. Related: Art Simulates a Dance with Plant Life in New York A Parade for the Return of Art's Native Son 10,000 Stacked Photos Create Insanely Detailed Insect Portraits 2016-06-10 15:00 Andrew Nunes

30 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions to kick off the New Year. FUSION: Maria Fernanda Lairet at MDC- West, inaugurates the 2016 winter season with a student reception at Noon on Jan. 20. The exhibition runs through April 17, 2016. Born in Caracas, Venezuela. Lairet acquired a degree in Graphic Design at the Design Institute of Caracas in 1987. Throughout her career, Lairet has experimented and combined elements of graphic design, drawing, photography and painting to create exciting mixed media works. Currently the artist works in a more reflective and conceptual way through the redesign of paper money for countries globally and in different denominations and her works touch on the political, economic and social issues of each country. She has participated in solo and group exhibitions in universities, galleries, biennials, fairs and exhibitions, both in Venezuela and abroad. Lately, she has participated in Art Palm Beach and Art Santa Fe along with a solo show at Photo Lima. She received second place, Best Artwork during the “Cosmic Connections” fair in Miami in December 2014. The exhibition created in collaboration with Tata Fernandez of Contemporary Art Projects. This exhibition was created in collaboration with Contemporary Art Projects under the direction of Tata Fernandez. 2016-06-10 16:43 Leticia Del

31 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than all else are works of art; mysterious existences, the life of which, while ours passes away, endure … Rainer Maria Rilke, Letters to a Young Poet I am an Italian-American, a lesbian, a retired NY lawyer, a law librarian professor, and an ovarian cancer survivor; but my calling is that of an artist. After a long hibernation, I rediscovered my childhood passion for art; and once re-awakened to my innate passion – which I refer to as my second coming out – I studied with various accomplished figurative artists in New York City, and went on to formalize my training by receiving my MFA from the Graduate School of Figurative Arts of the New York Academy of Art in 2003. Following in the example of one of my inspirations, i.e., Picasso, with his perchance for re-invention and bold experimentation, my versatility extends to painting, drawing, sculpture, photography, and the focus of my more recent works: innovative digital mixed media collage – which incorporates the fusion of elements taken from different media, both digital and non- digital, and their manipulation in computer post-production. Regardless of the medium I employ, I subscribe to the philosophy that art serves as a bridge from our primal essence to our higher selves, to the divine. As such, my “aestus,” or passionate fire, and underlying motivation, is to produce works intended to stimulate the senses, provoke emotional responses, elevate the spirit, and address issues that are dear to me. Interview with the Artist by Fatima Canovas|Art Daily News International Magazine 2016-06-10 16:43 tatafedez

32 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 […] 2016-06-10 12:44 By

33 Usher Cements Bromance with a Budding Art Star | Insta of the Week The inaugural subject of The Creators Project documentary series titled The Process and one of our five rising sculptors of 2016 , Daniel Arsham made moves this week by solidifying his bromance with sultry pop star Usher—literally. The "Confessions" singer sat in Arsham's Brooklyn studio for four hours to create the cover of his new track with Yung Thug called "No Limit. " A sculpture of Usher's face is broken and worn down as if centuries had passed since the piece was created—a signature part of Arsham's "future archaeology" style. According to the New York Times , Usher connected with Arsham through mutual friends Swizz Beats, Jay Z, and Pharrell Williams. While the "No Limit" cover retains the monochrome palette Arsham has adopted through most of his career, he's recently incorporated color into his work. Arsham is color blind and recently got new glasses to see and work in full spectrum. Below, check out a new series of colorful zen gardens he's been working on, as well as video documentation of the blossoming friendship between the pop star and the artist. See more of Daniel Arsham's work on Instagram. Follow The Creators Project's Instagram to find more fascinating artists. Related: 2016-06-10 14:37 Beckett Mufson

34 Young Royals Attend Queen’s 90th Birthday National Service of Thanksgiving The special service was held at St. Paul’s Cathedral. The Duke of Edinburgh, Prince Charles and the Duchess of Cornwall and Prince Harry also attended. Last night, the duchess donned a royal blue ensemble with cutout shoulders from Roland Mouret and was at church in a different blue hue. She wore a mist blue Catherine Walker wool crepe coat dress with hand- appliquéd white lace and a white Jane Taylor hat. RELATED STORY: Duchess of Cambridge Hosts SportsAid Dinner at Kensington Palace >> Last night, the Duchess of Cambridge hosted a dinner to celebrate SportsAid’s 40th anniversary at Kensington Palace. She met former Olympians and Paralympians supported by the charity, presented a short speech and spoke about her support for the Rio Olympics that will kick off in August. 2016-06-10 14:34 Lorelei Marfil

35 The Varieties of Violence at BAMcinemaFest 2016 Related Artists Martin Bell Mary Ellen Mark In 2012 two events just shy of five months apart illuminated the seemingly random and reasonless violence endemic in America. On July 20, James Eagan Holmes walked into a Century 16 movie theater in Aurora, Colorado, during the opening night of “The Dark Knight Rises” and opened fire on the audience. On December 14, Adam Lanza walked into the Sandy Hook Elementary School and shot 20 children between the ages of six and seven years old, along with six adults. Four years later, both tragedies are represented in films that are screening at BAMcinemaFest, which opens on June 15. “ Dark Night ,” directed by Tim Sutton (“ Memphis ”), tells a fictional story inspired, albeit obliquely, by the Aurora incident: Six strangers, typical suburban teenagers obsessed with video games and selfies and susceptible to the allure of violence, are followed through a single day; the implication is that anyone can be the person who walks through the theater doors at midnight. Sutton’s film is less concerned with the act itself than with finding its sources buried in the fabric of our everyday lives. It’s an almost sympathetic portrait, less diagnosis than rumination, and is better for it, though still troubling. Less divided in its viewpoint is “ Newtown ,” a documentary that, with the exception of some brief interludes and a few minutes at the opening of the film, also looks beyond the violent event. Directed by Kim A. Snyder, the film focuses on the tragedy’s aftermath, following a group of the families who lost children in the school shooting. Many of them continue to suffer; some are able to turn their grief into activism, but others find it difficult to move forward. Violence alters time: The future often looks like the past, played back again and again through mourning. Both filmmakers take care to circle around images of violence, and neither ever mentions the perpetrator’s name. In this, they are taking an ethical stance that “ Kate Plays Christine ,” directed by Robert Greene, interrogates. Greene’s film purports to document the actor Kate Lyn Sheil’s search for information about Christine Chubbuck — the Florida newscaster who shot herself live on television in 1974 — in preparation for a role. The tape of Chubbuck’s suicide remains unseen, for what would seem to be obvious reasons, and Greene’s film begins to examine the motives behind its own creation. Why are we attracted to moments like this? Is it essential for Sheil’s preparation, her search for truth about the character she is playing, to see the footage? The press that already surrounds “ Kate Plays Christine ,” which premiered at Sundance (next to a fictional film titled “Christine,” directed by Antonio Campos, about the same incident), has been obsessed with finding the tape, which is a little bizarre but perhaps proves that the film is asking the right questions. Andrew Neel’s “ Goat ,” based on Brad Land’s memoir of the same name, is again concerned with violence, although of a different kind and in a much different way. The story of two brothers who become involved in the hazardous world of college fraternities, it is constructed as a cautionary tale. Brad (Ben Schnetzer), before going off to college, is robbed and beaten in the woods after leaving a party. This incident later leads to his joining the fraternity of which his brother Brett (Nick Jonas) is already a member, which he sees as a way to rebuild his masculinity. He soon finds, however, that the frat members are no different from the people who triggered his longing to join them. Neel’s film attempts to provoke a visceral reaction in the audience with brutal scenes of out-of-control hazing. But in the end, all it really has to say is that masculinity is a problem. That is not enough to make an engaging film, despite strong performances and a sleek visual style that roams around the codes of realism. More interesting are the works that filter violence through a genre lens. Anna Biller’s fantastically bizarre and idiosyncratic “ The Love Witch ,” one of the best films at the festival, tells the story of Elaine (Samantha Robinson), a witch who, after moving into a new home, begins using “love spells” in her search for the perfect man. The problem is the men keep dying. At once hilarious and grotesque, with awe-inspiring costume and set designs that hark back to such low-budget curiosities as Hammer horror movies and the erotic cinema of Radley Metzger, Biller’s vision is less nostalgic throwback than genre-recalibration, putting a woman in a position of power as a perpetrator of violence against men. It’s also one of the most visually inventive films in the festival and the only one screening in 35mm. Joel Potrykus’s “ The Alchemist Cookbook ” couldn’t be more different from Biller’s work in style and tone (not to mention the fact that “Alchemist” doesn’t feature a single woman). The two are connected, however, in presenting violence through the lens of genre. Where “The Love Witch” is upfront about its affiliations, “Alchemist” is more fluid, at least at first. Potrykus’s film is a singular look at a man living alone in a trailer in the woods. Why he’s there is unclear: He appears to be disturbed, with a brace on his leg that is never explained, and spends his days mixing chemicals in his kitchen and talking to his cat. He could be conjuring, or fighting off, an approaching demonic force. The film plays with that mystery in fascinating ways before diving into full-on psychological horror with moments of twisted comedy. “The Alchemist Cookbook” is aggressive and sometimes hard to watch. But it is one of the more interesting in the festival in the way it embraces, while also mocking, some of the clichés of the horror genre. In all the films described so far, violence is a direct presence in the lives of the characters or subjects. In “ Kiki ,” a documentary by Sara Jordenö, it remains in the background, although still important. The film is about the Harlem Kiki Ball scene, part of the larger ballroom scene occupied predominately by young members of the lesbian, gay, bisexual, and transgender community. Different groups, known as “houses,” compete against one another as teams but also serve as community organizations and provide support systems. Dancing offers members an escape from the violence and turmoil they face in their lives. As one participant puts it, “In the ballroom we can be anything we want to be.” Violence hangs over “ Streetwise ,” Martin Bell’s 1985 documentary about the photo series in which his wife, Mary Ellen Mark chronicled the life of kids growing up on the streets of Seattle; it is screening at the festival in a restored version alongside Bell’s follow-up, “ Tiny: The Life of Erin Blackwell .” The children in the 1985 film, many of them from broken homes, have been cast into the darkness against their will and do whatever is necessary to survive. They are victims of circumstances they can’t control. But they persist, against all odds, in favor of life. 2016-06-10 14:23 Craig Hubert

36 Submit Your Art to This Crowd-Sourced Zine Time Capsule Yo-NEWYORK! , combining visual art and literature in an open submission zine, invites New York artists to apply online for their next issue. Brooklyn- based photographer Charlie Rubin (who is also a regular photographer for The Creators Project) recently started a Kickstarter page to help crowd source the printing and distribution costs of their third issue. Rubin describes Yo-NEWYORK! as a time capsule “since the work is being made right now in New York, it should serve as a representation of what’s on people’s mind, or what the city looks like in 2016. I imagine looking at one of these in 10 years would serve as a peek into the climate of the day.” The project brings together creative minds working through a variety of mediums. Each contributor gets a page to decorate as they choose. The editors then stack the pages on top of each other and fold them down the middle like a book. This process splits each contributor’s page in two and automatically pairs each half with another artist, creating new juxtapositions and exchanges. The project’s Kickstarter page says, “The result is a surreal flow, featuring multiple views of the city at this moment in time.” Centerfold of Issue 1 by K-NOR Andrew Giugno and Nathan Bett Linzi Silverman and Matthew Leifheit Richard Phillips and Bobby Davidson Centerfold of Issue 2 by Christina Labey Back Cover of Issue No. 1 designed by Charlie Rubin The Yo-NEWYORK! zine is currently being put together in Brooklyn, for more information head over to their website, here. To submit your work to Yo-NEWYORK! click here. Related: New York: It's Zine Time at MoMA We Talked To The Artists Who Made A Pokemon Glitch Zine 18-Year-Old Photographer Gives a New Lens into Youth Culture 2016-06-10 14:14 Nathaniel Ainley

37 The Tony Award That Lin-Manuel Miranda Probably Wants to Lose Related Events Tony Awards 2016 According to the pundits, the Tony Award for best actor in a musical will go to “Hamilton” when Broadway’s highest honors are announced on June 12. Indeed, most of the special, hosted by James Corden, will be devoted to Lin-Manuel Miranda’s mega-smash musical about American’s Founding Father Alexander Hamilton. But the question is who from “Hamilton” will take home the trophy: Miranda, who plays the title role, or Leslie Odom, Jr., who plays Aaron Burr, Hamilton’s nemesis who killed him in a duel in Weehawken, New Jersey on July 11, 1804. With Miranda a sure bet to take home two other Tony Awards — for best book and best original score — one can assume that the creative force behind Broadway’s biggest hit in years would want Burr to vanquish Hamilton once more. Miranda already has a bower of awards on his shelf, beginning in 2008 with the Tony Award for best score for “In the Heights,” for which he was also nominated as best actor. That musical, about romance and aspiration in the working-class neighborhood of Washington Heights in Manhattan, was also short-listed for the Pulitzer Prize — an honor that came to Miranda this year for “Hamilton.” He also collected the New York Drama Critics Circle Award for best musical when the show played in early 2015 at the Public Theatre. While Miranda has concentrated his firepower on the theater, Odom had heretofore been known largely for his television appearances in “Smash,” “Person of Interest,” and “Law and Order: Special Victims Unit.” He made his Broadway debut, at 17, as a replacement in the long-running “Rent,” and had a featured role in “Leap of Faith,” the short-lived Broadway musical based on the Steve Martin movie. Indeed, in 2013, just before he was angling to be cast in “Hamilton,” he was so discouraged with how his career was going that he was looking for a menial job to support himself. While Miranda gives a marathon performance in “Hamilton,” appearing in practically every scene in the show, what may well tip the Tony Award to Odom is his show-stopping performance on one of the most popular songs from the Grammy-winning score: “The Room Where It Happens.” As occurs with every award competition, the race between the favorites obscures exceptional performances among the other nominees. Danny Burstein has earned his sixth Tony nomination, effusing new energy and emotional nuance into the classic role of Tevye in the revival of “Fiddler on the Roof” at the Broadway Theatre. In fact, if the stars of “Hamilton” should split the vote, the popular actor could emerge as the dark horse winner. Zachary Levi, best known for playing the title role in the TV series “Chuck,” is making a worthy Broadway debut as a starry-eyed romantic in Scott Ellis’s vibrant revival of “She Loves Me.” And 29-year-old Alex Brightman, after featured roles in two ill-fated Broadway shows, “Glory Days” and “Big Fish,” plays Dewey Finn, a struggling rock star who becomes a pied piper to a fourth-grade class. The musical, based on the 2003 Jack Black movie, is sweet vindication for its composer, Andrew Lloyd Webber. It is the first hit for the legendary music man since “Phantom of the Opera” in 1988. Lloyd Webber is also nominated this year for his “School of Rock” score. But he will happily take a back seat to Miranda, whose talent he has effusively praised since the phenomenon of “Hamilton” began. Yet with nearly three decades between commercial hits, Lloyd Webber is a cautionary tale about the vagaries of Broadway. 2016-06-10 14:03 Patrick Pacheco

