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29 articles, 2016-08-11 18:00 1 Anya Hindmarch Set to Open First Store in Saudi Arabia Designer will open her first store in Riyadh later this week. (0.01/1) 2016-08-11 04:01 2KB wwd.com 2 venice architecture biennale venice architecture biennale 2016: a set of installations, presented on the ground floor of venice’s ca’ tron, form part of BJDW’s ‘across chinese cities – china house vision’ exhibition. 2016-08-11 13:25 9KB www.designboom.com 3 tokyobike + edition hotel bicycle for london's streets tokyobike edition hotel bicycle was conceived as a luxury version of their bestselling 'sports' model, selecting components in brushed brass. 2016-08-11 13:02 2KB www.designboom.com 4 snøhetta's MAX IV landscape design opens in sweden after 5 years, snohetta has developed the distinctively uneven topography to prevent vibrations interfering with the scientific experiments inside. 2016-08-11 11:59 4KB www.designboom.com 5 anders berensson architects construct a charming apple headquarter treehouse in sweden anders berensson architects have designed an 'apple headquarter' treehouse for an exclusive client in limham, sweden. 2016-08-11 11:30 1KB www.designboom.com 6 porsche 911 targa 4s exclusive design edition porsche 911 targa 4s exclusive design edition will be at the nürburgring to make its introduction to auto enthusiasts. 2016-08-11 11:00 3KB www.designboom.com 7 LENK architecturally pixelates school in denmark BORGMAN | LENK has recently completed a permanent installation at lillebælt academy in odense, denmark. 2016-08-11 10:32 1KB www.designboom.com 8 Walpole Adds Five New Categories to 2016 Luxury Awards Walpole has added five new categories for its 15th edition of its British Luxury Awards to be held at London’s Dorchester hotel on Nov. 14. 2016-08-11 10:00 2KB wwd.com

9 Morning Links: Normal Rockwell Family Petition Edition Must-read stories from around the art world 2016-08-11 08:53 1KB www.artnews.com 10 p11 arquitectos designs EZ4 housing in yucatan, mexico located in yucatan, the four housing units by p11 arquitectos are all interconnected spatially. 2016-08-11 08:45 2KB www.designboom.com 11 Authorities Reshape Bologna’s Museum System Putting Jobs on the Line Government of Bologna rethinks the city's museum system and the administration of the Istituzione Bologna Musei is threatened with defunding. 2016-08-11 08:05 3KB news.artnet.com 12 Princess Eugenie Spills the Beans on Her Job at Hauser & Wirth In a revealing interview given to Harper's Bazaar, Princess Eugenie talks about her love of art, working at Hauser & Wirth. 2016-08-11 06:50 3KB news.artnet.com 13 Paul Outerbridge in his 1920s Dada Moment: It Shaped the Commercial Work that Came Later Read THE DAILY PIC on Paul Outerbridge's early avant-garde self- portrait: The radicalism only goes underground in later commercial work. 2016-08-11 06:00 1KB news.artnet.com 14 Funky Guns and Sexy Grenades? Frankfurt Show Explores War Aesthetics in Design A new exhibition at Frankfurt’s Museum of Applied Arts – MAK investigates how deeply engrained contemporary (Western) culture is with the aesthetics of war and military symbols, from fashion to industrial design and visual media. 2016-08-11 05:26 3KB www.blouinartinfo.com 15 Garage MCA’s Innovative Inclusive Art Exhibition in Moscow “Co–thinkers” at the Garage Museum of Contemporary Art in Moscow until September 9 is the first in a series of projects that aims to expand on “the notion of inclusion in an art institution.” 2016-08-11 04:55 2KB www.blouinartinfo.com

16 Blazing Exhibition Commemorates the 350th Anniversary of the Great Fire of London Did you know that in 1666 London burned to the ground? 2016-08-11 04:30 2KB news.artnet.com 17 triumph down and out t100 is both burly and bonnie triumph down and out t100's burliness comes courtesy of a set of engine bars, with the low slung pothole visualization device completing the look. 2016-08-11 04:05 2KB www.designboom.com 18 New Bridesmaid Destination, Name of Love, Aims to Fill the Gap Merrill Moskal and Simona Popvassilev have launched Nameoflove.com, which offers 14 bridesmaid dresses and a curated showroom experience. 2016-08-11 04:01 3KB wwd.com 19 200 Artists Come Together for Noise Singapore Festival 2016 Noise Singapore Festival, a platform championing young Singaporean talents, is about to kickstart their 11th edition from August 13 through September 30. 2016-08-11 03:39 2KB www.blouinartinfo.com 20 The 10 Most Hated Public Sculptures We've put together a list of 10 examples of public sculpture that people truly hated. Click and see for yourself. 2016-08-11 03:30 7KB news.artnet.com 21 VIDEO: Francesco Clemente’s ‘Encampment’ at Carriageworks “Encampment” at the Carriageworks multi-arts precinct in Sydney is the first major exhibition in Australia of Italian artist Francesco Clemente. 2016-08-11 03:05 2KB www.blouinartinfo.com 22 Art Demystified: What Is The Role of Art Advisors? As the contemporary market has grown, more and more collectors are chasing a finite number of works. Here's where art advisors come in. 2016-08-11 03:00 3KB news.artnet.com 23 Review: In ‘Sausage Party,’ Metaphysical Queries and Orgies in Aisle 5 In this free-spirited romp through the supermarket, potty-mouthed foodstuffs give voice to matters both humorous and spiritual. 2016-08-11 00:00 7KB www.nytimes.com

24 Review: ‘Breakfast at Tiffany’s,’ ‘The Plough and the Stars’ and ‘The Game’s Afoot’ A revival, an Irish classic and an interactive whodunit on London stages. 2016-08-11 00:00 7KB www.nytimes.com 25 In Praise of Repertory Theater: Macbeth at the Matinee, Miller at Night The Oregon Shakespeare Festival and the Stratford and Shaw Festivals bring rewards to actors and audiences by showcasing a wide variety of shows. 2016-08-11 00:00 12KB www.nytimes.com 26 What’s on TV Thursday: Simone Biles in Rio and ‘Triumph’s Summer Election Special 2016’ Biles goes for the all-around gold in women’s gymnastics at the Rio Olympics. And Triumph the Insult Comic Dog returns to the presidential campaign trail. 2016-08-11 00:00 3KB www.nytimes.com 27 Decoding Political Imagery: “Winning the White House: From Press Prints to Selfies” at Southampton Arts Center “Winning the White House: From Press Prints to Selfies” at Southampton Arts Center 2016-08-10 22:20 4KB www.blouinartinfo.com 28 Volcano Extravaganza 2016 Fiorucci Art Trust / Stromboli From Homer to James Joyce, the peripatetic journey of Ulysses underlied “I Will Go Where I Don’t Belong,” the sixth edition of Volcano Extravaganza, led by French artist Camille Henrot... 2016-08-10 19:06 8KB www.flashartonline.com 29 Explosive Artist Wins Space Agency Residency Using everything from black powder to explosive fuses, artist Aoife van Linden Tol explores time, density and matter. 2016-08-10 18:05 3KB thecreatorsproject.vice.com Articles

29 articles, 2016-08-11 18:00

1 Anya Hindmarch Set to Open First Store in Saudi Arabia (0.01/1) More Articles By The space, which measures 1,346 square feet, will be the brand’s 46th store. The interiors are inspired by the designer’s “Do Computers Dream When They Sleep?” fall runway show at London Fashion Week in February, and it will launch with the first delivery of that collection. Furniture designed by Martino Gamper sits alongside London-based artwork from Julie Cockburn and Ryan Callanan, whose smiley face sculpture is the store’s signature. Hindmarch and Gamper have collaborated before: After reading Gamper’s book “100 Chairs in 100 Days,” Hindmarch fell for the Italian’s off-kilter aesthetic, and asked him to design pieces for some of her shops. Gamper, a northern Italian designer who is based in London, uses reclaimed materials, such as wood and formica, to create new furniture. “We have a lot in common — a sense of humor, craftsmanship and obsession with design,” said Hindmarch of Gamper earlier this year. Gamper has been making tables, chairs and workstations for Hindmarch’s specialist leather embossers, who work at some of her stores. Hindmarch’s fall collection was luscious and filled with fur and pixelated patterns galore across bags and coats, a category she’s expanding this season. Bags, in leather, crocodile and python, were digitally remastered, covered in repeating square or starburst patterns or Legolike squares, in shapes including a little crab. For the Riyadh store opening, Hindmarch has created a sticker that spells out “Yalla” in pixel-shaped crystals. Yalla is a common term in the Middle East that means, “Let’s go!” The designer, who counts Mayhoola for Investments as one of her backers, opened a concession last year at Tryano, Chalhoub Group’s concept store at Yas Mall in Abu Dhabi. The brand’s next store opening will be in 2017, although the company did not provide further details. Hindmarch will be visiting the new stores next year to mark the openings. Anya Hindmarch currently has 150 wholesale accounts including Barneys, Bergdorf Goodman, Net-a-porter and Colette. 2016-08-11 04:01 Samantha Conti

