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73 articles, 2016-03-31 06:00 1 Directions & Parking Show Address Pier 94 711 12th Ave (55th Street & the West Side Highway) New York, NY 10019-5399 View Piers 92/94 in a larger map Parking On-Site Parking At Pier 92, 900 onsite parking spaces are available for cars, and... 2016-03-31 06:00 3KB artexponewyork.com 2 Official Logos Proud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Logo for... 2016-03-31 06:00 848Bytes artexponewyork.com 3 Tickets Ticket Options Please Note: Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected]. TRADE ATTENDEE REGISTRATION If you're an industry buyer,... 2016-03-31 06:00 1KB artexponewyork.com 4 Ricardo Lowenberg, 2016 Spotlight Artist Gleaning artistic influence from an amalgam of art history’s greatest painters, Mexico-born painter Ricardo Lowenberg transforms the canvas with his skillful manipulation of shape, color, texture, and rhythm. In his portrayal of the everyday world, Lowenberg transforms scenes of the mundane into spiritually... 2016-03-31 06:00 2KB artexponewyork.com 5 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It's simple: When you send your artwork to any of our shows to exhibit, we'll transport it to the next show... and the next ... and the... 2016-03-31 06:00 1KB artexponewyork.com 6 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-03-31 06:00 602Bytes artexponewyork.com 7 VIP Trade Registration ARTEXPO 2016 VIP OPENING NIGHT PREVIEW PARTY You are cordially invited to Artexpo’s VIP Preview Party, April 14th, 4PM–7PM VIP Trade Registration After April 9, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. Trade... 2016-03-31 06:00 971Bytes artexponewyork.com 8 andrea ponti presents innovative smart suitcase now on kickstarter its superior quality materials, innovative features and unique style sum up to offer a comfortable traveling experience. 2016-03-31 02:15 2KB www.designboom.com 9 edoardo tresoldi resurrects archeological remains in puglia using wire mesh on the site of an ancient church in puglia, edoardo tresoldi has built a monumental mesh installation that simulates the town's architectural quality. 2016-03-31 00:15 2KB www.designboom.com 10 Ordinary Pictures teaser trailer https://www.youtube.com/watch?v=nDigBm_h8RI Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys... 2016-03-31 00:55 860Bytes blogs.walkerart.org 11 VR 2020 study by artefact group the project by artefact group is a series of wearables for gamers who want the most immersive virtual reality experience and interact with others mainly in the virtual space. 2016-03-30 22:05 1KB www.designboom.com

12 Rome to Host Italy’s First Ivory Crush Organized by Elephant Action League, almost a ton of seized ivory will be destroyed during the ceremony at the Circus Maximus. 2016-03-30 22:00 1KB wwd.com 13 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of co... 2016-03-30 18:53 905Bytes blogs.walkerart.org 14 Journalism and Art: Complementary and Collaborative Storytelling Carrie Roy saw it in her head before the conversation was even over—a giant wooden sculpture of the back half of a cow, atop … 2016-03-30 18:53 26KB niemanstoryboard.org 15 Noveller on performing with Iggy Pop and making a guitar sound like a synth – SXSW 2016 FACT caught up with Noveller at SXSW 2016 and talked about her show with Iggy Pop, how to make a guitar sound like a synthesizer and more. 2016-03-31 00:55 1KB www.factmag.com 16 Public Art Saint Paul names new city artist Aaron Dysart starts his new job in April. 2016-03-30 18:53 2KB www.startribune.com 17 Artist Cheng Ran Presents 9-Hour Film Epic at Chi Art Space Chinese contemporary artist Cheng Ran’s nine-hour film “In Course of the Miraculous” (2015) comes to Chi Art Space in Hong Kong. 2016-03-30 21:18 2KB www.blouinartinfo.com 18 Eerie and Sinister Worlds: RONiiA on Their New, Walker- Inspired EP The Minneapolis-based trio RONiiA—Fletcher Barnhill (Joint Custody, FUGITIVE), Nona Marie Invie (Dark Dark Dark, Fugitive), and Mark McGee (Father You See Queen, Marijuana Deathsquads)—will relea... 2016-03-30 18:53 920Bytes blogs.walkerart.org 19 “It Gets Dislocated”: The Evocative Cinema of Chantal Akerman In tribute to the late Chantal Akerman, the Walker presents the three-film series Chantal Akerman: 1950–2015, March 31 through April 3 in the Walker Cinema. Here, University of Minnesota English Pr... 2016-03-31 00:55 919Bytes blogs.walkerart.org 20 minhocão marquise plans to transform são paulo viaduct triptyque has revealed plans for minhocão marquise - a proposal to transform são paulo’s minhocão viaduct with an array of vegetation and plant life. 2016-03-30 20:34 2KB www.designboom.com 21 IFP Film Week Heads to Brooklyn The indie film festival is moving — where else — to Brooklyn. 2016-03-30 20:14 978Bytes wwd.com 22 Time Inc. Forms the InStyle Collection Under Ariel Foxman The InStyle Collection will centralize a handful of fashion-centric sites at the company. 2016-03-30 19:47 3KB wwd.com 23 The World’s Museums Celebrate #MuseumWeek Together Connecting everyone who’s ever used a museum’s free WiFi together at once. 2016-03-30 19:45 2KB thecreatorsproject.vice.com