38 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […] 2016-06-10 14:03 By

39 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 […] 2016-06-10 16:46 By

40 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and Buckminster Fuller; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and theFoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co- opting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed. 2016-06-10 16:46 Volume Inc

41 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Kit. The instillation combines Lee’s paint-based practice and his object-based practice to explore the poetics of everyday materials and household items. Contributing Members were […] 2016-06-10 13:44 By

42 zaha hadid's twisting generali tower tops out in milan zaha hadid's twisting generali tower tops out at 44-floors in milan zaha hadid’s twisting generali tower tops out at 44-floors in milan image by alberto fanelli © citylife zaha hadid’s twisting skyscraper in milan has topped out. originally named ‘lo storto’, (‘the twisted one’), the 170 meter structure has been renamed the ‘generali tower’ after the insurance firm who will occupy the building. once complete, the 44-storey skyscraper will join the allianz tower, designed by arata isozaki and andrea maffei. a further tower, designed by daniel libeskind, will be added at a later date — the ensemble forming the centerpiece of milan’s vast citylife development. hadid’s skyscraper will join the ‘allianz tower’ (right), designed by arata isozaki and andrea maffei image by alberto fanelli © citylife the base of hadid’s design will contain a commercial shopping area that connects to milan’s underground metro system. above, 39 storeys are dedicated to high-level executive functions, capable of accommodating around 3,200 people. in addition, an underground car park provides space for up to 380 vehicles, helping to alleviate parking issues. the concrete structure contains a central core able to withstand lateral loads, with a radial set of columns allowing the floor plan to twist as it rises — transferring the necessary vertical forces. sun-shading louvers and a double glazing system, with integrated ventilation, will ensure a comfortable interior environment. the tower has topped out at a height of 170 meters image by martino negri © citylife the citylife development covers an overall area of 366,000 square meters. its transformation plan provides for a structured and balanced mix of public and private programs. the three commercial towers are located at the center of the site, surrounded by residential buildings and public green spaces. these habitable dwellings also include designs from hadid and libeskind. the ‘generali tower’ currently has a scheduled completion date of 2017. see designboom’s previous coverage of the vast development here, including our interview with andrea maffei, one of the architects behind the ‘allianz tower’. the structure currently has a scheduled completion date of 2017 image by martino negri © citylife sun-shading louvers and a double glazing system will ensure a comfortable interior environment image by alberto fanelli © citylife the concrete structure contains a central core able to withstand lateral loads image © citylife rendering showing how the site will look once it reaches completion image © citylife 2016-06-10 13:20 Philip Stevens

43 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins’s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27– October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he […] 2016-06-10 16:46 By

44 Longtime CBS Veteran Launches Boutique Communications Firm Jeremy Murphy , the former vice president of communications of CBS and creator and editor of CBS Watch magazine, is opening his own boutique media agency called 360bespoke. The New York-based agency, which will officially open its doors on September 12, will offer public relations, communications, marketing, branding, media training and content development to select clients in the luxury space. This includes fashion, travel, lifestyle and the arts. Murphy, who spent 10 years at the helm of Watch magazine, said the firm would have a presence in Florida, Washington, D. C., Los Angeles, and eventually, London. Aside from Murphy, the firm includes chief operating officer Joseph Wilson, who worked as director of brand relations at Watch magazine; vice president Monica Neville Barber, a former communications executive from News Corp., and senior vice presidents Faith Zuckerman, of the Arnell Group and Fine Line pictures, and Wendy Gordon, who worked on food and beverage communications for the Ritz Carlton Hotels. At launch, the firm has a roster of 14 clients, including European lifestyle brand Vicomte-A; violinist and Dior Homme ambassador Charlie Siem; model Johannes Huebl; celebrity florist and artistic director of the George V Paris hotel Jeff Leatham; opera star Iestyn Davies; spa, skin and beauty brand Cornelia; model and British Fashion Council ambassador Robert Konjic; Deborah Mitchell, a London-based creator of Heaven skin care and beauty products; fashion and brand photographer Ian Derry; LA-based interior decorating firm Merrell-Williams Designs, and model Bertil Espegren, who owns Miami’s Bertil Bernhardt Design & Art Gallery. “The collection of clients we have is going to open a lot of doors to big brands in the luxury space who want to align with first-class talent,” Murphy told WWD. Well, at least ,that is the hope. Murphy, who spent 14 years at CBS, explained that 360bespoke would work to get clients in front of “mainstream press.” He cited Siem as an example of a client who has had success with fashion brands and magazines, alike. 2016-06-10 13:00 Alexandra Steigrad

45 See and Spin #11: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. Touch of Jay: Meet The Maserati-Driving Deadhead Lawyer Who Stands Between Hackers And Prison (Joseph Bernstein / BuzzFeed ) A medical marijuana and criminal defense lawyer from Southern California has made himself into the country’s leading defender of hackers. Can he save his clients from the worst law in technology—and themselves? Twitter is Betting Everything on Jack Dorsey. Will It Work? (Nick Bilton / Vanity Fair ) Less than a year into his return as C. E. O., one thing is clear: the company’s fortunes are indelibly tied to those of its controversial co- founder. Blindsided: A Dream Engagement Turned Nightmare (Mary Milz / Indianapolis Monthly ) Don Huckstep thought he’d found true love in his small hometown of Fowler, Indiana. But when Teri Deneka mysteriously vanished from his life, the disappearance foreshadowed a bizarre—and grisly—series of discoveries that left Huckstep, police, and another man’s family with more questions than answers. Whitney / “The Falls” / Light Upon the Lake (2016) In a stellar example of things falling apart so other things can come together you can file Whitney, the project of former Smith Westerns guitarist Max Kakacek and former Unknown Mortal Orchestra drummer Julien Ehrlich. Their debut LP Light Upon the Lake clocks in at a breezy 30 minutes and is most definitely primed for a lot of warm weather spins in the coming months. “The Falls” is a Cliff Notes of the album in a bopping two minutes, full of bouncy brass, soaring strings, and all-around good vibes. Kanye West / “Gone” (featuring Consequence and Cam’ron) / Late Registration (2005) This week marked the 39th birthday of lord Yeezus, real name Kanye West…let us pray to perhaps the most incredible piece of music he’s ever put out: “Gone,” the stunning closer to 2005’s sophomore album Late Registration. Buoyed by the dynamic production of composer Jon Brion, West’s verses sandwich two great guest spots from Cam’ron and Consequence. While Consequence’s verse—which creatively features the word “gone” seventeen times—would be the crown jewel of pretty much any other track, it’s Kanye’s final verse that brings the entire masterpiece together. Flying out of a lush, orchestral bridge, West’s bravado shines immediately (I’m / Ahead of my time / Sometimes years out / So the powers that be won’t let me get my ideas out) in one of his career’s best verses. Love him, hate him, you’d be hard pressed to deny that “Gone” is one unique and inspired piece of music. And while we’re on the topic of Chicago hip-hop… Chance The Rapper / “Angels” (featuring Saba) / Coloring Book (2016) Chance The Rapper’s new mixtape Coloring Book has been referred to as a gospel record far and wide, and that’s a fitting label not just in the album’s positive themes, but also its jubilant sound. “Angels” is an optimistic hymnal at the Church of Chance, where the tone is reflective with an eye towards a bright future, with Chance touching on his growth as an artist and how the city of Chicago continues to shape him. Bold horns, steel drums and more keep the proceedings bouncing, complementing Chance’s nimble flow. On a mixtape full of diverse highlights, “Angels”—which has been in circulation for some time—remains a dizzying peak. 2016-06-10 12:59 realart.com

46 studio TK square modular series by toan nguyen toan nguyen brings home/office square modular pieces for studio TK to NEOCON 2016 all images courtesy of toan nguyen for NEOCON 2016 in chicago, studio TK brings their latest work with paris designer toan nguyen – the ‘infinito’ series as well as the ‘masalla’ coffee tables. based on square modularity, each piece can generate many different configurations and combinations, involving all four directions that interact with the surrounding architectural spaces. each element can stand alone in the most traditional layouts or be combined to create island situations. both the ‘infinito’ series of tables and chairs are low in height and compact with proportions that favor sociability and interaction among users. additionally, the flexible orientation of the cluster arrangements offers a level of privacy. the latest addition, ‘infinito’ tables come in combinations that include laminate, veneer, or glass with a base finish in white, granite, ebony, sunburt, voltage or reaction. each element can stand alone or together the ‘infinito’ lounge comes in three elements: chair, sette and three-seater sofa. each has a wooden frame padded with polyurethane and feathers, covered in fabric or leather with coordinated piping. toan nguyen’s ‘masalla’ coffee table is shaped in either a square or a rectangular with MDF multicolor lacquered boards with glass or with a MDF tabletop. modular for either the home or office ‘infinito’ tables have a variety of colors for the top and bottom layers the shape allows users to interact in all four directions each ‘masalla’ table can come in either square or rectangular shapes 2016-06-10 12:50 Piotr Boruslawski

47 'Hold the Door' Game of Thrones Director Made a Children's Book for Adults Detail of a page from Jack Bender’s I am the Elephant in the Room. All photos by and courtesy of Jack Bender. Detail via the author. A story about children who learn to float above abuse, a frank bear, and all sorts of other characters populate the world of The Elephant in the Room , a “children’s book for adults” by Jack Bender. An established television director with credits helming and producing shows like Lost , Alias , The Sopranos , and Under the Dome , Bender’s most recent smash is this season’s “hold the door” episode of Game of Thrones. When he’s not busy directing some of the most heart-wrenching television in recent history, Bender paints avidly. And The Elephant in the Room published by crowdfunding platform Inkshares is an accumulation of some of his best work. Bender talks about his inspirations, the mediums he works in, and how whether he’s painting and directing, it’s all about taking the viewer on a ride. Painting of two characters from I am the Elephant in the Room. Bender describes this book as being, “in the style of a children’s book. There are very few words to describe the stories and the dialogue between the characters in the stories. And mainly it’s my art, sculpture, mixed mediums, found art, paintings, iPad art, that tell the majority of the story.” So far the reception's been great, with the MoMA purchasing copies and plenty of pre-orders and regular sales made through Inkshares. And, overall, Bender says people “are amused, they are somewhat transported back to their childhood.” Jack Bender, photographed by Jonathan Freeman. Though Bender’s a well-known name in the world of TV directors, he says he’s always loved painting. “I’ve been a painter from the time I was fourteen,” he explains, “and I studied fine art along with cinema and drama at USC. So painting has always been a part of my life.” As for the inspirations that went into the book, Bender pulls from his own quest to be creative, “Most of the stories reflect a lot of the struggles I’ve had in my life in terms of trying to find a way to be in the world that is both artistic and productive.” But he’s always felt at home working with others, both behind the camera and in the studio, “The more you depend on the brilliant people around you, the better it is.” The painting that would become the cover to I am the Elephant in the Room. Bender’s goal with his book and his directing (he’s currently in the beginning stages of a TV adaptation of Stephen King’s Mr. Mercedes ), is to transport the audience. “Hopefully everything I do is gonna take people somewhere. As a kid, I always used to make rides out of my wagon and my bike, and make adventures.” Bender explains that he’d bring the neighborhood kids out on his bike and invent wild stories and fantastical, at times, scary destinations. That throughline of imagination never left Bender, and he harnesses that urge to tell a story in all his work. “Certainly a lot of the extraordinary television, most recently Game of Thrones , that I’ve been lucky enough to do [involves] taking people on some kind of ride, and something they can relate to. And hopefully that happens in my paintings, too.” This bear’s tired of getting asked the same question over and over again. You can learn more about and purchase a copy of The Elephant in the Room at Inkshares , and keep an eye out for Mr. Mercedes in 2018. Related: Inside the Real 'Game of Thrones' Tower of Joy Inside Last Night's 'Game of Thrones' Shocker A Burner Dad Wrote a Burning Man Children's Book 2016-06-10 12:47 Giaco Furino

48 48 Rirkrit Tiravanija Brings Ping Pong to Amsterdam’s Museumplein Related Events Rirkrit Tiravanija: Tomorrow is the Question Venues Stedelijk Museum 303 Gallery Museum of Modern Art (MoMA) Serpentine Gallery Garage Museum of Contemporary Art Artists Rirkrit Tiravanija Julius Koller Thai artist Rirkrit Tiravanija 's latest exhibition “Tomorrow is the Question,” on until June 26, invites visitors to play ping-pong in Amsterdam’s Museumplein. The exhibition, which is being run by the Stedelijk Museum as part of the Holland Festival, has previously been shown in Moscow, Russia, and Arles, France. The interactive work involves the artist installing a series of mirrored chrome ping-pong tables in the museum square, with balls and paddles available from the staff for those who want to try a little table tennis. The artwork, which debuted in 2015, is the latest interactive project by the multimedia artist that, according to a museum statement, “blurs the line between art and life.” Similar past projects by Tiravanija have included “Untitled (Free),” 1992, a performance in which the artist cooks for gallery visitors, which was performed at New York’s 303 Gallery before being recreated a decade later at MoMA. Other exhibitions have seen the artist recreating his studio within London’s Serpentine Gallery, or screen-printing t-shirts at the Moscow show at the Garage Museum of Contemporary Art, where “Tomorrow is the Question” debuted. In choosing ping-pong as his latest art-life hybrid installation, Tiravanija references a number of art history and historical moments. The work began as a tribute to — or as the Garage Museum called it at the time, “a conceptual game of ping pong with” — Czech artist Július Koller, who engaged with table tennis a number of times in his work. According to the Stedelijk Museum, Tiravanija's piece also alludes to the US’s “Ping Pong Diplomacy” in the 1970s, in which “the US organized a ping pong tournament between American and Chinese players, under the motto ‘ Friendship First, Competition Second ’.” 2016-06-10 12:35 Samuel Spencer