2 venice architecture biennale venice architecture biennale 2016: a series of installations, presented on the ground floor of venice’s ca’ tron, forms part of BJDW’s ‘across chinese cities – china house vision’ exhibition. the showcase — hosted by chengdu media group and developed by beijing center for the arts (BCA) — presents the work of japanese architect kengo kuma, alongside projects by MVRDV’s winy maas and food critic au yeung ying chai. the three schemes consider the cultural dimension of food- making, investigating the relationship between public and private realms. these large scale installations include both object-based and multimedia presentations that form the first findings of an ongoing multidisciplinary program. at the exhibition, which runs until september 30, 2016, italian architect and freelance-writer laura sattin spoke with kengo kuma, who discussed his installation in more detail. read the conversation below. as a japanese architect, you have been visiting and practicing in china for a long time, how does this country influence your work? my first project in china was the bamboo house: it was about 15 years ago. it was not an easy project, because many things in china, such as the construction quality and materials, are very different from japan. a big difference is that in japan everybody tries to control everything, but in china people do not want to control everything, to the point that uncontrolled materials are arriving at the construction sites. at the beginning, working on my first project, I was very disappointed to see this kind of ‘no-control’, but time by time again I began to understand it as a kind of generosity, one which is actually at the base of chinese culture. japan is a small country and people live there as you would in a small village, very structured and organised, but china is a combination of very different people, cultures and lifestyles: diversity is at the base of chinese culture. for the installation in venice, I wanted to show this kind of diversity of cultures and its dynamics within one single country. for achieving this purpose, I tried to aggregate many different daily items, to show the cultural strength of daily life in china. the design investigates the relationship between public and private realms image © julien lanoo you are accumulating different traditional objects in order to show the richness of their diversity. I know your projects have been tackling the issue of linking tradition and innovation for a long time. the exhibition brief was about using the kitchen as a symbolic theme for reflecting about the future of the living environment: how do you perceive the presence of tradition in this sense? about tradition, I would like to say that, traditionally, the kitchen is a very exciting space, because we can see it as a collection of food, of tools… and all the kind of things which used to be the protagonists of the kitchen. in the 20th century cleanness became the goal of kitchen design. in the industrial era people liked to create very standard, systematic, monolithic spaces, somehow hiding the exciting aspects of the traditional kitchen. I think this is a real pity for our lives, because living things should always have the central role: during the 20th century, we killed those kinds of lives. with ‘the floating kitchen’ I wanted to show those exciting elements and give the impression of a kitchen which is very different from the 20th century one. the large scale installation includes both object-based and multimedia presentation image © julien lanoo you designed this installation through a very poetic approach, different from the usual way of exhibiting architecture. which way do you think is most effective for exhibiting architecture? what did you want to conceive with this kind of artistic installation, what did you want to express to the public? ‘the floating kitchen’ is a kind of message to the public that can be adapted to, but also overcomes architectural design: it is not a proposal for a new kitchen, it is a proposal for a new approach to design. my message is: in architectural design, the living elements should always be the protagonists. in the 20th century, architects wanted to become the only protagonists, they wanted to control everything and tried to kill every living element in their design: it was a big mistake of 20th century architecture and I want to find a different way of expressing architecture. as in many previous works of yours, you seem to be dissolving architecture into a very light and permeable structure. does this have a connection with your understanding of architectural design in relation to what is nowadays referred to as ‘the noisiness’ of cities? I mean, in your opinion, is the presence of people and objects overcoming the framework of architecture? yes, I want to dissolve the architectural shape and frame. I like to activate people’s and objects’ daily lives. this is a kind of a new trend, but in the future I think architecture will dissolve and the relationships between people and objects will be viewed as architecture. so, you are saying that the architect is going to design possible situations rather than finite structures. this seems to be contrasting with the installation by winy maas, which looks as a rather definite and sharp solution. on the contrary, your installation is open to several interpretations. an aspect that I think might be in common between the two installations is the search for transparency: where you are dealing with transparency in a more conceptual and cultural way, thanks to a permeable and changeable arrangement of objects; he is achieving transparency differently, through the transparent material the kitchen is made of. do you see any similarities between the two installations or do you only see contrasts? winy maas’ ‘infinity kitchen’ is beautiful: I feel like he is trying to control everything in a very transparent way, but still, in his kitchen, the standard frame and setting remain. my kitchen is going towards a different direction, trying to destroy the frame, the structure, just as in my architecture I try to destroy structure and regularity. there is a big difference between his work and my work. I was curious about the topic of the kitchen as a starting point for researching and inspiring new modalities of conviviality and of social and spatial forms in both the private and the public realms. what are your thoughts on the relation between food and space design? the kitchen as a starting point: for you, is food important in design? I think that food is the prime and main thing of our daily lives. people are talking a lot about how to relate to nature and the environment: actually, I think that this happens in the space of the kitchen. the kitchen is the real interface between nature and our lives. therefore, this is the most important space in the house. people misunderstand the living space as the most important, but I do not think so: I think the kitchen is the most important one, because it is where we can define the relationship between nature and humans. especially for chinese people, food is very important: chinese people understand the value of food in life. I respect their kind of lifestyle and with my installation I want to show my respect for this culture. the exhibition is on display in venice until september 30, 2016 image © julien lanoo as a japanese architect working in china, you are trying to express your respect for the long history of china, which is actually at the origin of the japanese culture. so, to conclude, may you say a word about the chinese region of chengdu? on the occasion of this installation, you have been researching and personally collecting objects there: could you tell us what you found was particularly interesting from that region, was there something that impressed you? chengdu is one of my favourite places in china because the nature and the city are very integrated: the river and the mountains are very close to the urban area, so the vegetation is very luxuriant; it makes for a very active interface between nature and humans. lastly, chengdu’s food is still very specific to the region: strong, spicy and tasty. I like this food and I like the landscape of chengdu, with my installation I want to pay an homage to the culture of chengdu. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-08-11 13:25 Laura Sattin

3 tokyobike + edition hotel bicycle for london's streets the london edition hotel has teamed up with independent bicycle company tokyobike to offer custom-built edition bikes, with an exclusive series of ‘london bike maps’ created for the collaboration by experts in the fields of art, fashion, food and design. tokyobike was inspired by its location; in the same way the mountain bike was designed for the mountains, tokyobike was designed for tokyo. now with the ‘edition’ model they have created the perfect ride to explore london. conceived as a luxury version of their bestselling ‘sports’ model in both male and female frames, the bikes have been fitted with natural leather saddles and grips and select components in brushed brass. a slick matte-black frame mirroring the sophisticated interiors of the london edition hotel is finished with a custom made brass head badge featuring the edition ‘O’ logo. matching accessories include a minimalist anodized bell, leather wrapped lock and luxury helmet to complete the package. the summer launch will kick off with the first in the series of bike maps; one for fashion lovers from stylist and contributing fashion editor at vogue, bay garnett, who is responsible for the idea of ‘thrifting’ and has designed a tour of the best vintage shopping london has to offer; featuring secret spots and much-loved local destinations to pick up the best bargains and designer threads. for the art-lover, creative production agency arts co. have curated a route to spot unmissable public art in the local area, from sculptures to murals and LED installations — perfect for a summer day spent enjoying cultural pursuits from two wheels. for the art-lover, creative production agency arts co have curated a route to spot unmissable public art in the local area, from sculptures to murals and led installations – perfect for a summer day spent enjoying cultural pursuits from two wheels. 2016-08-11 13:02 Martin Hislop

4 snøhetta's MAX IV landscape design opens in sweden on the outskirts of lund in sweden, snøhetta’s landscape architecture for the MAX IV laboratory is complete. the vast landscape has been undergoing a transformation since 2011; a project that has been realized to complement the advanced research venue to form the first part of the swedish region’s vast ‘science city’ development. a plan was developed to create slopes and undulations to reduce the amount of vibrations effecting the labs image © mikal schlosser set on 19 hectares of land, the MAX IV buildings were designed by FOJAB architects, whilst the vast green site, defined by the undulating topography and meadow vegetation was created by the norwegian firm. snøhetta based their development of the landscape architecture on four concepts: ground vibrations, mass balance, storm water management, and plant selection and maintenance. this led to the formation of the uneven meadows. on the MAX IV site, the ground vibrations range between 10 to 40m in height, therefore the flatter the landscape, the more likely these vibrations will interfere with the scientific experiments inside. using 3D-modelling, the distributions of numerous mounds has resulted in the bold pattern which manages water run-off and mass balance on site. ‘the step from advanced geometry to fabrication is still one of the largest challenges we face in design today. in MAX IV the process was like having a giant 3D printer producing the project on a 1:1 scale. the high-tech research facility together with the lowtech meadowland creates the iconic image of the waves that protects the research facility from the vibrations.’ – snøhetta ground vibrations — the tolerance for vibrations in the ground is critical for the use of a synchrotron. the dynamics group (researchers and engineers) discovered through testing that the surrounding highway (E22) was causing vibrations that could influence the experiments in the laboratories. consequently, a plan was developed to create slopes and undulations to reduce the amount of ground vibrations MAX IV is a national laboratory operated jointly by the swedish research council and lund university image © mikal schlosser mass balance — a cut and fill strategy was needed to keep the existing masses on site, allowing for the option of potentially reverting the land to agricultural use in future. by uploading the digital 3D-model directly into the GPS-controlled bulldozers, the design team was able to relocate the masses to their final position in one operation. by september 2011, approximately 60% of the mounds were created and no masses were transported off site. the last section of the wave pattern will be finished in 2016. plant selection and maintenance — the facility has a 25-year maintenance contract with the client. the discovery of the nearby natural reserve area at kungsmarken made it possible to use a selection of natural species by harvesting hay and spreading it on the new, hilly landscape. this gives plants up to five growing seasons until the completion of the project in summer 2016. the maintenance strategy includes a combination of grazing sheep and conventional machines suitable for meadowland. the project forms the first part of the region’s vast ‘science city’ development image © snøhetta storm water management — the city planning department restricts the quantity of water permitted to run into lund’s pipe lines. consequently, the earth works needed to collect and store water on site. the advanced research venue forms the first part of the region’s vast ‘science city’ development image © mikal schlosser the layout was established by extracting the nature of vibrations into rational values inserted in a generic model image © cecilia holm the creation of a new, green public park rather than a fenced, introverted research center makes a difference in the public realm image © mikal schlosser the site instills the image of the meadow vegetation on sloping hills as a recreational area image © mikal schlosser 2016-08-11 11:59 Natasha Kwok

5 anders berensson architects construct a charming apple headquarter treehouse in sweden anders berensson architects have designed an ‘apple headquarter’ treehouse for an exclusive client in limham, sweden. the silhouette of the construction uses the rosy fruit shape, to create a charming hideaway, nestled amongst the woodland area of the garden. the small hub provides a place of sanctuary and wonder, inviting children and adults to enjoy the view across the swedish district. the treehouse is nestled amongst the woodland area of the garden anders berensson architects decided to shape the treehouse in the shape of an apple, due to the fact that it would be placed on top of an old dead apple tree. the interior features a bench, a bookcase and a periscope hidden inside a rotating apple twig to spy on the surrounding villa gardens. the structure is built out of two big plywood sheets that have been jigsawed into an interlocking apple shape and then clad with poly-carbonate sheets, creating a transparent and super strong structure. the interior features a periscope hidden inside a rotating apple twig to spy on the surrounding villa gardens designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-08-11 11:30 www.designboom

6 porsche 911 targa 4s exclusive design edition porsche 911 targa 4s exclusive design edition: the german-based automakers exclusive division has further refined its sports cars distinct style by developing the ‘911 targa 4S design edition’. this collector’s item is presented in etna blue (solid) — named after the tallest active volcano in europe, mount etna — the standard color for the classic ‘356B (T5)’ in 1960 and 1961, with numerous features colored in white gold metallic. this unique color combination also continues in the cars interior. there the driver is graced by high-quality, enhanced equipment with many luxurious, hand-finished details. powered by a bi-turbo boxer engine (420 hp​), delivering a usefully high power output with lots of torque. many exterior details, such as the front spoiler, covers for the headlight washer system and ‘targa’ logo on the bar, are painted in the vehicle color, with the black led headlights providing an eye-catching contrast at the front. the ‘targa’ bar, 20-inch ‘RS spyder’ wheels and the decorative porsche side logo glisten in white gold metallic. at the rear, the rear apron, the logo and the model designation are also colored in etna blue, while the rear lid grille and quadruple sports tailpipes are colored black to deliver a dynamic contrast. white gold metallic color of logo and wheels glisten in the sunshine the interior of the exclusive racer features door entry guards that are made from black, anodised stainless steel and bear the name of the model. the first line ‘911 targa 4S’ is illuminated in blue, while the second line ‘exclusive design edition’ is etched into the black steel. luxurious comfort awaits the driver and passenger thanks to a high-quality, graphite-blue leather interior with adaptive sports seats plus and 18-way adjustment. the headrests are embossed with the brand and a ‘911 targa’ silhouette adorns the cover of the storage compartment in the centre console. the lettering ‘porsche exclusive manufaktur’ on the trim of the dashboard highlights the vehicles exclusive origin. the decorative stitching of the seat leather, air nozzle slats and floor mat trim are all presented in provence blue. the comprehensive refinement also includes leather trim on the seat backrests, steering column casing, parts of the dashboard and air nozzles. following their assembly, all vehicles are hand-finished on the porsche exclusive production lines in zuffenhausen. for 30 years, it has strived to deliver individuality straight from the factory and boasts a long-standing tradition in the creation of limited vehicle projects. from 12 august to 14 august, the AVD oldtimer grand prix will attract many auto fans to the nürburgring. the design edition of the ‘911 targa 4S’ will be there to make its introduction to auto enthusiasts.. 2016-08-11 11:00 Martin Hislop

7 LENK architecturally pixelates school in denmark BORGMAN | LENK has recently completed a permanent installation at lillebælt academy in odense, denmark. the six interventions that make up ‘moss’ are assembled from square tiles, and can be found at different locations throughout the building. placed on architectural beams, staircases, and window frames, a stacked sequence of white cubes grows out from the lillebælt academy building. BORGMAN | LENK — the collaborative studio of artists anna borgman and candy lenk — has placed the tiles in an organic order that are seemingly an extension of the interior itself. individual and unexpected shapes result from how these ‘pixels’ meet the borders of the architectural space, forming blurred interpretations of the building, its functions, and its form. 2016-08-11 10:32 Nina Azzarello