24 PAD Paris 2016 Opens With Packed Aisles, Varied Sales PAD Paris 2016 Opens With Packed Aisles, Varied Sales 2016-03-30 19:28 5KB www.blouinartinfo.com 25 A Surreal Virtual World Evokes Ai Weiwei's Sculptures Moritz Reichartz's 'Mashup Between the Clouds' looks impossible, but feels so real. 2016-03-30 19:10 2KB thecreatorsproject.vice.com 26 Harris Theater in Chicago Names Brian Brooks as Its Choreographer The Harris Theater for Music and Dance will spend $600,000 over three years to allow Mr. Brooks, its new choreographer in residence, to create works for several different dance companies. 2016-03-30 19:00 2KB rss.nytimes.com 27 Ride a Johnny Quest-Worthy Hoverboard in This Installation Hoverboards, like the Marty McFly kind, not the battery-exploding handle-less scooters. 2016-03-30 18:55 2KB thecreatorsproject.vice.com 28 How Urbex Became the of Trespassing In efforts to put brands into everything, an edgy and illegal exploration becomes just another extreme sport. 2016-03-30 18:55 5KB thecreatorsproject.vice.com 29 Hailey Gates Talks New Docuseries, ‘States of Undress’ The show, premiering on Viceland, follows Gates as she seeks to uncover the world of fashion, beauty and style in remote areas of the world. 2016-03-30 18:53 4KB wwd.com 30 michael william lester animates architectural landmarks with quirky personalities UK based animator and illustrator michael william lester has developed a series of quirky personalities for some of the world's most famous structures. 2016-03-30 18:50 2KB www.designboom.com 31 Banned Chinese Photographer Captures Playful Nudes in Nature Ren Hang’s 'Athens Love' features the Grecian countryside and tasteful nudity. 2016-03-30 18:20 2KB thecreatorsproject.vice.com 32 Irish Arts Center Says It Has Raised $47 Million for New Performance Space The Irish Arts Center wants to build a new performing arts space in Hell’s Kitchen. 2016-03-30 18:00 1KB rss.nytimes.com 33 Marcel Berlanger at Rodolphe Janssen, Brussels Pictures at an Exhibition presents images of one notable show every weekday 2016-03-30 17:13 1KB www.artnews.com 34 Treble—Bright—Daylight Savings: Michael Gallope on Tristan Perich and Vicky Chow To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and o... 2016-03-30 19:58 1015Bytes blogs.walkerart.org 35 Karl Lagerfeld Puts Models in Motion for Chanel Designer casts Mariacarla Boscono and Sarah Brannon for runway campaign. 2016-03-30 16:31 1001Bytes wwd.com