49 Buckingham Palace Releases Another Portrait of Queen Elizabeth Shot by Annie Leibovitz More Articles By The portrait was shot by Annie Leibovitz at Windsor Castle. The palace released the image on Twitter with a quote from the sovereign about her husband. “He has, quite simply, been my strength and stay all these years.” Prince Philip turns 95 today. The palace released three photographs last April, all shot by Leibovitz, showing the Queen with the youngest members of the royal family, Princess Anne and her four dogs. Britain’s longest-reigning monarch will be feted with a series of events including a service of thanksgiving today at St. Paul’s Cathedral, the annual Trooping the Colour official birthday parade on Saturday, and a picnic for hundreds on The Mall on Sunday. The picnic is a ticketed event, with attendees coming mainly from the U. K. charities the Queen supports. RELATED STORY: The Big 9-0: Britain Says Happy Birthday to Queen Elizabeth >> 2016-06-10 12:28 Lorelei Marfil

50 Chair Forgery Scandal Strikes Versailles An alleged antique forgery scandal at Versailles has led to the arrest of antiques dealers Laurent Kraemer, head of Paris's venerable Kraemer Gallery , founded in 1875, and chair specialist Bill Pallot, reports the Telegraph. The French art fraud office, the Office Central de Lutte Contre le Trafic des Biens Culturels (OCBC), has been investigating the pair since 2012, on a tip from another French antiques dealer, Charles Hooreman, a expert in 18th-century chairs. Related: See Incredible Pictures of Olafur Eliasson's Exhibition at Versailles The Kraemers have been mainstays in the antiques dealing business for generations, with a 2007 Forbes profile on the gallery noting that "many 18th-century pieces in the Louvre, the Metropolitan and the Boston Museum of Fine Arts have passed through the hands of one Kraemer or another. " Part and parcel of that business was secrecy: "Kraemer is over-the-top discreet; one is always being reminded that one is never supposed to talk about the things one buys," a longtime client told Forbes. Kraemer and Pallot sold Versailles a set of four medallion back chairs in 2009, claiming they were Louis Delanois originals. Investigators now suspect at least two of the chairs, purchased for €1.7 million ($1.9 million) may be copies. On a page detailing recent acquisitions , Versailles explained that the chairs are "National Treasures" and were among a group of 13 created for the Palace living room in 1769, where they belonged countess du Barry, Louis XV's last mistress. Over the last 20 years, Versailles has bought back 10 of the original set of chairs, plus one known 19th-century copy. However, Hooreman came to suspect there were too many reported chairs in the set floating around for some to not be fakes, as there should be 12 extant chairs. (Louis XV's personal chair, which was slightly larger, is thought to be lost.) "Versailles has 10, [a] Swiss collector two, and I know another that is impeccable belonging to a Parisian collector," he told Le Monde. "That's a lot. " Hooreman has examined Kraemer's chairs, and claims to see evidence they were made more recently. Because furniture-making techniques underwent few changes up until World War II, said one antique furniture restorer to Le Monde , it is sometimes difficult to differentiate true antiques from more recently-built pieces and outright forgeries. The Kraemer Gallery is adamant that he sold the Palace the genuine article. "The Kraemer Gallery has never produced any kind of fake furniture of any sort," a gallery representative assured artnet News in a phone conversation. "We have never have sold something we had doubts on. " If the chairs do prove to be copies, he added, "of course we are victims… we considered them to be authentic, like the French authorities. " In a press release translated by artnet News, Versailles noted that it was following the case "with the greatest attention" and "reserves the right to take legal action. " Follow artnet News on Facebook. 2016-06-10 12:16 Sarah Cascone

51 Mika Tajima's Hot Pink Hot Tub Public Artwork Having wowed and amused the art world this past fall with a viral-ready giant butt sculpture by Anthea Hamilton , the SculptureCenter in Long Island City has unveiled the next big thing for the summer season: A temporary public art project by artist Mika Tajima entitled Meridian (Gold). The work was unveiled on June 9 at the beautiful—and at the time windswept— Hunters Point Park South in Long Island City. The hot tub is perched on the edge of the East River, set against sweeping views of the Manhattan skyline which serve as a majestic backdrop. Meridian Gold is a "geysering" hot pink sculpture that is lined with benches. Viewers are invited to climb inside for what is intended to be a moment of relaxation and spontaneous conversation. The main catch? Instead of being an actual geyser, it is a plume of water vapor that shoots upwards, the color of which shifts between magenta and pale cyan. As the vapor drifts away in the breeze, it creates "techni-color clouds," according to a statement from the Sculpture Center. The color of the vapor "corresponds in real time to the global sentiment for gold, reflected in the price fluctuation of the commodity. " Longtime Sculpture Center executive director Mary Ceruti and the artist were on hand during the private waterside reception to offer more detail about the work. Ceruti welcomed the crowd and explained that sculpture was selected by participants in Public Process, the institution's program for high school students that uses New York as a backdrop for which to explore the history and impact of public art and its effect on the community. "Last summer ten high school students got a crash course in public art when they spent two weeks studying public art and public spaces," said Ceruti. The program involved lots of field trips and guest speakers including urban planners, designers, and architectural historians, followed by visits to three different artists' studios, including Tajima's, and before participants chose one artist's proposed design. The students "really responded to the way that Mika thinks about the digital economy and the information economy that we work in, and how to manifest the emotive aspects of that," said Ceruti. "I think that really resonated for this generation of 14, 15, 16, and 17 year olds. " Describing the planning and the need for wi-fi, water, and electricity, Ceruti added: "It's not a plop art piece. It's really connected. " "It's been a really wonderful experience thinking about what the impact of the piece could be, and thinking about how to expand my own practice in the public sphere," said Tajima, who was, appropriately, sporting gold shoes. Of the decision to have the lights reflect the fluctuating price of gold, Tajima notes it's a commodity where the value "doesn't have to do with supply and demand but actually has to do with the sentiment of people and how uncertain or confident they feel. " "Right now the piece tends to be on the pink side which means that the price of gold is skyrocketing. It's been like the highest ever in two years," she added. "I thought of this as a sort of social place that we could contemplate this materiality while facing the financial center of the world," said Tajima of the spa/hot tub setting. Hunters Point South Park, is one of New York City's newest parks. The completely overhauled and now beautifully manicured waterfront space was, up until recently, an abandoned area. The transformed space now features a massive lawn, a dog run, and waterside promenade. Meridian (Gold) will be on view there until September 25. The public is invited to celebrate the project at a community day scheduled for Saturday June 11, from 11:00 a.m.–12:30 p.m. There will be family activities and refreshments. Follow artnet News on Facebook . 2016-06-10 12:15 Eileen Kinsella

52 Brooklyn Museum Elects Barbara M. Vogelstein As Board Chair Barbara M. Vogelstein. COURTESY VASSAR COLLEGE The Brooklyn Museum has announced that Barbara M. Vogelstein will be replacing Elizabeth A. Sackler as chair of the board of trustees, effective June 10. Vogelstein had been a member of the board from 2001 through 2010, and she and her husband John helped endow funds to create the position of curator of contemporary art at the museum in 2005, according to a news release. She rejoined the board again in 2015, helping to lead the search for the Brooklyn Museum’s new director last year, which led to the hiring of Anne Pasternak. Sackler, who founded the eponymous Center for Feminist Art at the Brooklyn Museum, will continue to serve on the board and its executive committee, the museum said.“It has been an honor and a pleasure to serve as Board Chair and lead the Brooklyn Museum through its transition, when our outstanding new director, Anne Pasternak, took the helm in 2015,” Sackler said in a statement. “I am thrilled that my successor, Barbara Vogelstein, will see us through a new phase of growth.” 2016-06-10 12:01 Hannah Ghorashi

53 True to Life: Elaine de Kooning on Stuart Davis, in 1957 Stuart Davis, The Paris Bit , 1959, oil on canvas. ©ESTATE OF STUART DAVIS/LICENSED BY VAGA, NEW YORK/WHITNEY MUSEUM OF AMERICAN ART; PURCHASE, WITH FUNDS FROM THE FRIENDS OF THE WHITNEY MUSEUM OF AMERICAN ART, 59.38 With the Whitney Museum opening a massive, 100-work Stuart Davis retrospective , we turn back to the April 1957 issue of ARTnews , in which Elaine de Kooning reviewed a different retrospective, at the Walker Art Center in Minneapolis. (Coincidentally, that show also traveled to the Whitney.) De Kooning wrote that the painter was as American as modernism could be. “Davis’ palette has always been, in spirit at least, strictly red, white and blue,” she wrote. “His subject has always been America—not America as seen in American art but as seen on a walk down Broadway or a drive past a harbor in a fishing village. He resists art by being true to life.” Below, de Kooning’s review follows in full below. “Stuart Davis: True to life” By Elaine de Kooning April 1957 Today, when hectic, automatist techniques so often and so surprisingly result in ingratiating, decorative and vaguely naturalistic imagery, a painting by Stuart Davis, with its plain, strong, “ready-made” colors and sharply cut-out shapes, has somewhat the effect of a good sock on the jaw, sudden, emphatic and not completely pleasant. Davis, now sixty- three, apparently always knew, as few painters have, what he wanted and who he was. The character of his work does not change through the years. The present show (at the Walker Art Center, Minneapolis, and coming to the Whitney Museum in the fall), covering the years 1925–56, is as scrupulously extrovert, conscious and uncompromising as was his retrospective exhibition at the Museum of Modern Art twelve years ago, which included some scenes painted as early as 1912. Comparing the two shows, one is struck again with the singularly impersonal, almost disembodied nature of his art. One does not feel a contact with its inception (as with Abstract- Expressionist work) or recognize in it the sensuality of an individual effort. It seems to be there all at once—the product of an aggregate impulse and perception, like slang. Stuart Davis, Odol , 1924, oil on cardboard. ©ESTATE OF STUART DAVIS/LICENSED BY VAGA, NEW YORK/THE MUSEUM OF MODERN ART, NEW YORK; MARY SISLER BEQUEST (BY EXCHANGE) AND PURCHASE, 1997 Fiercely independent, but not an eccentric, Davis reacts against the momentum of a current style with a reflex of self-insulation. He has successfully resisted the devouring intellectual camaraderie (or is it anxiety?) that keeps most avant-garde artists breathing down each other’s necks and that makes group shows look like the game of Musical Chairs as artists grab each other’s styles, subjects and mannerisms before the paint is dry. His style developed between two continents and two wars, is as insistently remote from the Synthetic Cubism that was his starting point as it is from the American Action-Painting that surrounds him today. He achieves his separated position by an act of will or rather, by an operation of logic: he chooses to be à rebours. His paintings made of, in or through Paris are swept clean of the gentle, expansive and complex intimacies that envelop Parisian art. When he began working in the Cubist manner, he immediately dispensed with their subtle tones, their discreet scale, their paraphernalia of private property and locale. His street scenes of that period, rendered in an over-simplified, almost cartoon-strip style, have a breezy, open, New England quaintness; his still-lifes are about as cozy as factories on Houston Street on Sunday. Cubism, after all, is an indoor art, full of nice, comfortable, old furniture and friends of the family. But, although for Davis, a pack of Lucky Strikes could be unobtrusively substituted for a guitar, you really can’t have Whitman’s Open Road run through the parlor without changing the look of things. Davis’ palette has always been, in spirit at least, strictly red, white and blue. His subject has always been America—not America as seen in American art but as seen on a walk down Broadway or a drive past a harbor in a fishing village. He resists art by being true to life. More intensely than any painter in our history, he offers a specific, objective, national experience. It is the experience not of our natural landscape but of America as man-made. The brittle animation of his art relates to jazz, to movie marquees, to the streamlined decor and brutal colors of gasoline stations, to the glare of neon lights, to the flamboyant sweep of three-level parkways, to the fool-proof shine of stainless steel diners, to the big, bright words that are shouted at us from billboards from one end of the country to the other. In our common public existence (which is the only existence Davis, as a painter, is interested in), this is the land of layout and lettering, of engineering and industrial design, of big cities and long roads that Somebody built. Obviously Davis feels a profound sympathy for the grand and broad expression of Abstract Artists Anonymous. What are the names of the men who designed the words ESSO and REM or Coca-Cola? Who designed the viaduct at Sixty-first Street and the East River? Or certain jukeboxes? Like this company, he expresses in his work the concept that one glance should be enough to see what you’re looking at, since the chances are you’re going someplace else fast. And so, although his pictures are not big (as big pictures go nowadays), their expression is. If one were slapped against a building like a bill-board, it would hold its own. In fact, Davis is one of the few abstract painters in the country whose work authentically relates to modern architecture. Stuart Davis, Swing Landscape , 1938, oil on canvas. ©ESTATE OF STUART DAVIS/LICENSED BY VAGA, NEW YORK/INDIANA UNIVERSITY MUSEUM OF ART; ALLOCATED BY THE U. S. GOVERNMENT, COMMISSIONED THROUGH THE NEW DEAL ART PROJECTS Like modern architecture, his art has a distinctly argumentative character. Nothing is suggested or implied. Everything is stated flatly. Here are no evasive tones or ambiguous colors, no vague distances or irresponsible implications of scale, no meandering sentiments. There is in his paint- stroke no description, no point of view; it delivers the unprimed fact to you. Every proportion is measurable, every effect predetermined. Detail is massive. The remnants of stylized representation—the roads, clouds, waves, smoke, chimneys, shingles, ladders, wagon-wheels windows, barrels that still crop up in his work, superimposed in rigid patters over the large paper-flat planes—are related with a cheerful, bold and heavy hand to the whole. The taciturn impastoes, the highly deliberate patterns, the inflexible scissor-sharp edges all seem to indicate an insistence on “the last word.” And he has it. In the protestant economy of Davis’ art, nothing is superficial and everything is necessary. His is an art of solid certainties. He never seems to have been involved with those rather bitter changes of heart which beset so many artists and which result in their working consecutively (or what is even more painful, simultaneously) in contradictory styles in their search for an identity. For Davis, his identity was never in question. He is aware that his approach is in conflict with the approach of most abstract painters around him and he is somewhat contemptuous of their condition, which might be termed “the anguish of possibility,” to use Harold Rosenberg’s phrase.“I think of Abstract Art,” Davis wrote in 1951, “in the same way I think of all Art, Past and Present… I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art… [It] sees the Percept of the Real World as an Immediate Given Event… Subjective Art is Illustration, or communication by Symbols, Replicas and Oblique Emotional Passes… Its Universal Principle has… the character of a Universal Bellyache… It has a Perverse Passion for the Detour.” Stuart Davis, Salt Shaker , 1931, oil on canvas. ©ESTATE OF STUART DAVIS/LICENSED BY VAGA, NEW YORK/THE MUSEUM OF MODERN ART, NEW YORK; GIFT OF EDITH GREGOR HALPERT, 1954 Clearly all the possibilities Davis sees, as an Objective artist, are in the realm of solutions not problems. If, as some critics have pointed out, his solutions always seem to fall more or less in the same territory, there is no sense of self-indulgence, of relaxation of the spirit in the fact that he has never substantially deviated from the style he defined for himself so early in his career. On the contrary, one might get the impression of an iron stubbornness in his cleaving to certain principles of clarity now largely abandoned by painters (although commercial artists and architects are of course still involved with them). His paintings have the “look” of another decade, specifically, the ’thirties—not the provincial but the International “look.” But Davis, like Léger and Mondrian, with whom he shares a passion for conscious, objective art, has made his particular “look” timeless. Convictions that ardent kept their immediacy. In the sense that he starts with the idea that the canvas is a limited area to be divided, to be designed, he is following a European tradition. It is the opposite of the concept of the image which unfolds and spreads out, as in the panoramas of the Hudson River School or the panoramas of American Action-Painting where the edges of the canvas are the last facts to be considered, not the first. Many abstract painters today, for instance, work on unstretched canvas tacked to the wall and decide on the size and proportions of the painting after it is finidhsed. This would be as unworkable an approach for Davis as it would for Mondrian or Léger, since the exercise of will and consciousness can only be accomplished within a fixed space. For artists who insist on complete control, the world must be square; there must be boundaries to act against. In the face of this framework of calculation, one of the paradoxes of his work is in its extraordinary animation—an element we usually associate with spontaneity. But even here he is deliberate, aspiring to what he has called the “Consciousness of Motion” in art. This he achieves mainly in his use of color, and here he is a craftsman second to none. His colors, although strong and opaque, are oddly without physical presence. They do not create surfaces but rather, sheets or flashes of light. This spurting electric quality of his color has less to do with the choice of pigments—they could be interchangeable, one feels—than with the spacing, proportioning and repetition of the areas into which the colors are so carefully placed. The light doesn’t act in but between the colors. The larger areas are pulled and twisted into different dimensions by the contradictory presence of the smaller. He uses the “scale” of different colors —their various propensities for expansion and contraction—to achieve the fantastic, mechanized activity of his compositions. A version of the story originally appeared in the April 1957 issue on page 40 under the title “Stuart Davis: True to life.” 2016-06-10 12:00 The Editors