8 Walpole Adds Five New Categories to 2016 Luxury Awards The industry event highlights British luxury brands’ craftsmanship, design and innovation. Nominations are open and will close on Sept. 2. The new categories include champion of British luxury manufacturing, digital innovation in British luxury, emerging British luxury talents, the Walpole 2016 leader in luxury and champion of British luxury overseas. The judging panel includes industry names such as Michael Ward, Conrad Bird, Joan Burstein, Richard Carter, Gillian de Bono, Michelle Emmerson, Peter Ting, Lucia van der Post and Marcus Wareing. “This year we have developed new categories to recognize the pioneering work of British brands to increase education and employment for skilled luxury craftspeople within the U. K.,” said Walpole chief executive Michelle Emmerson. “The British luxury industry is going from strength to strength and we want to acknowledge the manufacturers and the craftspeople at the heart of our industry who are paramount to its continuing success.” Last year, Victoria Beckham scooped the British luxury brand of the year. Other winners included Charlotte Olympia Dellal for best luxury brand ambassador, Emilia Wickstead for best emerging British brand and Valentino for best international brand. Walpole is a not-for-profit organization that aims to protect and promote British luxury brands at home and abroad with members including Burberry , Alexander McQueen, Rolls-Royce Motor Cars, Harrods and Jimmy Choo . 2016-08-11 10:00 Lorelei Marfil

9 Morning Links: Normal Rockwell Family Petition Edition Norman Rockwell, The Problem We All Live With , 1963. NORMAN ROCKWELL MUSEUM COLLECTIONS Museums The Norman Rockwell Museum in Stockbridge, Massachuesttes, has been urged courtesy of an online petition created by members of the eponymous artist’s family to stop promoting and selling Deborah Solomon’s controversial new Rockwell biography. Museum officials have refused. [ Boston Globe ] The Walker Art Center in Minneapolis has hired renowned local chef Doug Flicker to help launch a new restaurant within the museum. [ Eater ] A guide to war-related sites in Berlin that prominently feature art. [ USA Today ] Brazil The Fabrica Bhering building in Rio is a former chocolate factory turned home to a host of local artists. [ CNN ] Reviews A. O. Scott on An Art That Nature Makes , a new film about Rosamond Purcell: “She uses her camera to accomplish a more radical species of time travel.” [ NY Times ] Extras In “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin argued that authentic artworks have a certain indefinable “aura” that makes them great. So what would Benjamin have to say about digitally reproduced art? [ Slate ] From Koons to Creed: The appeal of using balloons in art. [ The Guardian ] Concept art from everyone’s favorite new Netflix show “Stranger Things.” [ Kotaku ] 2016-08-11 08:53 The Editors

10 p11 arquitectos designs EZ4 housing in yucatan, mexico P11 arquitectos uses intersecting elements on façade of mexican housing complex ‘EZ4′ is a multifamily architectural housing project designed by P11 arquitectos, located north of the city of merida, yucatan in mexico. occupying a site measuring at 16 meters wide by 39 meters, the scheme has four separate living units, which are all interconnected spatially in a complex. the project is a linear scheme interpreted in a body disposed along the ground, of which emerges four solid volumes that delimit and clearly mark each of the four housing modules within the set. P11 arquitectos‘ response emits the feeling of floating due to the combination of different materials, which in turn is highlighted by a series of vertical elements working as containers blocks responsible for accommodating the housing services. these are strategically located west to create a thermal barrier and brings privacy to the living areas. the social area internally opens fully to a small garden, giving spaciousness, light and amplitude to the space, which is marked by a wall made of stone masonry in the region. taking influence from the planning of housing in the area, an element that is taken into consideration was having the divider wall between the exterior and interior stone (native to the region), to create a warm and comfortable interior environment. the complex is located north of the city of merida in the state of yucatan the façade of the whole complex is orientated towards the west. a large white volume forms the overhang to the entrance and is intersected with an overlying metallic element- breaking up the monotony and marking the vehicular and pedestrian access. the play of heights within the volumes has resulted in a distinctive façade which contrasts between light and shadow, solids and voids, and is arranged to give character and unity to the whole project. the intersecting nature of the façade is marked by concrete and stucco the social area internally opens fully to a small garden, giving spaciousness, light and amplitude to the space a wall made of stone masonry from the region is also combined into the exterior 2016-08-11 08:45 Natasha Kwok

11 Authorities Reshape Bologna’s Museum System Putting Jobs on the Line According to a statement released by the government of Bologna on August 3, administrative positions at the Istituzione Bologna Musei at put in jeopardy as the institute faces de-funding upon the government decisions to reshape Bologna’s museum system—particularly current director of Istituzione Bologna Musei, Laura Carlini Fanfogna, whose contract is nearing its end with an expiration date of September 30, 2016. The statement released by the Government reads: “The administration will not proceed to cover the position of director of the Institute of Bologna Museums, currently covered under a management contract with a predetermined time frame. A reflection on the integrated museum system will be launched and shared with the next appointed board of directors, after which the future organizational structure and leadership requirements will be designated.” The Istituzione Bologna Musei (Institute of Bologna Museums) is made up of a number of museums around the city of Bologna, which serves to tell the story of the metropolis through its collections of art, music, history, and archaeology—from the when the city was founded up to the innovation of contemporary society, as noted on the institution’s website . Related: At Arte Fiera Bologna, Post-War Italian Art Leads the Sales In addition to the risk posed to Carlini Fanfogna, the decision poses ulterior threats to Lorenzo Sassoli de’ Bianchi’s position as “historical president” of both the institute and of MAMbo—Museo d’Arte Moderna di Bologna, which is one of the museums that comes under the umbrella of the Istituzione Bologna Musei, according to, Il Giornale dell’Arte . Related: Italian Street Artist Blu Destroys 20 Years of His Own Work to Protest Upcoming Exhibition Carlini Fanfogna, who prior to her 2015 election as director of Istituzione Bologna Musei was the director of the Institute for Cultural Assess of Emilia Romagna, publicly expressed her surprise at the decision. “For me, it came like thunder out of clear skies, I don’t know anything about the municipality’s project,” she told Il Giornale dell’Arte. Related: Turin’s Art Fair Artissima is Looking for a New Director However, Sassoli de’ Bianchi, whose position is also at risk, showed understanding at the decision, stating to Il Giornale dell’Arte : “The procedure seems correct to me, we are currently in charge of routine administration.” The role of director of MAMbo has also fallen to Carlini Fanfogna, as the position has remained vacant since the departure of her predecessor, Gianfranco Maraniello, over a year ago. 2016-08-11 08:05 Carol Civre

12 Princess Eugenie Spills the Beans on Her Job at Hauser & Wirth Princess Eugenie has become known as a royal who has trodden her own path. She chose to attend Newcastle over a more traditional university, and has taken several jobs in the art world, including working at Paddle 8 and, currently, at super-gallery Hauser & Wirth , where she is associate director. Now, the Princess has given a rare interview to Harper’s Bazaar , shedding light on her daily life working at the London branch of the blue chip gallery. Princess Eugenie starts the day going to the gym, getting ready for the day ahead. She then arrives to Hauser & Wirth in Mayfair, where she deals with the artists the gallery represents, including Pipilotti Rist and estates of Mike Kelly and Philip Guston. Related: Princess Eugenie Leaves Paddle8 to Become Associate Director at Hauser & Wirth “I’ve loved art since I was very little,” Princess Eugenie told Harper’s Bazaar . “I knew I definitely wouldn’t be a painter [laughs], but I knew this was the industry for me. I love being able to share my passion for art with people. If someone doesn’t understand something, you have the ability to suggest, ‘Maybe you can look at it this way.’ That’s what I find most thrilling about working in a gallery. A seminal moment for me, at age 16, was when I saw a Jean-Michel Basquiat show in New York. Basquiat is my hero. I did a study on him at school, and learned to paint like him. I’d never done anything like that! But art is all around us—sculpture, architecture, fashion…” At around 11 am, she catches up on the arts news, and mentions artnet News as a daily source (of course!), as well the New York Times arts section, Contemporary Art Daily , and the Financial Times before checking out what’s happening on social media. “I don’t get newspapers delivered; I read news online,” explained the Princess. “I also follow some incredible Instagram accounts, like other galleries’, Christie’s, Sotheby’s, also Klaus Biesenbach from MoMA PS1. He recently posted artist Katharina Grosse , who spray-painted a house in the Rockaways [New York] that was ruined during [Hurricane] Sandy. It’s an amazing artwork.” Related: Prince William and Kate Party at the Met Princess Eugenie discussed how at Hauser & Wirth they are currently planning some of their next big projects, such as the participation in 2017 Venice Biennale of two of their represented artists: Phyllida Barlow, who will be representing the UK, and Mark Bradford , who will be representing the US. Related: Take a Peek Inside Queen Elizabeth II’s Closet at Buckingham Palace The Princess also spoke of her sense of duty as a member of the Royal Family and her commitment to “helping out Granny and Grandpa” by attending royal appointments and looking after charities with her sister “Bea.” Crucially, she revealed that Hauser & Wirth lets her leave work at five to attend royal commitments (if only we had such a good excuse to leave work early). Here at artnet News, we applaud her work ethic, sense of duty, and, particularly, her choice in reading matter! 2016-08-11 06:50 Contributing Writer

13 Paul Outerbridge in his 1920s Dada Moment: It Shaped the Commercial Work that Came Later THE DAILY PIC (#1611): The photos by Paul Outerbridge that I know best are the Norman Rockwell-ish ones that he shot for color magazine ads in the 1930s and ‘40s. But the other day I fell in love with this radical 1927 self-portrait in black and white, now on view in his solo show at Bruce Silverstein gallery in New York. The self-portrait has links to Dada and Surrealism and other cutting-edge movements of its time – similar shots came out of the Bauhaus – and that confirms a feeling I’ve had about Outerbridge’s later color images : I think they were more complex, even defiant, than they seem at first. Read carefully, they seem to quietly undercut the verities of Rockwellian America, rather than shoring them up. (Courtesy Bruce Silverstein , NY) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-08-11 06:00 Blake Gopnik

14 Funky Guns and Sexy Grenades? Frankfurt Show Explores War Aesthetics in Design Related Venues Helmut Lang Artists Barbara Kruger Omer Fast Nedko Solakov Helmut Lang Alexander McQueen Philippe Starck Humanity has an ambiguous relationship to weapons. On the one hand, they are deemed deathly and evil instruments of aggression; on the other they have fueled fantasies and aesthetic fetishes since the beginning of mankind. A new exhibition at Frankfurt’s Museum of Applied Arts – MAK investigates how deeply engrained contemporary (Western) culture is with the aesthetics of war and military symbols, from fashion to industrial design and visual media. The selection of represented designers, labels, and artists is as prolific as the scope of exhibits is astounding. In its preview, MAK revealed works by artists such as Barbara Kruger, Korpys/Löffler, Omer Fast, Timo Nasseri, Nedko Solakov, and Timur SiQin. In addition, it showed Adidas Originals with Kanye West, Yeezy, Helmut Lang, Alexander McQueen, Viktor & Rolf, and Philippe Starck, among many others. There are also bomber jackets, camouflage prints, hand-grenade perfume bottles, martial chairs or Afghan rugs with weapon motifs. The eclectic assortment will be presented in a sprawling exhibition set-up covering 1,200 square meters that “exaggerates the formal language of art and arms fairs for the museum context.” The show titled “Under Arms: Fire & Forget 2” is a continuation of the much lauded art exhibition “Fire & Forget: On Violence” last year at KW – Institute for Contemporary Art in Berlin ( read a review here ), which had focused on responses to weapons and violence in contemporary art under the curation of Ellen Blumenstein. Curated once more by Blumenstein, Daniel Tyradellis, and MAK director Matthias Wagner K, the Frankfurt show now extends its investigations of the ambivalent attraction to military aesthetics beyond the strictly artistic realm, while also focusing on the emotional impact some of these designs arguably have. The exhibition’s agenda has a two-fold focus. On the one hand, it appreciates creativity and inventiveness in contemporary design and the at times puzzling ideas it comes up with (including hand-grenade-dildos at the bizarre end of the spectrum); on the other it seeks to understand what this says about society on a deeper level. The latter question is also a central theme in the bilingual catalog scheduled to appear concurrently with the show, featuring essays about the subjects of non-lethal weapons, camouflage, and the justification of self-defence from different perspectives, including military history and psychoanalysis. 2016-08-11 05:26 Lisa Contag