36 schmidt hammer lassen to realize dynamic campus for utrecht university of applied sciences schmidt hammer lassen has won a competition to construct a facility and internal courtyard among a campus of other buildings designed by mecanoo and OMA. 2016-03-30 16:30 2KB www.designboom.com 37 Revolve Taps Mara Hoffman, Seven For All Mankind for Kids E-commerce site Revolve, which carries more than 500 brands, will today launch a kids shops-in-shop at revolve.com. 2016-03-30 16:28 1KB wwd.com 38 Maison Margiela to Invade Hotel Bathrooms — White Robe Included The Paris-based house created amenities for the recently revamped Time New York hotel. 2016-03-30 16:25 1KB wwd.com 39 Wim Wenders to Direct an Opera for Berlin Company Wim Wenders, the filmmaker, will direct Bizet’s “Les Pêcheurs de Perles” for the Berlin’s Staatsoper. 2016-03-30 15:56 2KB rss.nytimes.com 40 Getty $8.5M Grants Pacific Standard TIme- The Getty shells out a generous $8.5M for the second edition of Pacific Standard Time, a regionwide initiative which focuses this time on Latin American art 2016-03-30 15:46 2KB news.artnet.com 41 Kevin Spacey as Richard Nixon Meets Michael Shannon as Elvis Their upcoming film 'Elvis and Nixon' looks ridiculous and amazing. 2016-03-30 15:45 1KB thecreatorsproject.vice.com 42 Hollywood Favorite Akid Brand Jumps From Shoes to Apparel Already a footwear favorite with Gwen Stefani and Selma Blair’s children, Los Angeles- based Akid Brand is launching a clothing line. 2016-03-30 15:38 2KB wwd.com 43 Trip into a Dark Sci-Fi World in ‘Checkpoint Charlie’ [Premiere] Filmmaker Craig Murray turns Ghost Against Ghost’s ethereal EP into a dark fantasy of fluid forms, fabric, and fantasia. 2016-03-30 15:30 5KB thecreatorsproject.vice.com 44 Halle Berry Joins Instagram and Twitter The latest celebrity on social media is Halle Berry, who joined Instagram and Twitter on Tuesday. 2016-03-30 15:28 1KB wwd.com 45 IWC Schaffhausen Issues Limited-Edition Tribeca Film Festival Watch IWC Schaffhausen has pledged its allegiance to the Tribeca Film Festival for a fourth consecutive year. 2016-03-30 15:23 1KB wwd.com 46 Yeasayer Puts the Art in "Art Rock" with David Altmejd Yeasayer is dropping its first album in five years, so we chatted with Chris Keating about building the album around fine art. 2016-03-30 15:22 14KB thecreatorsproject.vice.com 47 Spencer Tunick To Stage Photo in Hull, England This summer, photographer Spencer Tunick is heading to the seaside town of Hull to stage a massive nude installation. And you're invited. 2016-03-30 15:14 2KB news.artnet.com 48 Say Oi! to 40 Years of Punk Photos in London Images of subversive culture go on display at the Barbican as Rockarchive gives nods to 40 years of punk. 2016-03-30 14:35 4KB thecreatorsproject.vice.com 49 Kathryn MacKay Named Associate Film Curator at Berkeley Art Museum and Pacific Film Archive MacKay. COURTESY BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE The Berkeley Art Museum and Pacific Film Archive announced today that Kathryn MacKay will be an 2016-03-30 14:27 1KB www.artnews.com 50 Mercedes-Benz Taps Alexis Mabille to Head Design Competition The designer will head the jury that selects the winner of the inaugural Prix des Étoiles, to be announced on Oct. 4. 2016-03-30 14:04 1KB wwd.com 51 Andy Warhol’s First New York Studio Hits the Real Estate Market Cushman & Wakefield is asking $9.975 million for the 5,000-square-foot former firehouse where Warhol created many of his seminal works from the early 1960s. 2016-03-30 13:39 3KB www.blouinartinfo.com 52 Resurrected on Broadway: ‘An Act of God,’ This Time with Sean Hayes Mr. Hayes will play the title role in this show that imagines God offering a new version of the Ten Commandments for today’s world. 2016-03-30 13:30 2KB rss.nytimes.com 53 Design Dealers: Ole Høstbo, Dansk Møbelkunst Gallery Interview with Ole Høstbo, founder of Dansk Møbelkunst Gallery, which specializes in Danish modern furniture. 2016-03-30 13:28 3KB www.blouinartinfo.com 54 rebecca louise law suspends a spring garden within bikini berlin retail space within the atrium of concept shopping mall bikini berlin, rebecca louise law has deconstructed a blossoming spring garden and suspended it from the ceiling. 2016-03-30 13:15 2KB www.designboom.com 55 Minor Victories Made a Film About Skating Empty Towns in Tory Britain [Premiere] The supergroup's short film looks at memories of growing up, skating about, and trying to feel part of something. 2016-03-30 13:15 4KB thecreatorsproject.vice.com 56 ‘Artists Can Do Anything In Our Restaurant’: Michael Chow on Food, Painting, and Mae West Michael Chow. Michael Chow had been a struggling painter in London for ten years before founding his first restaurant, Mr. Chow, in 1968. He eventually 2016-03-30 13:10 6KB www.artnews.com 57 Q&A: "Head of Passes" Playwright Tarell Alvin McCraney "Head of Passes" writer Tarell Alvin McCraney talks about the personal influences of his new play, currently at that Public Theater. 2016-03-30 13:09 6KB www.blouinartinfo.com 58 eL Seed's Cairo Garbage Collectors Mural Street artist eL Seed has created a massive mural on 50 buildings in Cairo's so-called 'garbage city' to challenge negative perceptions of it. 2016-03-30 13:04 2KB news.artnet.com 59 More Bite Than Bark: William Wegman’s Other Side Wegman has quietly and significantly amassed an oeuvre, stretching back to the early ’70s, that has nothing to do with man’s best friend. 2016-03-30 12:54 5KB www.blouinartinfo.com