54 zach both converts a chevy cargo van into a nomadic filmmaking studio zach both converts a chevy cargo van into a nomadic filmmaking studio all images courtesy of zach both for the past year, young filmmaker zach both has been traveling across the united states in a self-built mobile studio. his nomadic atelier has been converted from an otherwise inhabitable, decade-old chevy cargo van to a minimal and functional dwelling on wheels. outfitting the interior with a sustainable and sophisticated aesthetic, both has used reclaimed wood on the ceiling and walls, sourced from a 19th century church in cleveland, ohio. inside, living spaces accommodate a futon bed, a functioning kitchen with stove, and a comfortable workspace. on the outside of the van, solar panels have been installed on the roof, powering the fridge, a mobile wifi network and a home theater system. zach both has been traveling across the united states in a self-built mobile studio ‘filmmaking by nature is a nomadic pursuit,’ both describes. ‘it’s a constant migration to and from different locations based on what the storytelling requires. with this van, I now have complete freedom to write a script surrounded by mountains, direct a shoot in a remote desert town and then collaborate with an editor or composer in los angeles — all within the same month. that would be impossible any other way.’ the nomadic atelier has been converted from an otherwise inhabitable, decade-old chevy cargo van wanting to share the knowledge he collected while building the van, both created a free online guide that provides insight to those interested in converting a vehicle into a livable space. ‘thevanual‘ offers a detailed, step- by-step guide to the construction process, while incorporating informative imagery and specific construction techniques during the conversion. additionally, a lifestyle guide presents tips and tricks for life on the road, including where to safely park overnight and advice on how to work as a digital nomad. the project is realized as a minimal and functional dwelling on wheels the interior is outfitted with a sustainable and sophisticated aesthetic reclaimed wood on the ceiling and walls was sourced from a 19th century church in cleveland, ohio both also created a free online guide that provides insight to those interested in converting a van the website offers advice on how to work as a digital nomad solar panels have been installed on the roof, powering the fridge and a mobile wifi network 2016-06-10 11:50 Nina Azzarello

55 L. A. Habitat: Lara Schnitger Lara Schnitger in her Glasell Park studio. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Lara Schnitger; Glasell Park, Los Angeles. “We bought this building 5 years ago,” Lara Schnitger told me one afternoon in her expansive Los Angeles studio. “It was owned by a pavement company. They were driving trucks in here—the floor was really dirty.” The artist’s large industrial space is surrounded by those of other artists; the back of her studio is designated as a workspace for her husband Matthew Monahan, while the front of the building, once occupied by the pavement company’s offices, now functions as studio space for a handful of artists and designers. “In L. A., there’s not much of a community, so we wanted to create a bit of that. You’re not too alone, but you can be alone if you want to. It’s nice if you ever feel like showing your work to somebody, or if you ever want to talk about it. It’s a great mix of all of us here together.”Schnitger, originally from Haarlem, Netherlands, has lived in Los Angeles for 15 years. Within that period of time, Schnitger has noticed a number of changes, including the recent influx of museums and galleries. “There’s a lot more going on now,” she said enthusiastically. One of the benefits to living in the city’s subtropical climate is the omnipresent sunshine, which, besides making for agreeable weather, has helped to curb Schnitger’s electricity bills and carbon footprint. “We put in solar panels recently, which was a nightmare to install, but we’re completely solar- powered now. Because it’s an industrial building, you need to pay in an industrial way. I drive an electric car, which I also charge here. We use a lot of sun energy here. It’s just the way the city works.” Before moving her workspace to Glasell Park, Schnitger maintained a studio on Ford street, which is located downtown in the city’s Skid Row neighborhood. She tends to maintain a 9-5 schedule. “My most creative, boldest moves always happen around 2 or 3 p.m. Maybe that’s because I’m warmed up.”At the time of my visit, Schnitger was working on an installation for the then- upcoming “ Revolution in the Making: Abstract Sculpture by Women 1947- 2016 ” show at Hauser Wirth & Schimmel. “I’m not 100% sure what I’m doing for the show yet. I might end up working in the space and making a piece within the space,” she said, adding that she always maps out the size of her designated space before beginning new work. “A few of my works are separately made, but the space directs their size.” (Her piece Folie a Deux , crafted from nylon, chopsticks and wood, debuted in the show earlier this year)Schnitger was also preparing for a trip to Cambodia the next day. “I’m trying to finish stuff up before I leave. When you’re in the flow of making certain pieces, it’s very hard to pick that up again.” On the other hand, she was looking forward to experiencing a feeling of creative refreshment upon her return. “You’re not cluttered by old ideas. You feel detached from the work that you’re making,” she explained, adding that the trip might cause her to see things in a new way. Below, a look around Schnitger’s Glasell Park studio. ALL PHOTOS: KATHERINE MCMAHON Schnitger in her studio. “I see them as parasites sometimes, especially some of these works made from stockings. They can’t really stand on their own; they need the space to live in. Without this space, they’d just be like jellyfish on the floor.” A building mockup created for Schnitger’s first solo show in France, “Suffragette City,” at the Frac Champagne-Ardenne in Reims. “The show was based on female rights. The ground floor held all the sculptures, while all the Slut-sticks were saved for the top floor. We did a whole procession. A lot of this show was inspired by the time I spent protesting on the street.” A storage room in Schnitger’s studio. A portion of Schnitger’s textile collection, which she has built up over the years. “I’m also really into resin and stencils right now, which I use for the quilts. I get most of my fabrics downtown—it’s a great area for textiles. Sometimes I even find them at thrift stores.” More fabric and materials from Schnitger’s collection. Schnitger’s studio in Glasell Park. “The tension is spread across so many points. It’s very delicate,” she said of her stocking works, adding, “If you put too much tension on them, the stockings will run, and I’ll have to replace them. 2016-06-10 11:30 Katherine McMahon

56 icon 1000 dromedarii icon 1000 dismantles a triumph motorcycle ready and conditioned for the wasteland all images courtesy of icon 1000 motorcycles for long journeys need to become shaped with un- compromised functionality. the ‘dromedarii’ from icon 1000 is based on the bones of a triumph ‘tiger 800XC’ modified for the apocalyptic conditions. the ‘dromedarii’ (the name comes from the late roman empire’s camel-mounted cavalry division) features a stiffened ohlins suspension kit, off-road conti rubber tires and raised subframe increased for tough conditions. all of the original triumph’s plastic panels had been removed and replaced with steel cages and plates to protect vulnerable engine components. a custom oversized fuel tank, along with auxiliary fuel cells provide increased range. the huge headlights are combined with lithium batteries for increased overall lowlight visibility while still reducing the weight. finally, front and rear load-bearing racks where added for carrying requisite supplies and baggage. the front headlights get even more power from the own lithium upgraded batteries 2016-06-10 11:20 Piotr Boruslawski

57 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. 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 2016-06-10 14:03 By Fionn

58 58 Cyber-Mystical Jewelry Will Boost Your Instagram Following Mixing occult powers and 3D printing technology, Wynn Mustin’s new collection of jewelry isn’t your typical accessory line. The crystal-based rings, necklaces, and other accessories of STONEDALONE promise its user a series of “cyber mystical properties,” or more concretely, a series of powers for our digital era, depending on the color crystal purchased. The orange crystal will give you followers and likes, the purple crystal will make you “look Instagram filtered IRL,” and the blue crystal naturally “simulates a sense of shavasana after a harrowing Reddit session.” “The inspiration for STONEDALONE was born out of a long meditation and deep personal connection with the ether. I was sent energies by the universe that revealed a confused state of the relationship between human spirit and technology,” Mustin prophetically tells The Creators Project. “I believe I was called to this purpose as a child of the Internet Age and because of my involvement with the occult. After I was called to this purpose, my journey with digital fabrication began, and I learned to invoke protective talismans through my oracle the Makerbot.” All Photos by Cheyenne Cohen. All images courtesy of STONEDALONED. Although the belief in the powers of crystals, particularly in their ability to heal, is not a new phenomenon, this idea is generally associated with crystals formed in nature and not the 3D-printed kind. Mustin says that she opted for artificial crystals instead of natural ones because, “The derivative 3D printing techniques involved in the crystal formation create a delicate harmony between digital fabrication and the spirituality of handcraft.” Her creative director Abi Laurel adds that “adorning 3D-printed materials help to gently guide our spirits along the path of serving our purest technological purpose.” Even though her responses are somewhat otherworldly, Mustin undoubtedly knows what she is doing. She is a candidate for an MFA in design and technology at Parsons, and STONEDALONE is her ambitious master’s thesis project. Together with Laurel, they are blurring the boundaries between mysticism and technology, creating accessories that manage to feel both “before their time” and relevant to describe our digitally obsessed moment in history. So do the powers promoted by these cyber-mystical crystals truly work? Mustin and Laurel cryptically assert yes. “3D-printed crystals are imbued with the magical energy of the human effort and knowledge it took to create the technology that forms them. As the universe instructed me to do, the crystals are energetically programmed to serve the highest purpose of the Internet Age,” Mustin states. “As with all crystals, everyone’s experience is their own. These talismans serve as tools to help us each on our unique paths. We invite you to let in the healing and know you are beautiful and worthy of many, many followers,” Laurel emphatically adds. Learn more about the hidden properties of 3D printed Jewelry and purchase the intricate designs of STONEDALONE here. Follow STONEDALONE on Instagram, too. VIDEO CREDITS: Director/Editor/Model: Abi Laurel Asst. Director: Anise Mariko Director of Photography: Mary Perrino Photography: Cheyenne Cohen Hair & Makeup: Grace Shin Music: Enayet Kabir Produced for STONEDALONE by Wynn Mustin Related: Russian Japanophiles Craft Kawaii Clay Accessories Cotton Candy Jewelry Changes with the Times Custom 3D Printer Turns Songs into Ceramics 2016-06-10 11:01 Andrew Nunes

59 Meg Webster at Paula Cooper Gallery, New York Meg Webster, Solar Grow Room , 2016 (as captured on May 24, 2016), four raised wooden planters with moss, grass, flowers and other vegetation, off-grid solar powered electrical system, grow lights, and mylar covered walls. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: Meg Webster’s 2016 solo exhibition is on view at Paula Cooper Gallery in New York through Friday, June 24. The show presents large-scale installations by the New York–based artist. Installation view of Meg Webster’s 2016 solo show at Paula Cooper Gallery, New York. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Volume for Lying Flat , 2016, peat moss, green moss, and soil. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Stick Structure , 2016, various branches, twigs, and flowering plants. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Stick Structure , 2016, various branches, twigs, and flowering plants. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Installation view of Meg Webster’s 2016 solo show at Paula Cooper Gallery, New York. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Solar Grow Room , 2016 (as captured on May 9, 2016), four raised wooden planters with moss, grass, flowers and other vegetation, off- grid solar powered electrical system, grow lights, and mylar covered walls. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Solar Grow Room , 2016 (as captured on May 24, 2016), four raised wooden planters with moss, grass, flowers and other vegetation, off-grid solar powered electrical system, grow lights, and mylar covered walls. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK Meg Webster, Solar Grow Room , 2016 (as captured on May 24, 2016), four raised wooden planters with moss, grass, flowers and other vegetation, off-grid solar powered electrical system, grow lights, and mylar covered walls. STEVEN PROBERT/©MEG WEBSTER/COURTESY PAULA COOPER GALLERY, NEW YORK 2016-06-10 11:00 The Editors