15 Garage MCA’s Innovative Inclusive Art Exhibition in Moscow Related Venues Garage Museum of Contemporary Art Artists Maurizio Cattelan Edward Ruscha “Co-thinkers” at the Garage Museum of Contemporary Art in Moscow is the first in a series of projects aiming to expand on “the notion of inclusion in an art institution.” In order to do so, four differently abled collaborators have been engaged to explore how they can enhance and broaden the physical accessibility of an exhibition. “Co-thinkers” runs until September 9. The showcase of works by top contemporary artists is curated by Elena Fedoseeva, Evgeny Lyapin, Elizaveta Morozova, and Polina Sineva, who collaborated with a team of Garage curators to develop the exhibition’s mediation and design. Together, they shaped it as a sensory adventure for all audiences, with interactive stations that combine various methods of experiencing art, such as sound and touch. The 18 works by 17 artists in “Co-thinkers” were drawn from Moscow- based private collections and include works by the likes of Antony Gormley, Barbara Kruger, Neo Rauch, and James Turrell. According to the Garage MCA, the selection creates a shift of perception in viewers’ imaginations, evoking reactions spanning uncertainty, hesitation, critique, admiration, irony, and meditation. Garage Director Anton Belov says that “Co-thinkers” aims to make the museum a place accessible to everyone on a physical level, but also in terms of engaging with a broad range of audiences and collaborators. “We hope that the methods of this project will enable us to build approaches that involve communities who usually don’t feel a contemporary art museum welcomes them,” he said. Highlights of the exhibition include Ed Ruscha ’s acrylic on canvas “Here and Now,” 1997; Barbara Kruger’s digital print “Untitled (I thought you were someone else),” 2008; Maurizio Cattelan ’s taxidermied “Ostrich,” 1997; a James Turrell light work; and “Untitled ” (from the body of work “ Mt Madinah ” ), a Jason Rhoades installation of neon phrases. 2016-08-11 04:55 Nicholas Forrest

16 16 Blazing Exhibition Commemorates the 350th Anniversary of the Great Fire of London Are you a history geek? You are in luck then. The interactive exhibition “Fire! Fire!” currently at the Museum of London, commemorates the 350th anniversary of the Great Fire of London, showing artifacts recovered from the fire itself and recreations of London at the time. In 1666, the Great Fire destroyed the medieval City of London consuming 13,200 houses, 87 parish churches, and even St Paul’s Cathedral , as it raged for three days, from September 2 until September 5, destroying over 70,000 homes. Related: Bill Viola to Unveil New Video Installation at London’s St. Paul’s Cathedral Despite the damage done, there are some stunning relics from the event, which are now on view at the museum, including a selection of items rescued from the fire as it raged, as well as objects unearthed by archaeologists from Pudding Lane, where the fire started at the bakery of Thomas Farriner (or Farynor). Also on view is a lock and key melted in the fire and a fragment of burnt china found at the bakery. Visitors will will even be able to examine items from the fire under microscopes. Related: Suspected Vandalism at London’s National Gallery Raises Security Concerns The exhibition also explores the impact that the fire had on Londoners and on the City of London, which had to be completely rebuilt. Around 100,000 people were displaced by the fire, and visitors can enter a tent to admire the panorama of Wenceslaus Hollar depicting the destroyed city while listening to accounts from the fire recorded at the time. Related: Ai Weiwei and Patti Smith Respond to Oscar Wilde in the Prison Where He Was Incarcerated The Great Fire, although it caused much destruction, is said to have killed only six people. This is disputed, however, by those who say the births of people living in poverty were not recorded, and that the fire could also have destroyed any remains of those who might have perished. “ Fire! Fire! ” is on view at the Museum of London, from July 23, 2016-April 17, 2017. 2016-08-11 04:30 Contributing Writer

17 triumph down and out t100 is both burly and bonnie triumph + down and out t100 is both burly and bonnie triumph + down and out T100: coming from a background in building choppers, shaun, owner of yorkshire-based down and out cafe racers, likes motorcycles to have a proper presence, stance and perhaps most importantly a proper finish. he occasionally gets to build himself a bike, completely as he wishes, without a customer’s requirements to adhere to. for his latest ‘T100′ the fork shaped legs needed to be spread slightly wider to accommodate the 17 inch tire. the rider’s tyre of choice is continental’s ‘TKC 80′, renowned for its capability off road but also its ability to offer strong grip on the tarmac. to ensure there was no rubbing on the sides fastec racing were entrusted with the job of machining the oversize triple clamps to hold the 2011 ‘CBR1000RR’ forks. a harley-davidson hub was spaced out in the mounts and laced to a 5 1/2″ rim, while triumph 1050 discs are gripped by the original tokico radial 4- pots. down and out cafe racers source their donor bikes directly from manufacturers, circumventing the need to trawl through the web, or worse, to find low mileage, nearly new or bikes straight off the nearby production line. this allows for more effort and budget to be put into upgrades rather than repairs. but not all components are necessarily expensive, the team scratched there heads and searched through the stock room for an exhaust solution, yet ended up settling for this silencer at an auto market. the legs of the front fork were widened to make room for the thick tire the bars and risers, ignition relocation kit and billet brake fluid reservoir were all sourced aftermarket at german specialist LSL. a ‘GSXR750′ master cylinder and clutch perch with levers further tidy the job, while ensuring the radial calipers have enough strength behind them. motone mini buttons replace the stock switchgear and all wiring is discreetly hidden within the bars. the custom finishes continue into the bates style headlight, mounted with stainless brackets that double up to house the very tidy little indicators. the team showcases its craft when looping the subframes on bonnies, and in this case, their handiwork is characterized by the stubby seat, keeping a bit more visual bulk towards the centre of the bike. further burliness comes courtesy of a set of engine bars, with the low slung pothole visualization device completing the look. to further incorporate practicality into daily commutes a stainless steel bracket was fabricated to hold a canvas pannier. 2016-08-11 04:05 Martin Hislop

18 New Bridesmaid Destination, Name of Love, Aims to Fill the Gap Merrill Moskal and Simona Popvassilev have both been bridesmaids a few times over. The best friend duo attended Ryerson University together in Toronto, Ontario and experienced a “lightbulb” moment after one of their friends from school got married last year. “We found that the bride was incredibly stressed trying to dress all of us. It was a time-consuming and disjointed process. There wasn’t a lot out there [for bridesmaids],” Moskal said. In particular, when researching the market, Moskal and Popvassilev found bridesmaids options at the low-end and higher-end contemporary designer markets — the latter of which not everyone can afford — but few dresses in that sweet middle spot, around $200. “We got together and we were like, ‘This doesn’t have to be so hard,’” Moskal said. “There should be a platform that allows you and your friends to get together and choose a color and style or many colors and styles that fit everyone’s body type and personality, without investing a lot of money in something that you will never wear again.” Today, Moskal, a graphic designer, and Popvassilev, who’s worked in fashion product development and project management, launch their new venture: Nameoflove.com, a collection of 14 bridesmaid dresses. Each dress is customizable in eight colorways and three fabrics — silk crepe, satin-back crepe or floral-embroidered lace — with silhouettes ranging from short, bodycon sheaths to flowing, floor-sweeping halter gowns. Moskal and Popvassilev, who are currently based in New York, said they aimed to create a more curated experience for fashion-forward bridesmaids who don’t want to spend a ton. The price points start at $198 and go up to $248. Acknowledging the competition in the market — namely, Los Angeles- based retailer Reformation, which has a dedicated bridal boutique online and by appointment at a shop on Melrose Avenue — Moskal noted the difference: “I think [Reformation] does an amazing job. If their bride is more boho, our [girl] is a little more tailored; maybe slightly more covered up. We’re really trying to appeal to that classic, modern bride with clean lines and beautiful hues,” she said. Another key differentiator is that Nameoflove.com offers a personalized shopping experience online: The site enables the bride to create a virtual showroom where she can save certain styles and colors she’s favoring. Then, she can invite her bridesmaids to shop directly from her selections. “We’re trying to make it as easy as possible for brides and bridesmaids to communicate. We are really proud of the digital environment we created,” Moskal said. “Not everyone lives in the same city, and I think this is the easy solution versus the more traditional, dated experience of going to a bridal salon with your girlfriends. That’s not always possible when one person lives in Texas, the other in New York, and so on.” Eventually, Moskal and Popvassilev plan to add bridal accessories, such as robes and silk embroidered bomber jackets, to their offering. “The bride shouldn’t have to feel stressed out trying to dress six of her friends, and bridesmaids shouldn’t have to not feel like themselves on their best friend’s big day,” Moskal said. “You wouldn’t have to travel too far to find a bridesmaid horror story. We’re trying to fix that problem — to help a sister out.” 2016-08-11 04:01 Kristi Garced

19 200 Artists Come Together for Noise Singapore Festival 2016 Related Events Noise Singapore Festival 2016 Venues Esplanade - Theatres on the Bay Noise Singapore Festival, a platform championing young Singaporean talents, is about to kickstart its 11th edition from August 13 through September 30, transforming Esplanade by the Bay and Capitol Piazza into a playground of creativity and discovery. In what is expected to be the festival’s biggest iteration yet, 200 artists and 300 works are being brought together at a new venue in a series of exhibitions and concerts to promote the city’s “youth art and music scene.” The event’s core attraction will be the exhibition at Capitol Piazza, presenting a curated showcase of original artworks — including commissioned pieces and installations — centered on the theme “Uncharted.” The flagship show runs from August 13-30, and will be accompanied by live music performances by up-and-coming musicians on August 13 and August 20. Another highlight is the Noise Singapore 2016 Festival Concert taking place at the Esplanade Outdoor Theatre and Concourse on August 26-28. It will feature home-grown talents, including the festival’s alumni “Noise musicians” such as Stopgap, Take Two and enec.e. The Noise Artist Market at the Esplanade Concourse will also be a major attraction, exhibiting a wide range of original art, crafts, accessories and more by 12 local artists (August 27-28). Aruna Johnson, Deputy Director (Arts and Youth) of the National Arts Council — the main organizers of the festival — emphasizes Noise’s role as an incubator for young artists, aiming to empower youth. “Through the years, Noise Singapore has attracted many young people by giving them the opportunity and platform to discover, experiment, and showcase their talents. Many have gone on to become household names in Singapore’s creative industries, and we are encouraged by our youth’s increasing interest to encounter and engage with the arts,” said Johnson in a statement. This is further illustrated through Noise’s various collaborations with local emerging artists and design companies to create exclusive accessories such as tote bags, Singapore’s transport MRT card EZ-Link, and Converse sneakers. 2016-08-11 03:39 Claire Bouchara