64 ezri tarazi designs table that pays tribute to the demolished city of aleppo the designer presents an objective warning through tables, in which two essential human qualities are woven together: sharing and hospitality. 2016-03-30 12:00 2KB www.designboom.com 65 Thelma Golden Joins LACMA Board of Trustees The Los Angeles County Museum of Art (LACMA) has appointed three new talents to their board: Thelma Golden, Caroline Grainge, and Soumaya Slim. 2016-03-30 11:04 2KB news.artnet.com 66 XXI triennale international exhibition - 'STANZE: novel living concepts' at salone del mobile 2016 the 'STANZE. novel living concepts' exhibition is dedicated to the 'state of interior architecture', bringing forth contemporary visions of home living. 2016-03-30 11:00 21KB www.designboom.com 67 Jenny Jaskey on The Artist’s Institute / New York Jenny Jaskey, director and curator of The Artist’s Institute, discusses the organization’s new ventures and its continued pursuit of long-term engagement with artist’s communities and ideas. The Artist’s Institute announced two... 2016-03-30 10:53 3KB www.flashartonline.com 68 National Poo Museum Opens on the Isle of Wight The Isle of Wight Zoo is hosting "Poo at the Zoo," the first exhibition from the educational National Poo Museum from Daniel Roberts and Eccleston George. 2016-03-30 10:14 3KB news.artnet.com 69 Crystal Bridges to Open Contemporary Venue— Crystal Bridges Museum of American Art has bought a former Kraft Foods plant in Bentonville, Arkansas, to house contemporary cultural programming. 2016-03-30 10:04 2KB news.artnet.com 70 The 5 Top Booths at Salon du Dessin Paris 2016 The 5 top Booths at Salon du Dessin Paris 2016-03-30 10:03 4KB www.blouinartinfo.com

71 UK Export Deferral Put on Veronese Masterpiece An export deferral has been placed on a $22 million drawing by Paolo Veronese by UK Culture Minister Ed Vaizey, in an effort to keep it in the UK. 2016-03-30 07:34 3KB news.artnet.com 72 Charges Against Pyotr Pavlensky Altered The criminal charges against Russian radical performer Pyotr Pavlensky have been changed from vandalism to “damaging a cultural heritage site.” Why? 2016-03-30 07:15 2KB news.artnet.com 73 hou de sousa's raise/raze claims victory of dupont underground competition using a dynamic assembly block system of plastic balls, DC's iconic dupont circle is transformed into an eclectic, fully reconfigurable environment. 2016-03-30 06:35 2KB www.designboom.com Articles

73 articles, 2016-03-31 06:00

1 Directions & Parking At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. The M31 and M57 buses run close by Pier 94. Click on the Metro Bus Schedule for map & schedule details. 2016-03-31 06:00 artexponewyork.com

2 Official Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Use this HTML code to add the banner to your website: 2016-03-31 06:00 artexponewyork.com

3 Tickets Please Note : Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected] . If you’re an industry buyer, such as a designer, architect, or gallery owner, register online. After April 12th, complimentary trade registration tickets will be available onsite only. Trade attendees must bring the following identification to Artexpo New York: • Personalized business card (with company and employee name) • Photo ID After April 12, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. 2016-03-31 06:00 artexponewyork.com

4 Ricardo Lowenberg, 2016 Spotlight Artist Gleaning artistic influence from an amalgam of art history’s greatest painters, Mexico-born painter Ricardo Lowenberg transforms the canvas with his skillful manipulation of shape, color, texture, and rhythm. In his portrayal of the everyday world, Lowenberg transforms scenes of the mundane into spiritually infused pieces of art. Strongly influenced by the work of Frida Kahlo, Lowenberg uses dreamlike colors, symbolic props, and textural paint application to produce a modern surrealism relevant to contemporary life in Mexico City. In much of his figurative work, Lowenberg concentrates on the human face to capture the emotions, thoughts, and subtle nuances portrayed within the telling eyes of the subject. His still life and landscape paintings portray a post-Impressionist sensibility reminiscent of those late 19th century masters of hue and light, including Cézanne and Gauguin. Using a refined and muted color palette, Lowenberg carefully models the form, to create a surprising canvas that is dually flat and three-dimensional. His work has been collected and exhibited throughout the U. S., Mexico, and Europe. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Ricardo Lowenberg is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-03-31 06:00 lmullikin