60 Manifesta 11 Is Too Many Things at Once On June 5, Switzerland became the first country in the world to hold a nationwide referendum on unconditional basic income. "Unconditional" here meaning that the basic sum provided monthly to all citizens should be sufficiently priced to allow a dignified existence and participation in public life. If there ever was a place where this could become a reality it's here, a peaceful and affluent country in the heart of Europe—though not in the European Union—which takes pride in its model of direct democracy. Alas, the basic income proposal was voted down this past Sunday, with approximately 77 percent of those who had participated casting their ballot against it. Related: Maurizio Cattelan Will Have Paralympics Athlete Ride Wheelchair on Water for Manifesta This is the backdrop against which, five days after the referendum, the 11th edition of the roving European biennial, Manifesta, opens to the public in Zurich, with the title “What people do for money. " Curated by artist Christian Jankowski, the theme is broached by a series of 30 so-called "joint ventures" bringing artists to collaborate with professionals from all walks of life—literally, from pastor to sex worker. Jankowski's own practice often involves such interactions with professions external to the art world—the most famous being his film Casting Jesus (2011), where he asked members of the Vatican to jury a reality-show-like audition for the role, with actors performing tasks such as breaking bread. He is no stranger to giving away control of his work, either, and had invited German actress Nina Hoss to curate his retrospective in Berlin recently. Related: Francesco Bonami Says Curators Are 'Self-Delusional' and 'Irrelevant' in Today's Art World What happens when an artist with such a strongly recognizable practice wears the hat of the curator? As Jankowski admitted, “I tried to conceive an exhibition that I'd also like to be invited to myself," while insisting that the biennial should not be seen as one big artwork by him. But that's up to the participating artists and only a handful of them managed to take the rules of the game created by Jankowski and carry them forth, away from his signature witticism. Interestingly, it was often the younger and least known names on the roster. That is not to say that having a biennial full of rib-ticklers is necessarily wrong, but when the stated goal is to create interactions between artists and people working as doctors, teachers, therapists, cooks, policemen, scientists, athletes and so on, jest can feel like exoticism—or worse, render the work of artists irrelevant. Among the most delightful ventures is the work by Franz Erhard Walther, who has collaborated with a textile producer on bright orange “half-vests" now worn by staff at the Park Hyatt hotel. Walther, a pioneer of conceptual art and performance, is known for the minimalistic fabric pieces that he integrates himself into by means of wearable parts. For the staff—who seemed genuinely excited and honored to don the new addition to their uniform when I visited the hotel lobby, which is filled with some of the worst works by Sol LeWitt I've ever seen (unrelated to Manifesta)—he created half a vest with one sleeve using cotton which is less dense than the one in his artworks and more functional, yet still maintains its sculptural character. An important and utterly successful element of Manifesta 11 is that each commissioned work exists in three parts: one is displayed at one of the main venues; another at a satellite location in Zurich where a work is installed, activated, or performed; and lastly, as a short documentary, created by film students and screened every evening at the Pavilion of Reflections, a floating construction on lake Basel. So for example we learn from the film that some of the works by Norwegian artist Torbjørn Rødland, who had collaborated with dentist Danielle Heller Fontana to create images that play on the disturbing symbolism ascribed to teeth in dreams, were removed by the dentist due to patients' complaints. Perhaps it's no coincidence that several artists chose to collaborate with professionals from the world of medicine, health, and even wellness, including Jon Rafman, who shows work slightly too similar to the one presented only last week at the 9th Berlin Biennale. After all, Switzerland was historically the land of holistic Sanatoria, where tuberculosis patients came to recover and writers such as Thomas Mann and Herman Hesse came to replenish. French author Michel Houellebecq opted for conventional Western medicine and collaborated with a specialist to create a portrait of the artist from (expensive) medical data. Related: The 9th Berlin Biennale Revels in Doomsday Scenarios and Secret Spaces In the exhibition venue the Helmhaus, MRI and ultrasound imaging of Houellebecq's skull, hand, and arteries are on display. The symbolism of creating a portrait from the writer's head and hand collides with the reality that Houellebecq is a very heavy smoker, his hand tremendously nicotine- stained, and his arteries, as the doctor points out in the show's catalogue, not looking very good. At the satellite location—a fancy private clinic with a pleasantly scented lobby—viewers can pick up color printouts of Houellebecq's tests, and glean whatever they can from them. Sexual and mental health also play a role for several projects, with one standout example being Andrea Éva Györi's collaboration with a sexologist to explore the female orgasm. The list of well-conceived collaborations is long. And at times, humor—à la Jankowski—makes for grand gestures, like Mike Bouchet's blocks of excrements , or Maurizio Cattelan 's idea of a performance consisting of a paralympic athlete riding her wheelchair on water , which may or may not happen. Smaller gestures also make an impact, for example the work by German artist and filmmaker Marco Schmitt, who collaborated with Zurich police to create the film Exterminating Badges, which takes its cue from Luis Buñuel's The Exterminating Angel (1962) and switches Buñuel's bourgeois guests trapped at a dinner party (which they cannot seem to find the will to leave) with policemen inexplicably trapped in Zurich's crime museum. In the main exhibition venues, the Helmhaus and the Löwenbräu, a historical exhibition is presented alongside elements from commissioned joint ventures. Co-curated by Jankowski and Francesca Gavin, the historical show is mounted on free-standing structures, which allows viewers to walk around the works. This is a very dense addition to the biennial that positions artworks in thematic and very didactic clusters to demonstrate examples from the past 50 years of artists who integrate professionals or cast themselves in new professions. So we encounter Sophie Calle's 1980 project The Detective or Jonathan Monk's This Painting Should Be Installed by an Accountant (2011). The curators being who they are, there are also a lot of references to subcultures, and even hilarious non-art inclusions, like the Calendario Romano, a calendar known to certain insiders featuring Roman priests from the Vatican, photographed by Piero Pazzi, who all happen to be extremely attractive young men. It's available to order online for €10. Related: Seven Shows to Check Out During Manifesta 11 But this is also where Manifesta 11 reveals its shortcomings. The exhibition in the more traditional white cube venues is weighed down by too many "historical" works, which gives the impression that the curator was not confident enough that the 30 joint ventures could stand alone and aptly convey his concept. What emerges from the biennial as a parallel theme is a questioning of the work of the artist, that amounts to navel-gazing. There is, however, a collaboration that approaches this very tendency, and is an absolute highlight of the show. Pablo Helguera created a cartoon series published in the Sunday supplement of Das Magazin. His main character, Bolito Husserl, is an overqualified unemployed male looking for a job. His ventures into the art world, presented in a series of Artoons, are hilarious, on point, and should come out as a series in and of itself. Manifesta 11 takes place in Zurich from June 11 – September 18. Follow artnet News on Facebook. 2016-06-10 10:47 Hili Perlson

61 Yayoi Kusama’s Infinitely Stylish Moderna Museet Exhibition Related Venues Moderna Museet Artists Yayoi Kusama “Yayoi Kusama – In Infinity” at the Moderna Museet in Stockholm, Sweden is Japanese artist Yayoi Kusama’s first major presentation in Scandanavia and the first comprehensive exhibition to highlight her interest in fashion and design. The major retrospective spans Kusama’s entire career from the 1950s until today, with a particular focus on works from the late 1980s after she had returned to Japan. “To share her experiences, Kusama creates works of art that invite visitors to lose themselves in the infinite nets, mirror rooms and thousands of polka dots with which she covers the world. It is as if her installations suspend time and space – an infinity that embraces rather than overwhelms us,” explains exhibition curator Jo Widoff. From her from early nature studies to her time- and space-subverting installations, “In Infinity” brings together a diverse selection of the Kusama’s paintings, drawings, sculptures, spatial installations, and performance- related material, as well as works from the artist’s own fashion label, The Nude Fashion Company, and her fashion collaborations with Louis Vuitton and graf. Kusama’s unique and distinct practice, characterized by her obsession with repetition and accumulation, is deeply linked to the mental health problems – depressions, hallucinations, and an obsessive compulsive disorder – that have plagued her since she was a child. Since the 1970s she has voluntarily resided in a psychiatric hospital in Tokyo, opposite which she has built a studio. Since the beginning of her career, one of Kusama’s primary motivations has been the quest to create a new and peaceful, more colourful world as an antidote to capitalism and boredom. “The important thing is to reduce the class divide,” Kusama says. “I want all the countries in the world to help each other and that more people can strive to live in peace.” According to exhibition curator Jo Widoff, Kusama incorporates both her inner experiences and herself in her works, removing the distinction between art and artist. The signature imagery of her work – the bright colours and stylized motifs of polka dots (her “infinity nets”), mirrors, pumpkins, and flowers – reflects Kusama’s vivid imagination and gives form to her innermost thoughts and experiences. “The earth is a dot. I am a dot. The moon is a dot. The sun is a dot. The stars are dots. Since the dots are so infinitely many, my life has been a constant struggle to create my art,” Kusama says. “People ask me why I paint as I do, but I don’t know. I just paint and then it hits me: ‘Maybe that’s what I was thinking.’ It’s been like that all my life.” 2016-06-10 10:43 Nicholas Forrest

62 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to see the world as I do. My works inspiration is a combination of daily elements that are combined to form non-rigged and flexible images. I combine multiple materials of construction that allows me to free my ideas and create freely without material restrictions and in a freer flowing manner. 2016-06-10 09:40 tatafedez

63 63 Spider Women, Cargo Ships, Chia Grass, and ‘Mommy’: Behind the Scenes of ‘Mirror Cells’ at the Whitney Museum Installation view of “Mirror Cells,” 2016, showing Elizabeth Jaeger’s “Vessels” series. GENEVIEVE HANSON, N. Y. T he term “mirror neurons” refers to the brain cells that activate when observing other’s actions. It is also partly the inspiration behind the title of “ Mirror Cells ,” the much-talked-about five-artist sculpture exhibition on view through August 21 on the eighth floor of the Whitney Museum in New York. “When we settled on ‘Mirror Cells’ there was definitely this scientific and biological connection to mirror neurons,” Whitney associate curator Christopher Y. Lew, who organized the exhibition alongside associate curator Jane Panetta, told me. “But I think we also liked the idea that a lot of these artists are creating these worlds, these almost cell-like environment spaces, and that they are reflective of the world or their own life, so in a way the title could have this kind of double entendre for us.” Liz Craft, Spider Woman Black Dress , 2015, papier-mâché and mixed media. ©DANIEL SAHLBERG/COURTESY THE ARTIST AND JENNY’S, LOS ANGELES The exhibition, in part, came about as a result of the curators taking in shows at smaller galleries and project spaces around the city. It was there that they observed certain threads that would end up connecting a lot of the work in “Mirror Cells,” namely a movement toward the use of humble materials, figurative elements, and also what Panetta called “this idea of people willingly engaged with narrative, but also narratives that have to do with political issues, or with personal issues.” The curator said that “a lot of the works have a certain vulnerability to them that feels manifested in how they were made in a funny way formally, but also in the content, the personal content that they were willing to share.” A good amount of the work on display was created specifically for the show. Elizabeth Jaeger contributed nine new narrow “ceramic vessels” on steel saw horses. They look a bit like the AT-AT Walkers from Star Wars and take up the center of the space. “They’re vases, but I’m calling them vessels because they also kind of resemble a steam ship, like a cargo boat,” Jaeger told me over the phone. “If you look at the footprint of a cargo ship, it’s kind of in an elongated oval,” she explained. “They have a similar vibe.”Although vessels weren’t on the forefront of her mind, Jaeger told me that she was having cruise ship- related nightmares while creating the work. “When I finished making them I stopped dreaming of cruise ships and boats,” she said. “When you’re making work, you don’t really sometimes know directly what it’s about,” she continued. “I never thought about them as boats, and I kept having these dreams, then I was looking at them, and I was like, ‘Oh, these are so obviously kind of a boat.’ ”Each work in “Mirror Cells” can function as its its own discrete narrative, but when spread out among the space and contextualized with other pieces, new conversations and stories begin to unfold. Another New Yorker, Maggie Lee, has installed four televisions playing different chapters from her movie Mommy —a documentary about her late mother in the aftermath of her passing. Each television is outfitted with shiny, hyperspecific decorations that represent a member of Lee’s family: her mother, her father, her sister, and herself. Some of the televisions have the sound on, so that they are literally in conversation with other pieces in the show. Maggie Lee, Mommy (still), 2015, digital video. COURTESY THE ARTIS “Everyone has these characters that they made, or the sculptures are kind of like weird people or weird figures, but they’re all existing in this weird landscape,” Lee said in a phone interview. “Liz Craft has these spider women sculptures and I feel like I can see them blinking at times, and you can hear the TV buzzing in the background, looping on speakers. So, it’s this weird echoing thing, but when you walk closer you can listen to a story if you pay attention.” Indeed, the sculptures that Craft (the lone Los Angeles artist in a show of New Yorkers) has made depict disembodied spider women of sorts, with papier-mâché heads and cobwebs shooting out of wooden planks that form their arms and legs. “The work in the Whitney contains a lot of new work specific to the space as well as work developed in the last five years,” Craft said over email. “The works continue older ideas of form and collage, but I think I’m getting more clear about my interest in installation.” Both bodies of work, she explained, attempt to “engage the space and try to include the viewer.”Other works approach the space in different ways. Rochelle Goldberg’s installation No Where, Now Here includes live chia grass growing out of the carpet, creating an actual ecosystem within a sculptural one, and Win McCarthy’s sculptures take on a decidedly raw feel, collaging newspaper clippings and self-portraits with rough-and-ready materials, including metal and rocks. Some are diorama- like pieces that synthesize personal and political concerns, and take a look at city living through an internal lens. In our interview, Lew said that “Mirror Cells” is similar to the Whitney’s recent contemporary painting exhibition, “Flatlands,” in that it attempts to locate “certain tendencies that are actually happening right now.” To capture the present moment, the curators acted quickly, spending less than a year organizing the show, working at a pace more common for a small commercial gallery than a major institution. The goal, Panetta said, was to create an exhibition that is “reflective of what’s happening in real time.” 2016-06-10 10:00 John Chiaverina