20 The 10 Most Hated Public Sculptures Public sculpture is a hot topic, and a huge challenge to any artist saddled with the task of catering for a huge range of tastes. It’s safe to say a public sculpture won’t please everyone. Yet, these works compiled below managed to please nobody (which is an achievement in itself, sort of). From the ill-thought out to the ridiculous, we take a look back at times when public sculpture hit a bum note with those it meant to please, occasionally with fatal results (for the sculpture). 1. Ugly Nefertiti This yellow monolith (see image above) is unquestionably a monstrosity. Not in small part due to the fact that the huge, pale, yellow sculpture is meant to represent one of the most beautiful woman to ever have lived. After the statue went up last year in the town of Samalut, Egypt, the locals daubed it with something suspicious and lodged a number of complaints, leading the offending artwork to be removed from view, amid a hail of ridiculing internet memes. Related: Confusingly Huge and Ugly Public Sculpture of Queen Nefertiti Taken Down in Egypt 2. Creepy papal s tatue, rejected by the Vatican Oliviero Rainaldi’s rendering of Pope John Paul II, first unveiled in 2011, drew a highly negative response from both local Romans, who passed by the statue on a daily basis, and from admirers of the beloved pontiff. People felt that the huge faceless statue of the now sainted Pope John Paul II, holding his cape open in a gesture of warmth, was too stern and impersonal. Rainaldi was forced back to the drawing board, after even the Vatican rejected his vision, with in house art critic Sandro Barbagallo branding it “a sin.” Even after the alterations were made, onlookers were still unconvinced. “It’s not him. It’s not him,” an onlooker told the Daily Mail. “He was joyful. He was nothing like this here. For me it still looks like a refrigerator.” 3. The controversial statue of Margaret Thatcher Margaret Thatcher’s legacy is a tricky one, as she is loved abroad for becoming the UK’s first female Prime Minister and loathed by many at home for her actions while in power. When an eight-foot-tall, life-like marble statue of Thatcher went on view at Guildhall Art Gallery in London—unveiled by Thatcher herself in 1998— there were many complaints. However, no one expected theatre director Paul Kelleher to creep in and whack its head off with a baseball bat. The hated effigy was then hidden away in a corner at the Guildhall to keep it out of harm’s way, but was later offered to the Museum of Grantham, in the late British leader’s home town, although they felt the statue might be in danger of further violence there too, so it’s now “off view.” Related: Museum Removes Controversial Margaret Thatcher Statue from View 4. Quebec’s “Toilet”, demolished after a long campaign by locals Jean-Pierre Raynaud’s Dialogue with History (1987) was gifted to the city of Quebec by French President Jacques Chirac. The minimal work, comprised of a series of white cubes was meant to commemorate the arrival of French settlers in Canada, but the work jarred with locals due to its inability to fit in with its 18th century surroundings. Nicknamed “the Cube,” “Rubik’s Cube,” “the Fridge,” and the aforementioned “Toilet,” the work was publicly demolished last year, while onlookers celebrated via social media. Raynaud hoped that the sculpture would be re-installed elsewhere but the manner in which the work was leveled put a stop to the idea. Related: Hated Public Sculpture by Jean-Pierre Raynaud Nicknamed “The Toilet” Bulldozed in Quebec 5. “Pink poop,” the proposed public gift so loathed that brought on new legislation The saga stemming from Ohad Meromi’s installation Sunbather started when the florescent pink reclining figure nicknamed “Gumby” was announced for the junction of Long Island City at Jackson Avenue and 43rd Avenue. The total cost of putting the eight-foot-tall work in place was estimated at $515,000, causing a public outrage so intense that a new bill was put forward to prevent unwanted artwork ever being installed in New York again. The new law proposed greater public consultation on projects run by Percent for Art , an initiative that uses 1 percent of the city’s budget to commission a public artwork. Related: Government Enshrines Right of New Yorkers to Complain About and Stop Ugly Public Art 6. Anish Kapoor ’s Olympic nightmare, turned into a gigantic slide When Anish Kapoor’s commission for the Olympic Park in London was unveiled no one really noticed, as most viewers thought it was still under construction. Orbit confused viewers for sometime, but when they realized that the twisted metal structure in place was indeed an artwork they were up in arms. To appease Londoners, ex-London Mayor Boris Johnson brought in Carsten Höller to add a slide to the 114.5-meter-tall artwork, making it the highest slide in Europe. Kapoor later said he was pushed into the high profile collaboration by Johnson. Related: Anish Kapoor Says Collaboration with Carsten Höller Was Imposed on Him by London Mayor 7. The cartoonish seagull that horrified people on a local art walk Seagull Cinderella by Donna Dodson was installed as part of the annual Seaport Art Walk in New Bedford, Massachusetts. While some residents quite liked the light-hearted sculpture, others decried it as a hybrid beast, with one commentator taking to Twitter to solemnly declare: “Yo that’s a seagull with boobs.” A petition is currently underway to have the offending item removed. Related: Why Are People Going Crazy over this Public Art Sculpture? 8. The Frank Stella sculpture that shocked art lovers in Seoul A law in South Korea requires all new large scale development to be accompanied by an artwork worth at least one percent of its value. This is how Amabel by Frank Stella ended up going on view in a central square in the city. Some felt it looked as though an airplane had crashed, while others thought that the 30-feet-tall work was just plain ugly. The work, perhaps not one of Stella’s best, has become a minor blog sensation due to how annoyed residents are at it. 9. The Chevron , just too big (for a front garden) When a local businessman installed Chevron in his front garden, his neighbors were outraged due to its enormous size. Said neighbors sued and won, meaning that the owner was forced to loan the work to Chicago’s Lincoln Park for a year. Yet, John Henry’s Chevron may yet return to its previous domestic setting, if its owner manages to sway the courts. In which case the saga will surely continue. 10. Bad Bowie This artwork is not a sculpture, but we feel it deserves a place of honor on the list due to the sheer level of public ire that came its way. When David Bowie died earlier this year, the world mourned. The icon of music, performance, film, and fashion was lauded through art, music, and in the press by thousands. Then there was this (see above). A botched mural in tribute to the singer, which went up overnight in Sheffield and has been ridiculed ever since. And it still stands, to fans’ chagrin. Related: Botched David Bowie Mural Enrages Fans 2016-08-11 03:30 Contributing Writer

21 VIDEO: Francesco Clemente’s ‘Encampment’ at Carriageworks Related Venues Carriageworks Artists Francesco Clemente “Encampment” at the Carriageworks multi-arts precinct in Sydney is the first major exhibition in Australia of Italian artist Francesco Clemente and the second in the annual Schwartz Carriageworks series of major international visual arts projects. Born in Naples in 1952 and currently working and living between Varanasi, India and New York, USA, Clemente – who describes his work as “nomadic” – is best known for the erotic and spiritual imagery of his wonderfully expressive and colourful paintings. For “Encampment,” Clemente transformed 30,000 square feet of Carriageworks exhibition space into a sprawling tented village with the installation of six of his elaborate large-scale tents with their opulent, hand- painted interiors and camouflaged fabric exteriors. Commenting on the exhibition, Clemente said: “Every single moment of the unfolding experience of the work is just a pretext to move on, to move forward from that moment. It’s never supposed to be a beginning of an ending; it’s supposed to be a transition.” Measuring up to 18 feet wide and 10 feet high, the tents were created in collaboration with a community of artisans in Rajasthan, India who hand- wood blocked the exterior patterns and embroidered the fabric with golden thread. The inner walls of the tents, which can be walked in and around, have been decorated by Clemente with a range of evocative scenes featuring real and allegorical figures, intricate patterns, and symbolic imagery that reference notions of spiritual reincarnation, physical love, and the arcane. Complementing the tents, which viewers are encouraged to walk around, amongst, and inside, is a suite of 19 of the artist’s signature erotically- charged paintings from his “No Mud, No Lotus” 2013–2014 series as well as four altar-like sculptures. To find out more about “Encampment,” BLOUIN ARTINFO spoke to Clemente on the occasion of the opening of the exhibition – at Carriageworks in Sydney until October 9 – and asked him a few questions. See what he had to say in the video above. 2016-08-11 03:05 Nicholas Forrest

22 Art Demystified: What Is The Role of Art Advisors? What is an art advisor, and what role does she or he play in the art market? As the contemporary market has grown, more and more collectors are chasing a finite number of works by brand-name artists or hot up-and- comers, and they want to be sure that they’re making the right choice. Advisors help collectors buy art by offering a variety of services to simplify the acquisition process. In return for services such as advising on what artists and what works to buy, negotiating with galleries, bidding on works at auction, and introducing clients to market experts, advisors either take a percentage of the sale price of an artwork—typically between 5%-10%—or charge a fixed monthly (and sometimes yearly) fee. Related: Mary Boone Files Lawsuit Against Art Advisor Over KAWS Sale “Simply put an art advisor educates a client, helps to focus their interest, and provides access to the best quality artworks within a given budget,” New York-based art advisor Wendy Cromwell tells artnet News in a telephone interview. “When you use a very qualified advisor,” she continued, “you’re acquiring a vast trove of knowledge that’s been cultivated over years of looking at art, analyzing auction sales, and understanding the inner workings of the market.” Because art is an intangible asset with few concrete value-adding characteristics, it’s difficult for many collectors to differentiate between the quality of different works. Today many collectors rely on their trusted advisor to help them navigate the complexities of contemporary art, and the art market. “We’ve gotten into this environment where the advisors are in the middle,” the collector and dealer Adam Lindemann told the BBC . “You don’t just buy your art, you buy your advisor and then your advisor tells you what to do.” Related: Art Demystified: Why Don’t Galleries Display Prices? And with rising demand, galleries often sell only to their most loyal or high- profile clients, making it difficult for new buyers to get access to desirable works. A respected advisor on the other hand can use their connections to help facilitate access to artworks normally reserved for loyal repeat customers. “There are a lot of novice collectors out there who don’t realize that you can’t run through the doors and make your first purchase,” dealer David Zwirner told the New York Times in 2006. “Primary market galleries like us often have three-year waiting lists. We’re very picky.” Beyond providing access to elusive artworks, advisors also help refine their clients tastes, and introduce them to dealers, artists, and other experts. “Ultimately an advisor brings expertise and connoisseurship,” says Cromwell. “Meaning the ability to distinguish a great work of art over an okay work of art by the same artist, and being able to look outside of trends and identify areas of interest and quality that perhaps aren’t obvious ones.” The downside to relying on art advisor is that the age-old “buy what you love” mantra is lost when a market expert tells you what to purchase. As a result, art collecting has become increasingly homogenized and eclectic, individual collections have become increasingly rare. 2016-08-11 03:00 Associate Editor