5 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It’s simple: When you send your artwork to any of our shows to exhibit, we’ll transport it to the next show … and the next … and the next, saving you thousands of dollars in the process. Just imagine the convenience—after Artexpo New York this April, we’ll carefully store your artwork and ship it to whichever Redwood Media Group show you’ll be exhibiting at next. Just pick the show and we’ll make it happen! Exhibitors, don’t miss the opportunity to save big with the Free Freight Program! Call us today to take advantage of this exclusive deal. 2016-03-31 06:00 artexponewyork.com

6 Show Guide Ad Upload Please include your gallery name on all files. Files larger than 15MB can be sent to: [email protected], using one of these free services: • Dropbox: www.dropbox.com • WeTransfer: https://www.wetransfer.com/ • Hightail: https: https://www.hightail.com/ 2016-03-31 06:00 artexponewyork.com

7 VIP Trade Registration You are cordially invited to Artexpo’s VIP Preview Party, April 14th, 4PM–7PM After April 9, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. Trade attendees must bring the following identification to Artexpo New York: Join us for our opening night party from 4 – 7 p.m. Thursday, April 23 and enjoy cocktails and exciting events! 2016-03-31 06:00 artexponewyork.com

8 andrea ponti presents innovative smart suitcase now on kickstarter andrea ponti presents innovative smart suitcase now on kickstarter (above) polycarbonate, aluminum and leather alternate seamlessly for a harmonious look all images courtesy of andrea ponti italian designer andrea ponti has launched a kickstarter campaign to fund ‘floatti’, a suitcase that references the concept of travel as movement, transition, and transformation. its superior quality materials, innovative features and unique style sum up to offer a comfortable traveling experience. ‘travel as transition’ is conveyed by the use of materials: polycarbonate, aluminum and leather alternate seamlessly for a harmonious look that is lightweight and extremely durable. the genuine leather trims give it a vintage accent and a familiar feel, while increasing its usability and comfort. ‘travel as movement’ has been reinterpreted in the suitcase with its innovative suspension system. ‘floatti’ is the first bag with one suspension for both pushing and pulling motions which ensures multi-directional rolling, great stability and smooth maneuverability, even on the bumpiest surface. its handbag tray, with a recessed top surface and retractable strap, is designed to hold items securely in place, even on the move. the handbag tray with recessed top surface is designed to hold items securely ‘travel as transformation and connection’ is captured in the ‘floatti’ embedded technologies and hi-tech features. the smart handle gives immediate hassle-free access to phones: making calls, texting, launching maps… everything is possible just by tapping the retractable pull handle. the integrate scale is extremely useful and discrete: it displays the weight only when the suitcase is lifted by the handle. the onboard battery can fully charge and iPhone up to seven times or a MacBook up to 1.5 times, and the detachable electronics compartment makes it possible to take all electronics through security in one effortless motion. the suitcase references the concept of travel as transition and transformation the smart handle gives immediate hassle-free access to phones two aluminum hooks located on the handle hold bags and clothes a new approach to travel bags that combines form and function designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-03-31 02:15 Andrea Ponti

9 edoardo tresoldi resurrects archeological remains in puglia using wire mesh in the southern italian town of puglia, the historic park of siponto is known as a site of great archaeological significance. abandoned after earthquakes in the 13th century, the area formerly assumed the role as one of the principal harbors in the region. alongside several artifacts emblematic of apulian-romanesque architecture, the land hosts the ancient remains of an early christian basilica, illustrating the town’s role as one of the most important dioceses in the region. the installation is located in the archaeological park of siponto in puglia on the site of this early church, italian artist edoardo tresoldi has constructed a monumental wire mesh installation that simulates the ancient town’s architectural quality. the sculpture, titled ‘basilica di siponto’, occupies the vast space as a light and transparent volume, resurrecting the archaeological remains as a sculptural form for visitors to experience and explore. layers of mesh metal intersect and overlap to form cavernous archways, soaring columns and a romanesque roof. together with MiBACT (the ministry of cultural heritage and activities) and the archaeology superintendence of puglia, tresoldi has added his contemporary artwork to the archaeological context, giving new life to the ancient church. ‘the work of edoardo tresoldi appears as a majestic architectural sculpture that tells the volume of the existing early christian church and, at the same time, is able to vivify, and update the relationship between the ancient and the contemporary,’ curator simone pallotta says. ‘it is a work that, breaking up the secular controversy of the primacy arts, summarizes two complementary languages into a single, breathtaking scenery.’ the sculptural work is built on the remains of an early christian church light and transparent mesh sheets allow visitors to observe the surrounding landscape each of the metal pieces has been sculpted to create an architectural form ‘basilica di siponto’ occupies the vast space as a light and transparent volume the installation seeks to give new life to the ancient church layers of sculpted mesh form an architectural outline within the vast space mesh figures are integrated into the sculptural landscape soaring columns are made from the sculptural material the installation becomes an almost ghost-like monument to the original structure 2016-03-31 00:15 Nina Azzarello