64 Bottega Veneta Exhibition Opens in Beijing More Articles By Bottega Veneta creative director Tomas Maier has brought the latest incarnation of his “Art of Collaboration” initiative to Beijing in a new exhibition running through June 28 at the Ullens Center for Contemporary Art. Through the “Art of Collaboration” project, Maier has invited a host of photographers and visual artists to collaborate on the Italian brand’s campaigns, including Nan Goldin, Stephen Shore, Philip- Lorca DiCorcia, David Armstrong, Lord Snowdon, Tina Barney, Ryan McGinley, Collier Schorr, Alex Prager and Ralph Gibson. The designer published a book of the campaigns last year with Rizzoli. While the photos from the project have made the rounds of Bottega Veneta stores in Milan, Madrid and Tokyo, this is the first time they have been displayed in an art gallery. “Photography is one of my passions in life, and it has been very interesting for me to use photography to broaden the impression of what Bottega Veneta means today,” said Maier, who hosted an opening event for the exhibition on Tuesday. “I wanted to use the campaigns to express a wider idea of creativity and craft that Bottega Veneta stands for, beyond the normal bounds of fashion.” 2016-06-10 09:55 Amanda Kaiser

65 Duchess of Cambridge Hosts SportsAid Dinner at Kensington Palace She met former Olympians and Paralympians supported by the charity, presented a short speech and spoke about her support for the Rio Olympics that will kick off in August. She wore a long royal blue Roland Mouret dress with cut-out shoulders. While she typically favors classic silhouettes and tends to recycle her wardrobe, the duchess clearly embraced the cold shoulder trend. Today, the royal family is preparing for a weekend of celebrations marking Queen Elizabeth’s 90th birthday, including a service of thanksgiving at St. Paul’s Cathedral on Friday and a street party Saturday on The Mall. RELATED STORY: Young Royals Attend Houghton International Horse Trials >> 2016-06-10 09:42 Lorelei Marfil

66 Winding Back in Time: ‘Electronic Superhighway’ at Whitechapel Gallery, London Nam June Paik, Internet Dream , 1994, video sculpture, 113″ x 149⅝” x 31½”. ONUK (BERHARD SCHMITT)/©NAM JUNE PAIK ESTATE/ZKM CENTER FOR ART AND MEDIA, KARLSRUHE I n 1974 Korean-American artist Nam June Paik predicted, “Video- telephones, fax machines, interactive two-way television…and many other variations of this kind of technology are going to turn the television set into an [expanded-media] telephone system with thousands of novel uses, not only to serve our daily needs, but to enrich the quality of life itself.” The optimism that Paik and his peers felt about new technology in the late ’60s and early ’70s seems quaint today. Artists in the 21st century are much more ambivalent about the dizzying tech developments of recent years, which have connected individuals and communities around the globe but also ushered in a new age of surveillance. This dichotomy was reflected in the landmark exhibition “ Electronic Superhighway (2016–1966) ” at London’s Whitechapel Gallery. The ambitious show charted 50 years of artists’ engagement with new technologies through some 100 artworks. Having long ignored the phenomenon of digital art, many institutions have recently sought to play catch-up, as witnessed by the rash of recent exhibitions in America, Asia, and Europe about art and technology. What made “Electronic Superhighway” different was its effort to situate the phenomenon within a historical lineage. Taking its title from a phrase coined by Paik, “Electronic Superhighway” wound back in time from slick post-Internet art incorporating chat rooms, holograms, and video diaries through early interactive works to the boundary-pushing 1966 Experiments in Art and Technology, or E. A. T., that paired artists such as Robert Rauschenberg, John Cage, and Yvonne Rainer with Bell Laboratories engineers. The curators argued convincingly that E. A. T.’s marrying of then-novel equipment such as video recorders, projectors, and infrared cameras with live performance, dance, and music made it an important precursor to the mixing of disciplines commonplace in art today. This thesis provided something of a through line for the show, a sprawling, euphoric cacophony of artworks across mediums, not unlike the audio-visual bombardment of information we experience daily from television, advertising, and the Internet. Installation view of “Electronic Superhighway (2016–1966),” 2016. STEPHEN WHITE/COURTESY THE ARTISTS T hat the digital revolution has profoundly changed society and social behavior (and perhaps even rewired our brains) was one of several recurring themes. Myriad works of Internet and post-Internet art in the exhibition critiqued our tech-dependent lifestyle, in which online interactions become a substitute for real intimacy and memes replace complex experiences and ideas. At the entrance the visitor was confronted by Olaf Breuning’s Text Butt (2015), a gigantic photo of a naked bottom spouting texts in a literalization of the term “talking out of one’s ass.” One may presume this is critical of the meaninglessness of most of our digital communication, although with Breuning, one can never be quite sure. Amalia Ulman, on the other hand, investigated the increasingly hazy boundaries between public and private life in her project Excellences & Perfections (2014). In a performance lasting several months, Ulman created a semi-fictional persona, posting manipulated images of herself on Instagram and responding to viewers’ demands that she turn herself into a “hot babe.”Yet other works celebrated the upsides of digital technologies: the access to information and the ability to connect with others. Camille Henrot’s bewitching video installation Grosse Fatigue (2013) mirrors the nonlinear, fragmentary way we absorb and order information from the Internet. It offers a kaleidoscopic narrative of the universe’s creation through a montage of photography, illustration, music, spoken-word poetry, film, and computer-screen pop-ups. Ryan Trecartin exploits the visual language of reality television in his manic video A Family Finds Entertainment (2004) to paint an anarchic, gender-bending portrait of a media-saturated generation. Liberated from social and cinematic conventions, the work embodies a sense of excitement around the possibilities of technology that is also evident in pieces from decades past. One such, Roy Ascott’s La Plissure du Texte (1983), linked other tech-minded artists around the world in a computer version of Exquisite Corpse, the game beloved of the Surrealists in which each player sketches part of a body, then folds the paper and passes it on. The exuberance around new technology was especially palpable in Nam June Paik’s tele-happening Good Morning, Mr. Orwell , which was broadcast on New Year’s Day in 1984 by satellite to New York, Germany, South Korea, and Paris, and was watched by some 25 million people. Featuring artists such as John Cage, Merce Cunningham, Joseph Beuys, and Laurie Anderson, the event, a mash-up of live and pre-recorded material, was a joyous rebuttal of George Orwell’s bleak vision of 1984. Amalia Ulman, Excellences & Perfections (Instagram Update, 18th June 2014) , 2015, C-type print dry mounted on aluminum, mounted on black edge frame, 49¼” x 49¼” x 1⅜”. ©AMALIA ULMAN/COURTESY THE ARTIST AND ARCADIA MISSA, LONDON L ike Paik, Allan Kaprow harbored idealistic notions about connecting the world. His 1969 video Hello connected participants on air in four different locations in a comedic display of confusion and delight as each repeatedly declares “Hello, I see you” when the transmission works. But from 1994, five years after the invention of the World Wide Web, Paik’s Internet Dream , featuring a wall of 52 blaring, discordant television monitors, appears to offer a more equivocal reading of developments in networking and data sharing. More explicit concerns about surveillance and the erosion of privacy could be found in works such as Rafael Lozano-Hemmer’s 1992 on- screen eye, which tracked the visitor’s movements around the gallery, and Addie Wagenknecht’s chandelier sculpture Asymmetric Love (2013), composed of CCTV cameras and DSL cables. The title of the latter suggests we have entered into a Faustian pact with the state by allowing ourselves to be watched constantly in exchange for the nebulous promise of security.“Reality will soon cease to be the standard by which to judge the imperfect image. Instead, the virtual image will become the standard by which to measure the imperfections of reality,” the narrator says presciently in Harun Farocki’s multi-screen installation Parallel I–IV (2012–14). This work deconstructs the ever more convincing virtual-reality environments of video games. Tracing a trajectory from Greek and Egyptian image making to the almost perfect mimesis of current computer technology, Farocki prompts questions about how such “progress” affects our perception of reality. Digital technologies have also created new platforms for political art. In 2001 Mendi + Keith Obadike’s work Blackness for Sale put Keith’s black identity up for auction on eBay with warnings to the purchaser not to use the “blackness” in situations such as court cases or elections. The satirical work exposes the exoticizing of non-white races and cultures by a predominantly white art world, while highlighting the injustices disproportionately suffered by racial minorities. In James Bridle’s 2014 Homo Sacer a female hologram recites passages from international legislation on citizenship rights, underscoring the way governments and corporations increasingly impart vital information via automation and the disempowering effect this has on the individual. Zach Blas, meanwhile, examines the theme of encroaching technological scrutiny in terms of the politics of queer culture. Fag Face Mask (2012), from his “Facial Weaponization Suite,” consists of an amorphous pink mask constructed from the biometric data of various gay men, thwarting identification of any individual’s features through facial- recognition software. Similarly subversive is Trevor Paglen’s minimalist sculpture Autonomy Cube (2014), created with the technologist and activist Jacob Appelbaum. It contains a host for several computers, creating a surveillance blind spot by routing traffic through Tor, a worldwide network of anonymous volunteer-run servers designed to conceal data. Museumgoers could use the hub to disappear off the grid and become complicit in this act of resistance against state and corporate snooping. Addie Wagenknecht, Asymmetric Love , 2013, steel, CCTV cameras, and DSL internet cables, 39″ x 59″. DAVID PAYR/©ADDIE WAGENKNECHT/COURTESY BITFORMS GALLERY, NEW YORK P aglen’s Autonomy Cube was only one of several works in the show that used interactivity to explore the twilight zone between the real and the virtual. Mouchette (1996), for instance, is an avatar of a teenage artist, created by Martine Neddam. The character Mouchette has her own interactive website that has taken on a spontaneous life of its own in the Internet community, with many users unaware that the site is part of an artwork. In the gallery, one could sit at a terminal and roam Mouchette’s gothic universe of blood-spattered images, throbbing music, and mystical symbols—and, disturbingly, offer her advice on ways to commit suicide. Ann Hirsch also broaches the theme of adolescent vulnerability online in her app work Twelve (2013), presented on a tablet. Seated at a young girl’s bedroom desk, the visitor could voyeuristically observe the girl’s participation in a chat room for 12-year-olds where she is preyed upon by an adult man. One of the joys of the show was to be able to compare the current Net art with early interactive pieces, such as Lynn Hershman Leeson’s groundbreaking installation Lorna (1979–84), centered on an agoraphobic female character. Immersed in a space decorated as Lorna’s living room, the visitor used a remote control to determine Lorna’s fate according to a variety of path options. Made with once-cutting-edge LaserDisc technology, the work remains impressive. Another gem was Russian artist Olia Lialina’s My Boyfriend Came Back from the War (1996), one of the founding works of Net art. An ambiguous interactive love story, My Boyfriend is told through a black-and-white browser screen divided into multiple HTML frames, which offer alternative directions for the disjointed narrative. By clicking on these frames, users create their own versions of the tale within the parameters laid down by the artist. Olia Lialina, My Boyfriend Came Back from the War , 1996, screenshot, dimensions variable. ©OLIA LIALINA/COURTESY THE ARTIST N ot all the works in the exhibition were the product of complicated technology; some employed traditional mediums while taking inspiration from the Internet’s vast storehouse of information. Celia Hempton, for instance, presented intimate, expressive portraits in oil of strangers (most of them masturbating or stripping) that she met in a chat room and painted live during the chat. The Egyptian artist Mahmoud Khaled photographed screenshots of a pick-up chat on the gay social network Grindr and developed them in a darkroom. It is as if by capturing these ephemeral online encounters in a traditional medium Khaled and Hempton are trying to give them some material permanence. Elsewhere, the chaos of the information age was visualized by the painter Albert Oehlen in his ink-jet- printed canvas Deathoknocko (2001), which layers geometric shapes and computer graphics with oil-painted smears, drips, and lines. Unlike Oehlen’s abstract canvases, Oliver Laric’s photorealist paintings of found Internet images in his Versions (Missile Variations) , 2010, question notions of authenticity and collective memory. These images created by the online community are variations on an Iranian hoax press photo from 2008 that was digitally altered to show four test missiles being launched. Oliver Laric, Versions (Missile Variations) (detail), 2010, airbrushed paint on aluminum composite board in 10 parts, 9⅞” x 17¾”. ©OLIVER LARIC/COURTESY THE ARTIST AND SEVENTEEN GALLERY, LONDON/PRIVATE COLLECTION, LONDON G iven the breakneck pace of technological evolution, the soft- and hardware tools employed by artists are often outmoded almost as soon as the works are created. (E. A. T. performances, such as Frank Stella and Mimi Kanarek playing tennis with racquets fitted with contact microphones that switched lights on and off on impact with the ball, for example, now seem strangely clunky, though the works were radical for their time.) Some artists have taken this as their focus. Jan Robert Leegte’s 2001 triptych Scrollbar Composition consists of three geometric compositions featuring images of scroll bars from different generations of web browsers. Constant Dullaart created a wall installation, Jennifer in Paradise (2013–), around the very first demo image supplied with early Photoshop software, which was widely manipulated by users and is now extinct online. While some of the early videos in the show felt slow and dated in comparison with the sophistication of today’s digital film, Peter Sedgley’s shimmering paintings of concentric circles infused with kinetic lights and Stan VanDerBeek’s computer animated “Poemfield” films—both from the late ’60s and early ’70s—still dazzled. VanDerBeek created eight “Poemfield” works, two of which were shown in the exhibition, using one of the first computer animation languages, called Beflix (from Bell Labs Flicks), designed by Ken Knowlton at Bell Labs. With their vibrant geometric mosaics of flashing patterns and text accompanied by experimental music, these immersive installations felt startlingly modern, despite employing a long-gone software. Lynn Hershman Leeson, Seduction of a Cyborg , 1994, DVD with sound, still image, 6 minutes, 48 seconds. ©LYNN HERSHMAN LEESON/COLLECTION OF ZKM CENTER FOR ART AND MEDIA, KARLSRUHE S uch works held their own in this exhibition. However, quieter mediums such as paintings, drawing, and sculpture struggled to compete for attention among all the blinking, buzzing, shouting art on display. The mechanically created plotter drawings of veterans such as Vera Molnar and Manfred Mohr, for example, and Ulla Wiggen’s pioneering paintings of the inner workings of early electronic devices, require a different environment to be fully appreciated. Paradoxically, the main weakness of “Electronic Superhighway” was its vast scope; comprising many lengthy video, text, and interactive works, it demanded a big commitment of time and concentration. And, like browsing the web, it forced one to discriminate rapidly, which meant that most visitors missed out on compelling pieces, unless they returned several times. One left the exhibition overwhelmed by the multi-sensory assault. Yet “Electronic Superhighway” was a brave, riveting attempt to chronicle living history. Its strength lay in its ability to offer bridges between past and present as artists adopt and challenge new technologies that are continually being updated. The exhibition provided a snapshot, both exhilarating and alarming, of life in today’s tech fast lane, flagging the milestones passed en route. What was left unanswered was where we go from here. A version of this story originally appeared in the Summer 2016 issue of ARTnews on page 122 under the title “Electronic Superhighway.” 2016-06-10 09:30 Elizabeth Fullerton