23 Review: In ‘Sausage Party,’ Metaphysical Queries and Orgies in Aisle 5 The first word uttered in “Sausage Party” is a popular synonym for excrement, which is a bit counterintuitive. In a movie about food, you’d expect that to come at the end. But while the next 88 minutes supply plenty of scatology — including a blessedly discreet toilet- paper joke — this potty-mouthed movie has higher matters in mind. You will come for the kind of humor promised in the title and the well-earned R rating, but stay for the nuanced meditations on theology and faith. The opening barrage of profanity serves as a tactical warning to parents who might have wandered in with their kids on the assumption that this was a cute little cartoon about the secret lives of groceries. Which it is, actually. But if you do bring the little ones — not that I condone it! — you may have to answer questions not only about what all those veggies and snacks are doing during the extended supermarket orgy scene, but also about the existence of God. In adult company, you might find yourself debating whether the film is a Christopher Hitchens -style atheist polemic or a more pragmatic, William Jamesian exploration of the varieties of religious experience. I won’t spoil that one for you. In a nutshell — in a brightly colored, economy-size value pack — “Sausage Party” traces the dialectic of enlightenment in the life of a skeptical sausage named Frank. Voiced by Seth Rogen in his usual growly, loud-Canadian manner, Frank starts out as a true believer. At the beginning of every day, the groceries sing a hymn (by Alan Menken) praising “the gods” who will escort the chosen foodstuffs into “the great beyond.” Since the Fourth of July is approaching, Frank and his buddies think their turn is coming, which means that Frank and his girlfriend, a comely bun named Brenda (Kristen Wiig), will at last be able to shed their packaging and consummate their relationship. The gods, needless to say, are ordinary human shoppers, and the glorious apotheosis they bring to Frank and Brenda’s friends and neighbors is painful, brutal death. But the innocent condiments, meat products, beverages and specialty foods who populate the store’s garish and crowded aisles don’t know that. They think nirvana awaits beyond the cash registers. Not that ignorance is bliss, exactly. There are schisms and antagonisms based on territory and belief — most piquantly represented by the enmity between a bagel (Edward Norton) and a lavash (David Krumholtz) — and a repressive sexual morality underwritten by fear of the gods. But then Frank — and, separately, his pal Barry (Michael Cera) — glimpse the truth, aided by a problematically branded bottle of liquor (Bill Hader) and a wad of chewed gum (Scott Underwood). The truth is horrible. Think for a moment about how we must look to the food we eat. After such knowledge, what forgiveness? But if the gods are really monsters and the great beyond is a killing field, what is to be done? “Sausage Party” was directed by Conrad Vernon and Greg Tiernan from a script by Kyle Hunter, Ariel Shaffir, Evan Goldberg and Seth Rogen. Like “This Is the End,” Mr. Goldberg and Mr. Rogen’s 2013 apocalypse comedy, it embraces the darkness of its premise and answers despair with bursts of nasty, knowing silliness. Cleverly animated by Nitrogen Studios, the movie abounds with quick visual and verbal gags. There are also more extended feats of Rabelaisian bawdiness, most memorably the villainous feminine hygiene product voiced by Nick Kroll. Like “This Is the End,” Mr. Goldberg and Mr. Rogen’s 2013 apocalypse comedy, “Sausage Party” embraces the darkness of its premise and answers despair with bursts of nasty, knowing silliness. Cleverly animated by Nitrogen Studios, it abounds with quick visual and verbal gags. There are also more extended feats of Rabelaisian bawdiness, most memorably the villainous feminine hygiene product voiced by Nick Kroll. A blink-and-you’ll-miss-it poke at Pixar both acknowledges an obvious debt to the “Toy Story” movies and emphasizes the philosophical challenge that “Sausage Party” marshals against them. This is more than a matter of answering sweetness with swear words. The “Toy Story” cycle takes the relationship between people and consumer goods to be essentially harmonious. Buzz and Woody and their friends accept their place in the cosmos, and though there are shadows of doubt and inklings of tragedy in all of the movies, everything unfolds within the parameters of a fundamentally rational and benevolent order. People love their playthings, and the toys love us back. In some ways, “Sausage Party” is closer in spirit to “The Lego Movie,” which raised its own set of metaphysical questions. But whereas that movie was a Calvinist parable of free will in a determined universe (with no sex or profanity), this one focuses on the disruptive and liberating consequences of scientific thought. Frank is a Promethean figure, and what happens once the gods are overthrown is scary and unsettling as well as fun. The movie, I’m happy to report, is fun pretty much all the way through. In Judd Apatow’s “Funny People,” Mr. Rogen’s character is asked (by James Taylor, no less) if he ever gets tired of making jokes about his penis. The answer was and remains no, but “Sausage Party” — a title that could apply to most of the movies on Mr. Rogen’s résumé — nonetheless signals something of a recovery from the manic exhaustion of “This Is the End.” It’s still grounded in elemental man-child humor, full of homosexual panic, body image anxiety and the fear of women’s bodies. But it also has the chaotic verve and the formal discipline that any good cartoon requires. Animation offers Mr. Rogen, Mr. Goldberg and their squad new ways to be naughty, and also blunts the potential offensiveness of some of the older ways. Since ethnic stereotypes figure so heavily in retail branding and advertising, the spicy taco (voiced by Salma Hayek) and the neurotic bagel can be interpreted as satirical jabs at the food industry rather than insults aimed at groups of actual people. Maybe you will say the same about the effeminate Twinkie (Mr. Underwood) and the African-American box of grits (Craig Robinson), or maybe you won’t, but chances are you will laugh anyway. I did, without much guilt. And with, I have to say, quite a bit of respect for the intellectual rigor of a project that probably didn’t require it. I went in expecting an earnest critique of the industrial food system, or an impassioned plea for ethical vegetarianism. O. K., not really. But I certainly didn’t anticipate a movie so full of … thought. “Sausage Party” is rated R (Under 17 requires accompanying parent or adult guardian). Don’t play with your food. Running time: 1 hour 29 minutes. 2016-08-11 00:00 By

24 Review: ‘Breakfast at Tiffany’s,’ ‘The Plough and the Stars’ and ‘The Game’s Afoot’ LONDON — Among the recent London titles that one hardly expects to see revived is “Breakfast at Tiffany’s,” a stage adaptation of the Truman Capote novel that many know best from the 1961 film starring Audrey Hepburn. First seen in 2009 at the Theater Royal Haymarket, where it opened to indifferent reviews, the stage account of the self- invented “it girl” Holly Golightly made for tough theatrical sledding — as it does once more. This latest treatment, also at the Haymarket, is adapted by the Tony-winner Richard Greenberg (“Take Me Out”) in place of Samuel Adamson seven years ago, and has a new creative team, led by the singer and British tabloid darling Pixie Lott as the irrepressible and perhaps unknowable Holly. (Mr. Greenberg wrote the Broadway version of “Breakfast” that did a fast fade in 2013.) But the ever-breathless Holly’s effervescence refuses to fizz onstage, which makes it not altogether surprising when Nikolai Foster’s production stops dead in its tracks to allow a guitar-strumming Ms. Lott to serenade us in concert: Her vocals satisfy even when most everything else around her does not. (That said, she might want to reconsider her pronunciation of the word “bouquets” so that the first syllable rhymes with “boo.”) The story, you may recall, brings the coquettish, ceaselessly “on” Holly into contact with Capote’s onstage surrogate, Fred, a writer coming to grips both with his sexuality and with his excitable new friend and neighbor, whose appetite for life promises adventures galore. The “Downton Abbey” alumnus Matt Barber (he played Atticus Aldridge) brings to the part of Fred all manner of facial contortions that seem to suggest that Holly’s relentless vim and vigor are actively doing him in. Matthew Wright’s design offers a tourist’s view of New York (the Brooklyn Bridge looks especially evocative) that is sure to please those playgoers who prefer to keep their travel within the realm of the virtual, and a real-life cat gives “The Curious Incident of the Dog in the Night-Time” several streets away competition on the live-animal front. But by the time a supporting character asks, “Is she or isn’t she a phony?”, it’s not altogether clear whether the reference was simply to Holly herself or to the show as a whole. Misfires come in weightier forms, as well. Sean O’Casey’s 1926 drama “The Plough and the Stars” is one of the defining plays of the Irish repertoire, an unsparing portrait of a people in tumult set against the backdrop of the Easter Rising a century ago. Add to the play’s luster one of two directors in Howard Davies, whose credits include the superlative 2014 National Theater production of another O’Casey title, “The Silver Tassie,” and there was every reason to expect great things from this earlier play, which runs in the same theater’s Lyttelton auditorium through Oct. 22. (The 2015 Tony nominee Jeremy Herrin is Mr. Davies’s co-director.) To be fair, there are scattered moments where O’Casey’s collision of the boisterous and the brutal still impresses, and an extended sequence late in the play connects the nationalist sentiments of a bygone era to the rhetoric that swirls around us today. (By way of tonal contrast, a separate passage apparently comes by way of the Keystone Kops.) But for too much of the time, you are left to admire the painterly tableaux of Vicki Mortimer’s sets, lit with chiaroscuro beauty by James Farncombe, but all too often at the expense of the characters roiling from scene to scene, who have to fight to compete with a stage that sometimes seems to swallow them whole. Time and again, a capable cast grandstands for effect, starting with Justine Mitchell — a veteran of Mr. Davies’s work — as the take-no-prisoners fruit seller Bessie Burgess and Lloyd Hutchinson as the incipiently patriotic Peter Flynn, uncle of the play’s abject heroine, Nora Clitheroe (Judith Roddy). Ms. Roddy’s smoky-voiced authority recalls a young Kathleen Turner, and the scenes between Nora and her husband and a Citizen Army rebel combatant, Jack (Fionn Walton), are among the most resonant. And yet it was probably more than the thick and often indistinct Dublin accents that contributed to the various empty seats I saw around me after the intermission. (My Irish guest was flummoxed by some of the diction as well.) The production approaches a difficult play from the outside in, leaving its portrait of a land at a time of history-making foment to fester. As evidence of an entertainment that succeeds largely on its own terms, consider “The Game’s Afoot” — evidence being the salient word for a 70- minute event from a young company, Les Enfants Terribles, that functions less as a play than as an interactive detective story. That might be expected from the performance space — a rabbit warren of rooms beneath the tourist landmark that is Madame Tussauds, the waxwork museum that also happens to exist a stovepipe away from the Baker Street stamping ground of Sherlock Holmes. (“The Game’s Afoot” runs through Sept. 30.) Two separate scenarios — each one billed, in keeping with detective parlance, as a “case” — alternate in repertory. I saw “The Case of the Poisonous Poet,” in which we spectators-turned-sleuths are urged to identify a serial killer who is savaging his, or maybe her, way across the capital. (The audience is limited to 40 people per show, of which there are four per night.) Among the five suspects, might the guilty party be a vengeful actress or a hapless playwright, or perhaps the polite-seeming gent who knows a thing or two about potions? Armed with several clues, a pencil and a notebook, the audience is sent scurrying off to try out their powers of detection, with the chance to interrogate members of the 12-strong cast, alongside a thoroughgoing rummage through Samuel Wyer’s painstaking sets. The rooms are full to bursting with Victoriana, not to mention the requisite clues for those willing to meet the enticements of the piece head on, and I for one was pleased to find none of the face-disfiguring masks that form too great a part of other immersive entertainments on view in recent years. Running with “The Case of the Poisonous Poet” is a case involving a bloodthirsty beast, which makes one ponder the prospect of nonhuman cast members to up the ante even more. Some may consider this as so much kitsch, but the co-directors Oliver Lansley and James Seager evince too much genuine cunning for that. (Mr. Lansley wrote the show with Anthony Spargo.) And at a destination given over to facsimiles of the rich and famous, how nice to find living, breathing actors on hand. One of the victims, it’s probably necessary to point out, happens to be a theater critic, but it’s not only for reasons of self-protection that I enjoyed the show. Breakfast at Tiffany’s. Directed by Nikolai Foster. Theater Royal Haymarket, through Sept. 17. The Plough and the Stars. Directed by Howard Davies and Jeremy Herrin. National Theater/Lyttelton, in repertory through Oct. 22. The Game’s Afoot. Directed by Oliver Lansley and James Seager. Madame Tussauds, through Sept. 30. 2016-08-11 00:00 By