10 Ordinary Pictures teaser trailer Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys a range of conceptual picture- based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. You can take a walkthrough of the exhibition here. […] 2016-03-31 00:55 By

11 VR 2020 study by artefact group artefact group believe virtual reality experiences can be adaptive to any situation and cover a range of more or less inclusive or immersive experiences. so they set out and devised a concept hardware experience feasible for VR in 2020. called ‘shadow’, the project is a series of wearables for gamers who want the most immersive virtual reality experience and interact with others mainly in the virtual space. the computer and battery are built into the hood and shoulder cloak, untethering the user from cables. going beyond just sight, ‘shadow’ incorporates hearing and touch through sensors in the arms, hands and body to bring the experience to a new level of immersion. a separate headset called ‘light’ is for groups of friends who want to experience VR together. simple and sharable, it allows the user to stay connected not only to the virtual world but to the people and environment around her. a front facing camera allows users to see their surroundings, while a sharable mode shows others the content they are experiencing. sound is delivered through adjustable a bone conduction system that still allows for ambient sounds to travel. the front facing camera allows users to see their environment friends can interact with the user’s VR surroundings 2016-03-30 22:05 Piotr Boruslawski

12 Rome to Host Italy’s First Ivory Crush The Italian Ministry of Environment and the Italian Forest Police teamed with the American nonprofit organization Elephant Action League for the event, where almost a ton of seized ivory, including tusks and carved objects will first be crushed by an industrial stone crusher and then destroyed by a steamroller to be disposed permanently. “Behind elephant poaching and ivory trafficking there is a huge human toll and corruption at all levels from money laundering to weapons trafficking, and the exploitation of entire local communities,” said EAL cofounder Andrea Costa, who is also the coauthor of the undercover investigation “Africa’s White Gold of Jihad,” which linked the Somali terrorist group Al- Shabaab to illegal ivory trafficking. Gian Luca Galletti, Italy’s minister of environment, and the head of the Italian Forest Police, Cesare Patrone, will attend the ceremony, as well as a representative of the Kenyan government to pass on the baton from Italy to the next public destruction in Kenya on April 30, where 120 tons of ivory — the biggest amount ever — will be burned. “We are very proud to have gained the support of the Italian government for this initiative where a symbolic amount of seized ivory will be destroyed,” said EAL cofounder Gilda Moratti. “The Italian governmental institutions’ presence is a testament to the strength of our commitment and the value of our project.” 2016-03-30 22:00 Lucie Janik

13 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of contemporary issues, such as the ethics of interface design, the implications of smart homes regarding privacy, the nature of time in digital space, the WYSIWYG paradigm, handmade computing, the haptic joy […] 2016-03-30 18:53 By