67 67 Neon Works by Keith Sonnier Light Up Whitechapel Gallery Related Events Keith Sonnier : Light Works Venues Whitechapel Art Gallery Artists Keith Sonnier Mary Heilmann Bruce Nauman Richard Serra Gallery 2 of London’s Whitechapel Gallery will soon be illuminated by early neon works from American sculptor Keith Sonnier for “Light Works,” an exhibition running from June 10 - September 11. The four works that feature in the exhibition were all produced between 1968 and 1970, when the artist was one of the first (alongside artists like Bruce Nauman ) to explore using neon light tubes in his sculptures. Just as his contemporaries like Richard Serra were experimenting with using everyday or industrial materials in their sculptures, Sonnier was creating works like “Ba-O-Ba VI,” 1970, in which the artist pairs neon strips in four colors with a foam rubber mattress in a work inspired both by Greek geometric formulae and the slang of his Louisiana childhood; the title refers to a phrase meaning “light bath.” In a statement, Sonnier explains his use of neon, saying “neon has always been a material in signage that one lays flat….but I began to lift it from the board, and use it in a much more three-dimensional form….which was not the nature of the material.” “Light Works” is on display in the Whitechapel alongside the work of Sonnier’s contemporary and friend Mary Heilmann , and fittingly the two illuminate each other. As well as settling into similar bright color palates and sharing an interest in the interplay of colors, the two share an interest in experimenting with abstraction. Just as Heilmann was including gestural processes and ceramics, a field much maligned other artist, into her works, Sonnier too was expanding abstract art by using industrial materials and the neon more usually associated with commercial art and kitsch. 2016-06-10 09:21 Samuel Spencer

68 13 Instagram Shots of Martin Creed's New Show As you might expect, Martin Creed 's balloon-filled new show at New York's Park Avenue Armory , which opened June 8, is already blowing up on Instagram. But, unlike the artist's 2015 balloon- filled exhibition at Gavin Brown's Enterprise , " Martin Creed: The Back Door " does not consist of merely a room full of cheerful red balloons. The retrospective exhibition, which has already been hailed at " New York's Grossest Art Show ," covers a much larger swath of the British artist's career, including less savory video works featuring people defecating or vomiting all over the floor of an empty white room. Scatalogical works certainly have a place in the art world, but it will be interesting to see how the social media set reconciles such envelope- pushing, Freudian videos with the more accessible, selfie-ready balloon installation. The exhibition, which is the British artist's biggest to-date in the US, features the Turner Prize-winning Work No. 227: The Lights Going On and Off , an aptly-named work in which the lights in the room switch on and off at regular intervals. (As Creed informed an audience at the New School last year, "I've always liked switching lights on and off. ") In a similar vein, the new work Shutters Opening and Closing (2016) consists of a garage door facing Lexington Avenue opening for brief intervals, revealing the passing traffic outside. As far as photo-op moments go, however, the balloons will be hard to top. In addition to the Park Avenue Armory show, Creed's roving band will be performing at National Sawdust in Brooklyn on June 14, to promote his forthcoming album, "Thoughts Lined Up. " See a few early social media moments of the exhibition below. Follow artnet News on Facebook. 2016-06-10 09:20 Sarah Cascone

69 ADAA Names Five New Members, Including Altman Siegel Gallery and Maccarone The 2015 edition of the ADAA Art Show. COURTESY ADAA The Art Dealers Association of America announced today that it has added five new members: Altman Siegel Gallery (of San Francisco), Baldwin Gallery (Aspen, Colorado), Danziger Gallery (New York, Jonathan Boos (New York), and Maccarone (New York and Los Angeles). These galleries join a group of 180 other ADAA members. To become an ADAA member, galleries need to be nominated by a current member and receive four letters of support. A yearlong application process ensues that then includes interviews and a vote by committee of dealers.“We are thrilled to welcome these five exceptional galleries as members of the ADAA,” Adam Sheffer, the president of the ADAA and a partner and sales director at Cheim & Read, said. “Their diverse specialties across the primary and secondary markets, the wide range of artists they represent, and their important contributions to scholarship make each of them a significant addition to the expertise and best practices that the Association represents.” 2016-06-10 09:00 Alex Greenberger

70 Johnny Depp's Basquiats Go Under the Hammer Christie's London will hold this season's Post-War and Contemporary Art Auction s on June 29 and 30 at King Street, and there are some exciting lots up for sale. A major highlight of the auction will be a capsule selection of nine works by Jean-Michel Basquiat from the collection of actor Johnny Depp , spanning 25 years of the artists career. Depp, who is currently embroiled in allegations of domestic abuse from his estranged wife Amber Heard, is auctioning the paintings ahead of the sure- to-be costly divorce, although Christie's says the sale has been planned since the beginning of this year. "Nothing can replace the warmth and immediacy of Basquiat's poetry, or the absolute questions and truths that he delivered," Depp wrote of his love of the the artists work, as quoted in the auctioneers press release. "The beautiful and disturbing music of his paintings, the cacophony of his silence that attacks our senses, will live far beyond our breath," he added. Another Basquiat painting, an Untitled canvas, was recently snapped up by Yusaku Maezawa for $57.3 million at Christie's New York in May, setting a new record for the artist at auction. Depp's Basquiat, which is titled Pork (1981), has a more modest presale estimate of £2,500,000-3,500,000 ($3,600,000-5,000,000). Christie's major sale of Post-War and Contemporary Art is estimated to to fetch a combined total £90,000,000 ($129,726,000) across all auctions. A number of stunning early works by Pop Art icons Andy Warhol and Roy Lichtenstein are leading the auction. Warhol's Two Dollar Bills (Fronts) [40 Two Dollar Bills in red] (1962) has a presale estimate of £4,000,000- 6,000,000 ( $5,800,000-8,600,000). A work from European titan Gerhard Richter is also a top lot. Richter's 1994, Abstraktes Bild (811-2) will go under the hammer with a presale estimate available only on request, but as the world's most expensive living painter , the price is sure to be steep. This season's auctions are complemented by those up for auction in Christie's 250th anniversary sale " Defining British Art " , including Francis Bacon 's landmark canvas Version No. 2 of Lying Figure with Hypodermic Syringe (1968) and Lucian Freud 's Ib and her husband (1992). “This June promises to be the most exciting presentation of Post-War and Contemporary Art at Christie's in many years," Francis Outred, Christie's chairman and head of Post War and Contemporary Art for Europe, the Middle East, Russia and India, said in a statement. Follow artnet News on Facebook . 2016-06-10 08:24 Naomi Rea

71 71 10 Mind-Blowing Ways to Use Technology at Design Miami/ Basel 2016 Related Events Design Miami Basel 2016 Venues Design Miami/ Basel Artists Joris Laarman Claude Parent Ron Arad The quantum leaps in 3D printing, digital modelling, and new synthetic materials may seem far removed from the rarefied world of antiques and art collecting, more suited to mass production lines of China and the prototypes of Silicon Valley. However, if you believe that, you would be wrong. There will be more proof at Design Miami/ Basel this year. New technologies keep making inroads into the exclusive world of art collecting via high-end design, which continues to be where the most cutting-edge innovation happens – it is the one part of the design market where experimentation is encouraged far before it has demonstrated its viability or cost-effectiveness. In collectible design, one can still play in the realm of concepts and ideas. Particularly at Design at Large, the program of large-scale outdoor installations curated this year by Martina Mondadori, the conceptual framework of nature and structure has invited some hi-tech speculation, from Ron Arad 's Armadillo Tea House, by Revolution Precrafted, to Kengo Kuma's zigzag pavilion. Historical innovation will be celebrated through the utopian work of Claude Parent , who died earlier this year. And extraordinary inventions of 3D printing pioneer Joris Laarman will be showcased with a solo exhibition at Friedman Benda. Click on the slideshow to see the technological wonders presenting in Basel. 2016-06-10 08:02 Jana Perkovic

72 72 Asian Art at Art Basel Unlimited: Cheng Ran's Film at Galerie Urs Meile Related Events Art Basel 2016 Venues Art Basel in Basel Artists Cheng Ran A nine-hour film by emerging Chinese artist Cheng Ran will be shown by Galerie Urs Meile at Art Basel Unlimited, the famed art fair’s platform for ambitious or larger-scale works, which runs alongside the fair on June 16- 19. As previously reported by ARTINFO in March 2016, the film, entitled “In Course of the Miraculous” (2015), tells the story of three real-life expeditions that ended mysteriously: a mountaineer who disappeared on Mount Everest, a trawler crew that went missing with only a third eventually found, and a performance artist who tried to sail a small boat across the Atlantic. To make the film, Cheng filmed each of their stories around the world, inventing his own solutions to the mysteries. As the nine-hour film is longer than the fair’s public opening hours of 11am- 7pm , the film will be stopped at the end of each day, and then continued from that point the next day. This will mean that “ every day at a certain hour another part of the film can be seen,” according to a statement from Galerie Urs Meile, the Lucerne- and Beijing-based gallery and long-standing champion of Chinese art that represents Cheng. The film will presumably be shown in full on Tuesday, June 14, Art Basel's invitation-only opening day which runs from 11am to 8pm. Cheng told ARTINFO that he “ hope[d] to take a certain period of time during the day, from dawn to dusk, to make a film about time and loss.” 2016-06-10 07:54 Samuel Spencer

73 Nahmad Projects Launches in London With 30 Performances Over 30 Days Related Events I am NOT Tino Sehgal Venues Nahmad Projects Artists Tino Sehgal Adeline de Monseignat Steve Maher To launch the new Mayfair gallery Nahmad Projects, 30 performance art works will be executed in the space over 30 days, from June 9 to July 20. This exhibition, entitled “I am NOT Tino Sehgal ,” sees the artists and artist groups presenting works inspired by the encounter-based performances of Tino Sehgal , whose last major exhibition in London — at the Tate Modern's Turbine Hall in 2012 — was nominated for a Turner Prize. Sehgal, as the exhibition title cleverly suggests, is unaffiliated with the show. Highlights include Anna Fafaliou’s “Sleep,” in which the Greek artist “choreographs visitors to sleep in the space”; “Coined Situation” by the Italian/French VOO Collective, wherein they will convert the £1000 commission into pennies, encouraging visitors to play games with them for money ; and “Unplugged: Bands Without Sound,” during which British artist Jenna Finch “ invites a band to perform live music without instruments.” The other works are by artists, all aged between 20 and 35, from across the world. This lineup of young, international artists will likely set the tone for future exhibitions at Nahmad Projects, with gallerists Joseph Nahmad, brother of art dealer Helly Nahmad, and Tommaso Calabro, previously Project Coordinator at Sotheby’s in Milan and London — both themselves under 30 — aiming to “bring a radical edge to Mayfair’s contemporary art scene.” A ccording to their mission statement, they hope to do this by “investigating and challenging the boundaries of contemporary art practice.” The full lineup of artists performing at the gallery’s inaugural exhibition, conceptualized by Francesco Bonami, is as follows: Tomàs Diafas Danilo Correale James Rollo Adeline de Monseignat Rose Cleary Romain Gandolphe Eloise Lawson The Common Ground Jenna Finch Rishin Singh Emma McCormick-Goodhart Steve Maher Mischa Badasyan Riccardo Buscarini Dan Allon Anna Fafaliou Guildor (Guido Tarricone) Allyson Packer Minryung Lee Susanne Kass Riccardo Matlakas Tuuli Malla Damiano Fina Rafal Zajko VOO Collective Mirabella Ozerova Roberto Fassone Agata Cieslak Ioanna & Spyros Beth Fox 2016-06-10 07:20 Samuel Spencer