25 In Praise of Repertory Theater: Macbeth at the Matinee, Miller at Night Strange but true: To experience the pleasure of traditional repertory theater on a significant scale — to watch actors perform multiple roles in different plays over the course of a few days — you would have to leave the two epicenters of English-speaking theater, New York and London. While London has the National Theater, which has multiple spaces and features several productions playing at any one time, it has not had a resident company of actors for many years. New York does not have a major institution that regularly features plays running in repertory or a permanent acting ensemble. Here in North America, you would need to travel to the Oregon Shakespeare Festival in Ashland or the Stratford or Shaw Festivals in Canada to watch actors with deep experience in the classics perform them in rotating repertory. I have not yet been to Shaw (coming soon!) but have been going to Stratford and Oregon for the past decade or so, and with each visit, I have become more enchanted. Seeing plays in repertory sparks conversations in the mind between shows, between periods. And it’s also distinctly satisfying — sometimes even astonishing — to watch an actor you’ve seen in, say, a Shakespeare tragedy performing a day or so later in a classic American musical. Recently Ian McKellen, reacting to the news that a Liverpool theater would be bringing back repertory after 25 years, called on the National to institute a similar program. Like most of the acting greats of his generation, Mr. McKellen got his start in repertory companies in England, but as the decades passed, the tradition grew fallow. And his recent lament was not the first he has made. Four years ago in another interview , he predicted that no actors of his caliber — such as Derek Jacobi or Judi Dench or Michael Gambon — would emerge in the future because the repertory in which they trained had died out. The reasons for the waning of this valuable theatrical tradition are, primarily, economic. Maintaining a large company of actors and mounting so many shows come with a high price tag: Stratford’s budget this year was north of $61 million in Canada (about $46 million in the United States). Speaking to the issue of the decline in repertory theaters, Antoni Cimolino, Stratford’s artistic director, noted: “It has to do with expense and structure. If you’re doing a series of plays one after another” — as virtually all theater companies do today — “a rep company doesn’t make sense. In repertory, yes.” Carey Perloff, the longtime artistic director of American Conservatory Theater in San Francisco, who directed Ibsen’s “John Gabriel Borkman” at Stratford this season, knows the challenges of trying to sustain the tradition of repertory theater. “When ACT was founded, it had a company of some 40 actors doing 25 plays in rotating rep,” she said. “When I came I tried to resurrect the idea, because it had diminished. But the huge challenge is real estate. Stratford works because it’s a town where actors can afford to live and raise children.” On a recent visit to Stratford, I saw five Shakespeare plays; a superlative “All My Sons” featuring intriguing new undercurrents supplied by the biracial casting; the North American premiere of the stage version of “Shakespeare in Love,” an ebullient crowd-pleaser; and two musicals, “A Little Night Music” and “A Chorus Line.” I could also have seen “As You Like It” and “The Aeneid.” More shows, including a new Canadian play, will open in a few weeks. To see so much theater in a week is a heady, if sometimes dizzying, experience, but always an illuminating one. While Mr. Cimolino does not always conceive seasons surrounding a single theme, this year he used as a sort of seasonal epigraph a fragmentary but resonant phrase from “Macbeth,” one of the witches’ peculiar utterances: “When the battle’s lost and won.” (The line preceding it is the more familiar “When the hurlyburly’s done.”) As Mr. Cimolino explained, “This is 100 years after some of the great battles of World War I, and it occurred to me that seeming victories are the stuff of illusion.” It was from the grievances and hardship that followed the settling of that war, after all, that the seeds of the next world war grew. “I was interested in the idea of the duality of victory and defeat,” he added. And indeed, with that phrase settled in my mind, it crept into my thinking about several of the productions I saw. “Breath of Kings,” a two-part presentation of Shakespeare’s history tetralogy including “Richard II,” both parts of “Henry IV” and “Henry V,” illustrates, repeatedly, how quickly triumph can be followed by discord, in a seemingly endless cycle of retribution and conflict. “Macbeth,” directed by Mr. Cimolino, was, along with “All My Sons,” the finest production I saw. And here, too, with Ian Lake giving a galvanizing performance as an unusually young and sexually magnetic Macbeth, Shakespeare illustrated how ephemeral and even illusory power can be. Seeing Arthur Miller’s “All My Sons,” directed by the Stratford acting veteran Martha Henry, just after “Macbeth,” I noted how both plays concern the unforeseen reverberations of immoral acts, how evil can spread its influence with a viral force, unleashing discord, distrust, destruction in families and societies. And while, for the audience, seeing plays in repertory can be a distinctly stimulating experience, for the actors it can also be revelatory, as they get to stretch muscles they didn’t know they had. In the book “Stratford Gold,” a compilation of interviews with most of the notable stars of the festival, Maggie Smith recalls being amazed when Robin Phillips, then the artistic director, offered her the role of Shakespeare’s Cleopatra at a time when she was known almost exclusively as a comic actor. “I must say, I just thought he was mad,” she told the book’s author, Richard Ouzounian. Ms. Smith went on to appear at the festival for four seasons beginning in 1976, often partnered with Brian Bedford , a Stratford mainstay who died this year. This season, I enjoyed seeing, among others, the great Welsh-born actor Geraint Wyn Davies, who was the best Polonius I’ve ever seen but also a delight as King Arthur in “Camelot” another year, take on the mighty role of Falstaff. I wasn’t surprised at his triumphantly funny but also unusually humane interpretation, because I’d seen his prior work, but I remain impressed by his range. I almost consider Ben Carlson, who appeared as Fredrik Egerman in Gary Griffin’s production of “Night Music,” an old friend, having seen him in “Hamlet,” “Much Ado About Nothing,” “As You Like It” and more. The “Night Music” was not a great production, unfortunately, but Cynthia Dale — a veteran of 13 seasons at Stratford — was marvelous in the smallish role of Charlotte. I made new discoveries, too: a powerful young actor, Michael Blake, giving a quietly intense performance as George Deever, whose father was so violently wronged by his business partner, in “All My Sons,” and as a forceful Macduff, anguished over leaving his family to be slaughtered, in “Macbeth.” And although I had earlier seen her in the small role of Audrey in “As You Like It,” Lucy Peacock was a revelation as a shattering, ultimately shattered Kate Keller in “All My Sons.” Ms. Peacock, who is also appearing in “John Gabriel Borkman” this year, has played a remarkable 29 seasons with the company. “I come from a long line of classical repertory actors,” she said in an interview. “I recognize it in my DNA. I am a repertory girl. I did do two shows elsewhere last year, and I thought, we are doing this eight times a week?” The range of roles Ms. Peacock has had the opportunity to undertake at Stratford is head-spinning: Schiller’s Mary Stuart, Judith Bliss in “Hay Fever,” Masha in “Three Sisters,” and Dolly Levi in “Hello, Dolly!” and Anna Leonowens in “The King and I.” She readily recognizes that such a span would be unlikely anywhere outside a repertory company like Stratford, and for an actor who prizes the work above the kind of éclat that comes with film and television roles, that is a great privilege. “I am so fortunate to have moved through the Shakespeare canon alone, from Ophelia to Rosalind — twice — to Mistress Quickly and Paulina,” she said. “But to be able to also play the Duchess of Malfi? Who gets to play this part?” (There was also Viola, Portia, Lady Macbeth, Beatrice and Desdemona.) The challenge, she suggests, is part of the joy. “I’ve always found the sheer demands to be one of the exciting aspects of being a repertory actor. The thrill of a double-show day that can stretch to 14 hours,” she recalled. “But I love the athleticism. After doing repertory for so many years, my body knows exactly what to do, physically as well as mentally. And sometimes you come out positively feeling like an Olympian.” Mr. Blake has spent five seasons with the company, although he got his start in musical theater outside the festival, playing Simba in “The Lion King.” He still aspires to do other kinds of work: “When I go to the gym, I listen to ‘Hamilton,’” he said with a touch of wistfulness. “I hope they bring it to Canada at some point.” But the repertory system inspires him, too. “It’s the greatest challenge to flip between two different characters in a day,” he said. “To be able to jump from a blasted heath to a backyard in Indiana. An actor’s imagination needs to be constantly fed.” In repertory, the buffet never ends. And while he did not come up through the extensive Stratford training program for young actors, Mr. Blake learned quickly that the sense of tradition and of collective achievement is part of what makes repertory work so valuable. “I get to watch these people who have been here a long time, and they understand the system and how it works and how you learn from it,” he said. “I gain a lot from doing, but a lot from watching, too.” It is this sense of community and the benefits actors draw from it, Mr. Cimolino feels, that make repertory work so particularly instructive. Ms. Perloff certainly agrees and regrets that she has not been able to revive the system. “I have tried my entire career to find funding to support a company. Everyone wants to fund new plays without realizing that actors are an equally vital part of the ecology,” she said, adding that the problem “could be mitigated if the American theater were interested in acting companies and if the funding community were interested in funding them. That has proved elusive.” In Stratford, Mr. Cimolino emphasizes, the company takes full advantage of having a company of experienced actors living in the community to pass along their wisdom. “We ask our senior company members to bring young actors into their homes to talk about their lives and careers and the challenges they had in their lives,” he explained. “It creates understanding and mentorship, and that pays off hugely as the season goes on. The young are watching but also asking their advice. That understanding, that sense of relationship, enables an actor to take risks and go places I don’t think would be easy for them to do with a group of people they are meeting for the first time. There’s a safety net.” That safety net has mostly frayed in America and even England, where the tradition had a much longer and larger history. But at Stratford and Ashland, at least, I can attest that it’s holding firm, and bringing rewards to both audiences and artists. 2016-08-11 00:00 By

26 What’s on TV Thursday: Simone Biles in Rio and ‘Triumph’s Summer Election Special 2016’ Simone Biles, the Final Five’s not-so-secret weapon, goes for the all-around gold in women’s gymnastics at the Rio Olympics. Triumph the Insult Comic Dog returns to the presidential campaign trail. And for pure summer fun, screen all of Idris Elba’s “Luther.” RIO OLYMPICS 8 p.m. on NBC. After taking the gold as part of the American women’s gymnastics team — or Final Five, a nickname the members chose in tribute to their retiring coach, Martha Karolyi — Simone Biles goes for the crown in the all-around. And the swimmer Michael Phelps faces his teammate Ryan Lochte in the finals of the 200-meter individual medley. A schedule is at NBCOlympics.com . CLOSE ENCOUNTERS OF THE THIRD KIND (1977) 9 p.m. on Starz. An electrical lineman (Richard Dreyfuss) in Indiana finds life changed for the weirder after a run-in with an unidentified flying object in Steven Spielberg’s sci-fi classic. François Truffaut, one of Mr. Spielberg’s film heroes, played the French scientist at the helm of an international U. F. O. team — and in his free time worked on the script for “The Man Who Loved Women.” It’s spectacular throughout, in a disco kind of way, Vincent Canby wrote in The New York Times. But the film’s last 40 minutes “are what it’s all about — and they are breathtaking.” TRIUMPH’S SUMMER ELECTION SPECIAL 2016 on Hulu. Triumph the Insult Comic Dog reports from the conventions, photobombs Anderson Cooper and commandeers a Westboro Baptist Church demonstration. LUTHER on iTunes. His beard is flecked with gray now, his soul bedeviled by the ghost of Alice Morgan. And you can’t help wondering what’s lurking in his head. But when D. C. I. John Luther regains his senses more than a year after abandoning us on Southwark Bridge and swaggers — as only Idris Elba can — into London, you’ll swear you feel the world right itself on its axis. Mr. Elba earned his fourth Emmy nomination for this signature role, which this season amounts to a two-episode hide-and-seek with a cannibalistic serial killer. And for more of Ruth Wilson after her delicious turn as Morgan, check out “The Affair” on Showtime.com and Amazon . OCCUPIED on Netflix. In the near future in Norway, the government decides to address climate change by cutting off oil and gas production, plunging Europe into a crisis and prompting an intervention led by Russia. The United States, meanwhile, has withdrawn from NATO. Henrik Mestad stars as Prime Minister Jesper Berg, determined to stay in power until the situation calms down; Eldar Skar is Hans Martin Djupvik, his bodyguard. The crime writer Jo Nesbo conjured up the situation behind this series, the most expensive ever made in Norway. 2016-08-11 00:00 By