14 Journalism and Art: Complementary and Collaborative Storytelling Alex Nabaum C arrie Roy saw it in her head before the conversation was even over—a giant wooden sculpture of the back half of a cow, atop a square brown plinth of manure. She was sitting in a bar in Madison, Wisconsin, talking over beers with Kate Golden, who at the time was multimedia director at the Wisconsin Center for Investigative Journalism. Golden was lamenting the difficulty of representing statistics in ways that get people to pay attention, like the fact that Brown County, Wisconsin is home to more than 100,000 cows (more than half a cow per acre of farmland), which each produce up to 100 pounds of manure a day. That waste threatens to pollute private wells in the area. “These numbers can have astonishing impact when you encounter them for the first time, but they don’t translate well into the story,” says Golden. “Too many numbers make people’s heads swim.” Roy, an artist who grew up in rural North Dakota and concentrated in visual and environmental studies at Harvard, creates work that helps people navigate numbers. In the spring of 2015, she and Golden packed a half-dozen artworks —including the aforementioned cow, a wool sculpture in the colors of a brook trout depicting the “fuzziness” of climate change statistics, and a farm faucet mounted on a pedestal of different- colored woods to represent pesticide contamination—into a U-Haul for a seven-city Wisconsin Center for Investigative Journalism roadshow. Roy and Golden went to Madison, Eau Claire, Green Bay, and La Crosse, among other cities, where Roy’s visualizations of the state’s water issues sparked conversations about pollution, conservation, and other environmental problems. Carrie Roy’s sculpture draws attention to the link between cow manure and water pollution Carrie Roy The exhibits brought in people who may never read through an investigative piece—or go to a typical art show for that matter. Roy and Golden found themselves talking with a retired water engineer, a veterinarian who was also a woodworker, and a beer brewer concerned about clean water, among others, each spurred by the art to talk about the issues around water use in the state. “We ended up getting a lot of people who were thoughtful about these issues,” says Golden. “I’m interested in media that people can feel and see in person because it makes things more real for them. Sometimes charts and graphs can really lack an emotional connection. When [Roy] turns them into art, it helps connect those numbers to what is really happening and affecting people.” The Wisconsin Center for Investigative Journalism project is one example of how journalists are employing the arts to get important issues off the page and screen and into people’s lives. At the same time, artists are beginning to employ reporting techniques, using interviews, public records, documentary footage, and photo captions to create work addressing social, economic, and political topics that usually fall within the purview of journalism. In the early 2000s, the Russian art collective Chto Delat (“What Is To Be Done?”) published a newspaper filled with trenchant political commentary on post-Soviet Russia. Since 2008, Chicago-based Temporary Services has produced over 100 booklets, pamphlets, and newspapers—through its publishing house, Half Letter Press —that frequently criticize the art world’s exploitation of unpaid labor. More recently, Dushko Petrovich, a surrealist painter and adjunct professor at Yale, released a one-issue satirical newspaper called Adjunct Commuter Weekly (subsequently relaunched as the webzine ACW ). The publication highlights the predicaments of legions of part-time professors who travel between campuses by plane and train to make ends meet. Through projects like these, journalists and artists alike are finding complementary ways to tell stories and engage audiences. Art and journalism began converging sometime around the French Revolution, when images representing contemporary social conditions and politics began to appear in the work of artists like Francisco Goya and J. M. W. Turner. For his 1819 oil painting “ The Raft of the Medusa ,” depicting with savage realism the wreck of a French frigate and subsequent stranding of the crew, in which all but 10 of the 150 people onboard perished, Théodore Géricault exhaustively interviewed two of the survivors. And, of course, political cartoons have been a staple of American journalism since Ben Franklin published a fractured snake with the caption “ Join, or Die, ” creating a mashup of art, satire, and politics that has been distilling complex issues down to pithy images ever since. In the 20th century, photographers Walker Evans and Dorothea Lange documented the poverty of the Great Depression for the Farm Security Administration with bleak but highly stylized images, while Henri Cartier-Bresson made pictures that are works of both art and reportage. Even Norman Rockwell—best known for his saccharine lithographs of rural Americana for The Saturday Evening Post—painted a series of canvasses in the early 1960s exploring the civil rights struggle. By the 1960s and ’70s, conceptual artists like Hans Haacke and Dan Graham were using the language and structure of investigative journalism to comment on controversial social and political topics. In a project at the Museum of Modern Art , Haacke set up two plexiglass ballot boxes and, using the language of newspaper polls, asked museumgoers to voice an opinion about the fact that New York Governor Nelson Rockefeller, who was a museum trustee, had not denounced President Nixon’s bombing of Cambodia. In another show, this one at the Guggenheim, Haacke used public records to expose the real estate and financial networks behind one of the Lower East Side’s biggest slumlords, presenting the information with photographs of buildings, captions, charts, and graphs. The museum cancelled the show before it opened, deeming it “inadequate” for an art institution. “All art bears witness in some way to history or individual experience,” says Jennifer Liese, director of the writing center at Rhode Island School of Design and editor of “Artists Writing, 2000–2015,” a collection of writing by contemporary artists due out this summer. The