74 Songlines Beautifully 'Paints' Indigenous Stories on the Sydney Opera House Related Venues Sydney Opera House Vivid Sydney In just eight years, Vivid Sydney has become the world’s largest festival of lights, bringing together 90 light installations and projections this year that bath the Australian city in neon color for 23 nights. The works range from whimsical verging on gimmicky to high tech, but amongst them, the Songlines projection on the ‘sails’ of the iconic Sydney Opera House is a firm highlight, offering viewers a looped 15-minute visual feast. The spectacular animation, curated by Rhoda Roberts, head of indigenous programing at the Opera House, showcases work from six artists: Djon Mundine OAM, Reko Rennie, Karla Dickens, Donny Woolagoodja, Gabriella Possum Nungurrayi, and the late Gulumbu Yunipingu. The animation speaks to the spirituality and culture of Australia's First Peoples, illustrating the connection between indigenous astronomy and the natural world through celestial and terrestrial songlines (dreaming tracks) that helped indigenous people map their land and served as oral and visual archives about their history. Creative director Ignatius Jones describes the multi-media creation as a “wonderful combination of low tech and high tech” — i.e. the original artworks and their digital transformation by creative studio Artists in Motion, whose designers and 3D animators wove the distinctively different songlines of each artist into a seamless narrative, reconfiguring the artworks for the curved exterior surfaces of the Opera House, while also creating animations within the artworks, such as giving life to Woolagoodja's animals. “Surprisingly, they’re still using old fashioned ‘tricks’ like shading and highlights to keep the shape of the opera house. If they were just projecting the work, the ‘sails’ would just disappear because they were not mapped,” Jones remarks. Click on the slideshow to see some of the works. Jones says the decision to project indigenous art on Australia’s most iconic building is significant as it is “a way of saying that aboriginal art is at the heart of Australian art and culture.” It is also timely as the festival opened on the 49th anniversary of an historic referendum when Australia voted to give the Commonwealth the power to make laws relating to Indigenous Australians. Next year, there could also be a national referendum to recognize Aboriginal people in the Australian constitution. Amongst some of the other interesting light installations are “The Matter of Painting” — a collaboration between Western Sydney artist Huseyin Sami and the Parisian artistic collective Danny Rose — that transforms the facade of the Museum of Contemporary Art (MCA) into a huge canvas in turn dripping with paint; the “Drone 100” performance , a seven-minute aerial light show created by 100 drones over the Sydney harbor; and the Cathedral Of Light by Richard Neville in the Botanic Garden, where a 70- meter long, 8-meter high arched tunnel is made up of tens of thousands of LEDs, some shaped like little flowers. Vivid Sydney is running through June 18 and also features 195 Vivid Music events and more than 500 speakers appearing at Vivid Idea talks and forums. Click here f or more details 2016-06-10 06:47 Sonia Kolesnikov

75 The Players Club, A Hidden Gem in New York THE DAILY PIC (#1568): One of the glories of New York is all its undiscovered treasures and corners. The other day, I got a special chance to peak into one of them: The Players , a venerable private club for theater people launched in 1888 in the gorgeous Gramercy Park mansion of its founder, the great thespian Edwin Booth. The bedroom where Booth died in 1893, shown in today's Pic, is still in the state it was in when he passed (his "last slippers" are shown below) and seeing it reminded me of one of the vital functions of all art – to take you to a time and place in the past that you didn't get the chance to witness first hand. I guess that's why I'm such a fan of the period rooms that used to be de rigeur in museums but have long since passed out of fashion. (A few older institutions, like the Met in New York and the Philadelphia Museum of Art, keep a few of theirs in fine shape.) The Players feels like a whole suite of Victorian period rooms, still fulfilling their original functions. Oh readers, lest you think I am tempting you with a vision of a place that you, in your unjournalistic humbletude, cannot visit, know that the Players will happily organize tours with just a bit of advance notice. Or if you have some Twitterly skills, you might even be able to get in this coming Sunday to watch a live broadcast of the Tony Awards, no less, with a crowd of esteemed theatrical pros who have been specially invited to attend. All you have to do to join them is head to Facebook, Twitter or Instagram and post a 140- character “acceptance speech" for the Tonys, as a single rhyming couplet. Tag your couplet @ThePlayersNYC (@ThePlayersNY for Instagram), attach the hashtag #TonyCouplet, and, if your "speech" is clever enough, you could be chosen as one of 20 lucky civilians to grace the Players' hallowed halls. (Photo by Lucy Hogg) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-06-10 06:00 Blake Gopnik

76 De Appel Faces Complete Funding Cut The troubles at De Appel show no sign of abating. The Amsterdam art institution is now under the threat of having its government funding cut completely, which would leave the landmark institution facing either dramatic changes or, potentially, a complete shutdown. Last week, De Appel sent out a statement and a petition asking that the public to voice their support. “We are shocked," the statement opened. “Recently, the Council for Culture published its advice to the Ministry of Education, Culture and Science concerning the so-called basic infrastructure of the Netherlands. The Council advises to completely cut the national funding for de Appel for the next policy period. That would mean the end of De Appel in its current form. Perhaps even the end of the institution altogether. " This latest setback was preceded by a series of controversial events that started with the appointment of renowned curator Lorenzo Benedetti as director of the institution in 2014. Beloved in the art world and considered an “artists' curator," Benedetti, according to many, began to put De Appel firmly on the map. Benedetti was welcomed with open arms by all at De Appel, but the relationship appears to have soured, and 15 months after his appointment he was abruptly dismissed . Members of the international art world were outraged, and 76 renowned artists, including Ahmet Öğüt, Falke Pisano, and Francesco Pedraglio, published an open letter online supporting Benedetti. De Appel also functions as an educational facility, running highly prestigious courses for professionals in the art world. Weeks after Benedetti's dismissal, the entire team of tutors at the De Appel's Curatorial Program , including Charles Esche, Elena Filipovic, and Chus Martinez wrote a letter — shared in its entirety with artnet News —asking for the resignation of the board, stating that they were withdrawing from the course until the board complied. A court then ruled , in what appeared to be a formality, that Benedetti's contract should be dissolved based on the fact that he could not deliver strategically and that the two parties had interpreted the role of director differently and that the two parties had interpreted the role of director differently. Previously, it has also been stated that his dismissal had been due to absence from work and communication style. Three weeks ago, in late May, the entire board of De Appel resigned , releasing a brief statement which read in part: “The decision was made in part due to the developments surrounding the dismissal of director Benedetti. " In effect this series of events has left De Appel with no director, no board, and potentially no funding, which begs the question: what went down behind closed doors that could lead to the utter implosion of one of Europe's most respected art institutions? Follow artnet News on Facebook. 2016-06-10 05:42 Amah-Rose

77 77 'Schiff Ahoy': Minimalist Masterpieces at Brandhorst Munich Related Venues Museum Brandhorst Artists Andy Warhol Sigmar Polke Louise Lawler Lawrence Weiner Joseph Beuys Ed Ruscha Carl Andre Richard Tuttle Kerstin Brätsch Seth Price Munich’s Museum Brandhorst has delved into its archives for “Schiff Ahoy,” an exhibition of the best minimal, post-minimal, Arte Povera, and conceptual art in its collection, which will run until April 23, 2017. Although the exhibition was designed as “a counterpoint” to the two Pop- focused shows — “Dark Pop” and “Yes! Yes! Yes! Warholmania in Munich” — held at the museum in 2015, a number of artists featured in those previous exhibitions reappear in “Schiff Ahoy.” Most notably, these include Andy Warhol , whose “Oxidation Paintings,” 1977-8, in which he or others would urinate onto copper plates in order to create abstract works, is seen by many as a satirical comment on the work of the Abstract Expressionists. Other returning artists include Sigmar Polke and Louise Lawler. Among nearly 150 works in “Schiff Ahoy: Contemporary Art from the Brandhorst Collection,” many other major art names are represented. Principal among these is Lawrence Weiner : the exhibition takes its title from his “Schiff Ahoy - Tied to Apron Strings,” 1989, a collage series based on a book detailing the daily life of a German captain. Also featuring are a copper and felt box by Joseph Beuys , a painting by Ed Ruscha , and works by Carl Andre and Richard Tuttle. However, “Schiff Ahoy” looks as much at the present as it does to the past, with “a special focus [...] on recent acquisitions of the past two years,” marking “the expansion of the museum’s collection to include current artistic production.” These acquisitions include works by Kerstin Brätsch and Seth Price , both of whom are set to have solo exhibitions at the museum in the near future. 2016-06-10 05:11 Samuel Spencer

78 Mary Heilmann on 1970s New York and Her New Whitechapel Show Related Events Mary Heilmann : Works Venues Whitechapel Art Gallery Lisson Gallery Hauser & Wirth Artists Mary Heilmann David Hockney Richard Serra Donald Judd Robert Mapplethorpe Robert Morris Eva Hesse Stanley Whitney Cory Arcangel In her first major UK show in over two decades, American artist Mary Heilmann presents a survey of her work since the 1960s at London’s Whitechapel Gallery. At the opening, we spoke to Mary Heilmann about life as an artist in the 1970s — when she was taught by David Hockney , and counted Richard Serra , Robert Mapplethorpe , and Donald Judd as friends — as well as the rest of her long, influential career. We were also joined by Lydia Yee, chief curator of Whitechapel and curator of this latest exhibition. Excerpts: Since I’m in London, I’m thinking about how much I listened to the Rolling Stones when they started to get going, and the Beatles were big for me when I was in school. And then I was there in New York when the Beatles came, so that really got me into them. 2016-06-10 04:28 Samuel Spencer

79 Masterpieces Damaged at Musée Girodet Last week's floods in France, which caused the emergency closure of both the Musée Louvre and Musée d'Orsay in Paris, have also deeply affected the Musée Girodet in the city of Montargis. The dangerously high water levels of the Seine have been wreaking havoc on museums across the country. On Monday, Prime Minister Manuel Valls announced the arrangement of an emergency fund of several million euros for the casualties of the inundations. But, while back in Paris museums are slowly but surely re-opening their doors, the Girodet museum in the Loiret region has been left with hundreds of water-damaged artworks, reports Telerama . The Musée Girodet holds neo-classical paintings by its founder and namesake Anne-Louis Girodet de Roussy-Trioson, as well as a number of other works by notable French, Italian, and Flemish Old Masters. Although the museum itself has been closed for renovations for the past four years, its off-site store, a vault in the basement of a former bank, was affected by the deluge and flooded to the ceiling. The onset of the flood was so rapid that the museum's team had to evacuate after only being able to secure one part of the collections. By chance, some of the more valuable works were saved, notably some of Girodet-Triosin's major works, such as the Portrait de profil du docteur Trioson, celui de Madame Reiset, and Le Sommeil D'Endymion. But others works did not fare as well. Along with plaster sculptures by Henry de Triqueti, works by Théodore Géricault, Jean-Jacques Feuchère, and even a precious painting from circa 1650 by Spanish master Francisco Zurbarán were badly damaged. The next steps for the museum will be to take an inventory of the destruction caused by the flood, and put safeguarding measures in place before they can start restoring the spoiled works. The renovation will be costly for the museum. The Société des Amis du Musée Girodet has launched a crowd-funder to help cover costs of the conservation and then the restoration of works damaged by the floods, but even if their target of €30,000 ($33,000) is met, it will only cover a fraction of the expected expense. The museum, which was previously set to reopen next year, will have to postpone its reopening. Follow artnet News on Facebook. 2016-06-10 04:00 Naomi Rea

80 creatives continue to beautify india's cabs for the taxi fabric project creatives continue to beautify india's cabs for the taxi fabric project creatives continue to beautify india’s cabs for the taxi fabric project (above) image by sanket avlani and siddharth samant almost one year ago, designboom featured the first iterations of the taxi fabric project — a platform for young, india-based artists to beautify public taxi cabs. the ongoing activity has since seen creatives from across the country participate by canvassing the interior of rickshaws and cars with vibrant painted murals, illustrations and typographic compositions. taxis are one of the most convenient forms of transport in india, and have subsequently become an important aspect of daily life. while drivers take great pride in making their service stand out from their many competitors, little attention is paid towards the cars’ aesthetic appearance. ‘design — as a job or studied at school — is unfortunately not widely recognized in india’ the taxi fabric team explain. ‘older generations don’t understand it. design to them just performs a function. many people don’t know that design can create a real impact. with so few spaces for young people to show off their skills, it’s hard to change that perception.’ the taxi fabric project seeks to alter this by turning seat covers into canvases, where designers can exhibit their artistic ability and storytelling skill. ‘tasavvur’ by designer nasheet shadani image by sanket avlani and siddharth samant one of the latest compositions realized for the taxi fabric project is ‘tasavvur’ by designer nasheet shadani. shadani draws from a multitude of visual and cultural sources, including the rich history of delhi, mughal heritage, bollywood, and impressionism. ‘I went back to my old sketchbook and reminded myself of the style that came naturally to me those days — the one inspired by post-impressionism with fauvist’s color scheme.’ he says, ‘since college days my sketching had a strong influence of van gogh.’ the vibrantly-hued composition sees the interior of the rickshaw lined in colorfully painted fabric, depicting an abstract starry sky surrounding humayun’s tomb. ‘tasavvur’ — meaning ‘imagination’ in urdu — blends colors, strokes and textures to create a vivid landscape that encompasses the spirit of old delhi. the artist draws from a multitude of visual and cultural sources image by sanket avlani and siddharth samant the rich history of delhi, mughal heritage, bollywood, and impressionism informs the work image by sanket avlani and siddharth samant the interior of the rickshaw lined in colorfully painted fabric image by sanket avlani and siddharth samant detail of ‘tasavvur’ image by sanket avlani and siddharth samant for ‘the good, the bad and the beautiful’, designer namrata vijay gosavi pays homage to indian television with a series of illustrated characters printed on the taxi fabric. ‘I was born and brought up in this city and I travel by taxi daily,‘ gosavi says. ‘I have been seeing this iconic vehicle since my childhood, and to design something iconic, bollywood was the apt theme for this. bollywood is very thematic in its own way. it has a particular format of ‘hero’, ‘heroine’ and ‘villain’. I decided to create this design by featuring iconic characters from hindi films. the design was named ‘the good, the bad and the beautiful’ as it carries iconic heroes, villains and heroines.’ ‘the good, the bad and the beautiful’ by designer namrata vijay gosavi the composition pays homage to indian television with a series of illustrated characters designers kanika parab and neka kamath collaborated on twin taxi designs that chronicle a ‘just missed love story’ in mumbai. the tale tells of a girl and boy seated in different cabs that fall in love while stealing side glances at a signal. the story has been written by kanika parab, and painstakingly hand lettered in english by neha kamat, and in devanagari by sushant kadam. the twin taxi designs each relay a narrative on the roof a typographic composition has been completed on the roof of the cab the designers have created a love story within the taxi words like ‘almost’ and phrases like ‘you & me’ are added to the seats visitors can read the story above their heads while in the taxi 2016-06-10 02:15 Nina Azzarello

Total 80 articles. Created at 2016-06-11 00:21