27 Decoding Political Imagery: “Winning the White House: From Press Prints to Selfies” at Southampton Arts Center Related Artists Cornell Capa Elliott Erwitt Around the time of photography’s invention, the painted portrait was still the most widely used form of self-representation, either to the public or for personal purposes. When we inspect political imagery with regard to campaigns, it is clear that candidates have been controlling the nature of visuals made available in the public domain for consumption and influence. For instance, an iconic lithograph of President Abraham Lincoln was actually an intentional composite, where his head was placed on the body of the South Carolina political figure, John C. Calhoun. In an interesting new exhibition, “Winning the White House: From Press Prints to Selfies,” organized in partnership with the International Center of Photography and curated by Susan Carlson and Claartje van Djik at the Southampton Arts Center, the focus is on the timeline of various historical evolutions around political coverage. Political candidates have always been on the heels of the media, especially when it came to the broadcast of their images. Carefully curated press prints and images have been essential in every campaign and with technology having enabled an unthinkable level of intimacy at delivery and consumption points of this visual culture, the medium has also evolved from simple pamphlets and radio broadcasts to intentionally-promoted selfies on the mobile screens via various social networking apps and sites. It is no longer the official photographer of an office as important as the White House who is the only maker of these images. Press images are also in the hands of the candidates themselves, along with several amateur photographers who attend campaigns and are part of the content manufacturing chain. This layered and complex relationship between the candidates’ representations in the media alongside their self-curated projections is what forms the crux of this exhibition and makes it very relevant for every citizen. The ICP in its new location on the Bowery is examining its adaptive role as an institution that not only holds photographic archives but also creates a visual narrative that re-contextualizes all that already exists. This vision is key to examining the juxtaposition of campaign-images with those created by the general public and press in the exhibition. A steady mix of carefully curated photographs of candid moments, behind the scenes at talk shows, public addresses, selfies and posed portraits stare the viewer in their face, throwing open endless possibilities of interpreting the persona of a famed figure. One photograph, given the current political landscape in America, is especially striking. Donald Trump stares coldly into the camera, as several fragments of his stern face are reflected on the mirror-like walled surface appear next to him. The impact is unforgettable, now nearly prophetic, considering that Chris Buck made this photograph in 2006. Another photograph from 2015 frames Trump from the behind as ecstatic supporters surround him to shake hands— his mop of hair now symbolic of his undeniable presence. These and many such photographs expose the controlling nature of political imagery, no matter who the creator or consumer. With millions of images being shared every single day, what matters is how we read them before they write our visual histories. “Winning the White House: From Press Prints to Selfies” runs from August 6, 2016 to September 11, 2016 at Southampton Arts Center. 2016-08-10 22:20 Paroma Mukherjee

28 Volcano Extravaganza 2016 Fiorucci Art Trust / Stromboli From Homer to James Joyce, the peripatetic journey of Ulysses underlied “ I Will Go Where I Don’t Belong ,” the sixth edition of Volcano Extravaganza, led by French artist Camille Henrot with curator Milovan Farronato. Amid ominous waves and strong Aeolian winds, news of canceled ferry boats and people being stranded on their way to the Sicilian island of Stromboli, the week-long festival opened under the appropriate theme of naufrage. I Will Go Where I Don’t Belong In the domestic setting of the Fiorucci Art Trust House, a group exhibition curated by Camille Henrot explored the allure, perils and exoticism of navigation and shipwreck with depth and a touch of humor. Entering the gallery, one was met with a mural drawn by Henrot with swift and incisive strokes, of fantastical creatures and men copulating in extravagant positions among blue waves. Artists’ contributions found their place alongside vintage prints of ships at the mercy of the elements and curious black-and-white photographs of life at sea from Henrot’s family collection. In this context, Mike Nelson’s sculpture Diyagram (Amnesiac beach fire) , Maria Loboda’s Witch’s Ladder , composed of a marine rope intertwined with pheasant feathers, and Isola e Norzi’s Elsewhere , a telescope through which a point in the landscape refers back to itself, conjured the life of a castaway in an otherworldly, spellbound dimension. A YouTube video of sailors in drag parading for a beauty pageant found its counterpoint in a series of prints illustrating the propitiatory ceremony of Crossing the Line. The rite marks the passage of the equatorial line into what was believed to be an inverted world, where people walked upside down, men became women and social ranking was turned on its head. The trepidation and erotic desire connected to a subversion of roles and the possibilities of becoming other set the tone for the week ahead. For the first time, Volcano Extravaganza shifted its focus from the erupting energy of Mount Stromboli to an introspective dimension, by reflecting on the mutable and unsettling condition of ‘belonging’, with evenings dedicated to the exploration of themes such as ‘isolation’, ‘inadequacy’ and ‘danger and eroticism of distances’ among others. The volcano seemed to respond by taking a background role, rumbles and puffs of smoke discretely punctuating the hours. Artist David Horwitz shared aphrodisiac and prophetic herbal infusions, inviting people to record their dreams while on the island — the volcano is known to procure vivid and prescient dreams. Maria Loboda’s enigmatic piece Nobody could explain this, that’s the way it was , a sedan chair whose interior displayed objects left behind — a fur stole, a tub of Advil, slippers, bleached animal bones — appeared each night at a different location like a vision, alluding to a mysterious and elusive presence that seemed to precede one on the journey. Invited artists spent three weeks at the Fiorucci residence “La Lunatica” producing site-specific works. Presentations included screenings, exhibitions, music events in collaboration with Vinyl Factory and other gatherings, all providing a blend of entertainment and opportunities for exchange and reflection. Although the festival is free and open to the public, it is attended mostly by an inner circle of artists, curators, collectors and journalists, none of whom “belong” on the island but many of whom feel compelled to return. It was soon apparent that, whether an artist or participant, one had to surrender to the natural elements and embrace a spirit of jovial improvisation. After days spent in failed attempts to cross the turbulent seas, artist Ragnar Kjartansson found land, much like a Robinson Crusoe washed ashore with a guitar as his only resource. His performance, rearranged from a beach at sunset to the open-air arena of the local nightclub Megà, took on an enthralling and tragicomic air. The occasion deserved bursts of fireworks and a champagne toast as his blasé delivery was accompanied by two enchanting assistants — who acted as living microphone stands — and aided by the bewitching voice of singer Kristín Anna Valtýsdóttir. After all, he pointed out, the best way to reach Stromboli from Iceland should have been through the connected craters of volcanoes as described in Jules Verne’s Journey to the Center of the Earth. The negotiation of interior and exterior worlds, their fluidity and interchange, was a recurrent thread. Having spent long periods of time on Stromboli over the last couple of years, artist Joana Escoval invited participants to follow her for a walk into unknown territory. With the help of volcanological guide Stefano Oliva, the artist created a new trail through the thick vegetation of the mountain, opening up a pathway that would be walked for the first time and then soon disappear, engulfed by wild shrubbery. Away from the tourist- beaten track, the participants set out late and proceeded slowly, a haphazard group ill equipped for trekking but keen on discovering what lay ahead. The path was punctuated by stops in which metal objects created by the artist — who experiments with the effects of metal bonds on her skin, breath and moods — were selected in the landscape. Like antennas receiving signals from the ether, the metal objects were worn or carried along the way, acting as conductors between the energy of the body, the mind and that of the environment. A different kind of negotiation was required at Amira Ghazalla’s powerful delivery of the meandering story Buffalo Head — collectively written by Camille Henrot with Jacob Bromberg, David Horvitz, Maria Loboda and Milovan Farronato — in which participants were elicited to democratically vote at each narrative bifurcation, sending the protagonist into a tale of sexual transformation, disguise, endless wailing and desperation, or a princely marriage. The figure of Karin in the iconic Rossellini movie set on Stromboli — a displaced POW who fails to integrate with the conservative and closed- minded island community — was another point of reference when exploring states of displacement and alienation. Touched by the personal histories of people who found Stromboli a more hospitable place and chose the island — a site of postwar exodus and now a holiday destination — as their home, an important part of the festival involved local inhabitants in a hosting role. For five nights, Strombolians opened their homes for pleasant evenings around mouthwatering home-cooked food and the screening of movies selected by Henrot. In the era of Netflix, gathering together in front of a television transported one back to the times when this was a social and community-reaffirming experience. Under the auspices of a hypnotic red moon, the festival concluded with Exile , a shared nighttime journey back to Naples for a final stop at Camille Henrot’s exhibition Luna di Latte at Madre. The striking 1980s-inspired interior of the neon-lit Siremar restaurant provided an anachronistic and suggestive setting for a “glam” gala. While some passengers were already asleep on deck, David Horvitz distributed the last of his magical infusions, and participants took turns throwing hand-blown glass spheres containing the artist’s breath overboard into the moonlit waves, speculating aloud about the exotic shores to which they might be carried. Whether escaping, arriving, leaving, being stranded or choosing to make a foreign place one’s home, the idea of life’s transience permeated the experience of Volcano Extravaganza, which this year turned away from the spectacular in favor of what felt like a contemplative experience. Thus, although engaged with pressing themes of exile and displacement, the curators chose to steer away from the current crisis in the Mediterranean, opting for a mythical and existential reflection. The evening concluded with Anna Boughigian’s poignant speech, reflecting on the painful and isolating nature of exile as well as the endless possibilities that dislocation affords: “At the end does anybody belong to the planet? I don’t know if anybody really belongs to this planet. So everybody who lives on this planet somehow is in exile.” As the temporary community that was drawn together during the week dispersed to other ports and onward journeys, one could not help feeling the fragile equilibrium of our sheltered, privileged existence. by Silvia Sgualdini 2016-08-10 19:06 www.flashartonline

29 Explosive Artist Wins Space Agency Residency Artwork by Aoife van Linden Tol. Images via ESA, courtesy of Aoife van Linden Tol Explosives materials are creative mediums in the hands of London-based artist Aoife van Linden Tol. In doing so, she has tried to fuse the powers of the natural world, the universe, and human-made objects, with explosives. Using this “explosive media,” van Linden Tol explores her fascination with fields like nature, cosmology, chemistry and physics, resulting in “devastatingly ravaged and torn pieces.” Recently, van Linden Tol became the first artist in the European Space Agency’s arts and science residency , organized in partnership with Ars Electronica. The residency will give van Linden Tol more time to explore time, density and matter with her particular materials. For the ESA residency, van Linden Tol proposed Star Storm , a performance spectacle inspired by “the physical processes that characterise the life of stars.” In the first phase of the residency, van Linden Tol will head to the ESA facility in Noordwijk, Holland, where she will spend time with space scientists researching, “the composition, life cycle, magnetic behavior, and light production of stars, including our Sun.” In the second phase, she will work on designing the performance with Ars Electronica’s Futurelab team in Linz, Austria. A look at van Linden Tol’s work reveals all manner of explosives-driven art, which suggests something interesting afoot with Star Storm. In Scorched , she routed a long trail of explosive fuse through 26 blocks of ice. The fuse flickered in the darkness, gradually working its way through the ice and creating what van Linden Tol calls, “one fluid drawing.” Aoife van Linden Tol In Monolith , van Linden Tol created an explosion in which black powder left two monolith-shaped expressions on the surface of pages from The Bible. And with the works collectively titled Meta , van Linden Tol—influenced by minimalist Chinese calligraphy aesthetic—unleashed powerful explosions on copper and aluminum using a variety of techniques. It was this unique variety that appealed to ESA and Ars Electronica. “What impressed the jury the most was Aoife’s individual approach in asking and exploring fundamental questions about our Universe,” says Gerfried Stocker, Artistic Director at Ars Electronica. “We were greatly impressed by Aoife's exciting and poetic project that will tackle concepts of stellar birth and death in the Universe, blending art and space science into a unique performance,” adds Mark McCaughrean, ESA’s Senior Science Advisor. Just how van Linden Tol will pull off, explosively speaking, the birth and death of a star, is anyone’s guess, but it’s probably safe to assume that nuclear material will not be involved. Click here to see more work by Aoife van Linden Tol. Related: Eclectic Online Show Demystifies High Science with Playful Art Witness Life's Genesis in a Beautiful Underwater World Quantum Theory, Visualized with Neon Goo 2016-08-10 18:05 DJ Pangburn

Total 29 articles. Created at 2016-08-11 18:00