difference between journalists and artists, she argues, is “art does this explicitly and intentionally” while journalism tries to take a more objective, or at least dispassionate, view. “Journalists and artists in a lot of ways play a similar role in society,” says Heather Chaplin, director of the Journalism + Design program at the New School in New York. “They are both supposed to be telling us the truth about our society even if it’s truth we don’t want to hear.” While journalism in its most traditional sense may have focused on factual reportage, there has always been an artfulness to the craft, from how reporters order their material to narrative storytelling techniques. Chaplin argues that digital technology and increased competition have led journalists to employ more creative techniques to capture viewers’ attention, including multimedia storytelling, stylized visuals, and interactive techniques to create a more personal and emotional experience. “It’s no longer possible to say people are going to read this just because it’s important,” she says. To present statistics in a way that fosters public engagement, hire an artist S uch “aesthetic journalism” has dovetailed with a burgeoning activist impulse by artists to engage with politics and world events. If journalism marshals its techniques to provide a view on the world, then art provides a “view on the view,” a way to question our assumptions about how we perceive the world, says Alfredo Cramerotti, director of MOSTYN, a publicly funded art gallery in Wales, and author of the book “ Aesthetic Journalism.” “Journalism proposes a certain perspective and uses a number of elements to make it valid. The work of an artist and the value of artistic practice is in taking a perspective and shifting it slightly so it becomes something else.” In creating that shift in perspective, argues Cramerotti, artists have long assumed the tools and techniques of journalism without making them apparent—or perhaps without even realizing it themselves. Cramerotti had firsthand experience with this when, in 2003, he was commissioned to make a work about a bridge in Istanbul connecting Europe and Asia , and produced a sound installation involving interviews with residents. “I realized I was commissioned to make an artwork, but came back with a journalistic installation,” he says. The same digital technology that has allowed journalists to experiment with new artistic forms has also propelled artists to experiment with new means of documentary production and dissemination. One artist who has played with such forms is Santiago Mostyn, who was born in San Francisco, grew up in Zimbabwe, Grenada, and Trinidad, studied at Yale, and is currently based in Stockholm. Back in 2012, Mostyn was in a month-long residency in Istanbul, and asked people what places in the city were special to them. By chance, they coincided with places the Turkish government monitored via security cameras, which could be viewed online. Mostyn went to those places and was filmed himself. In 2013, he was back in Stockholm when the Gezi Park protests broke out in Istanbul. He immediately went to the surveillance websites again and began editing footage of the battles between protesters and police—then put them together in an art piece called “ Double Take: Istanbul’s Streets Then and Now ,” which juxtaposes images of relaxed crowds shopping in urban markets with riot police hosing down protesters with water cannons. As much as it foregrounds the familiar scenes of violence, the contrast equally draws the viewer’s attention to the normalcy of the previous footage, humanizing the scene in a way most media reports of the Middle East and surrounding areas don’t. He is currently at work on a project in which he rowed an open boat across the sea from Turkey to Greece, a treacherous crossing for migrants, changing the view of that area from the one we are familiar with from news footage. Mostyn’s work was commissioned by Creative Time Reports , a Web-based platform for artists to comment on national and world affairs. The publication—a project of Creative Time , an organization that has commissioned public art in New York City for decades—has partnered with The Guardian, Foreign Policy, and Al Jazeera, among other titles, to publish articles, on everything from government surveillance to mass incarceration to racial discrimination, by artists like Ai Weiwei and Marina Abramovic. “We’ve always believed in the power of artist’s voices to weigh in on society and bring something unique and engaging to the public,” says Marisa Mazria Katz, a journalist who has been published in The New York Times, Financial Times, and elsewhere, and has edited the site for four years. Another artist the organization has commissioned is Trevor Paglen, who has used photography and filmmaking to investigate surveillance and security issues. For “ Watching the Watchers ,” Paglen flew a helicopter over the headquarters of the National Security Agency (NSA) and other U. S. government surveillance agencies to capture nighttime aerial photographs of their campuses. He published the images on The Intercept , a news site—created by Glenn Greenwald, Laura Poitras, and Jeremy Scahill—that focuses on government secrecy. Paglen’s landscapes are moody and deliberately sinister, revealing the massive size of the agencies at the same time failing to provide any glimpse at what goes on inside. The artworks present a view of the U. S. surveillance apparatus dramatically different than the one that would appear in a strictly journalistic work, says Katz: “A journalist can write about the billions of dollars these agencies are receiving and unpack a trove of rare documents, but what [Paglen] strives to do is create a visual culture around something that is so obscure.” Trevor Paglen intends to provoke questioning with his images of the NSA’s campus Trevor Paglen I n past work, Paglen partnered with investigative journalist A. C. Thompson, then with SF Weekly and now with ProPublica, to research and photograph sites related to the U. S. government’s “extraordinary rendition” program, in which suspected terrorists were held without charge and interrogated at secret locations outside the United States. That work was published in 2006 in “ Torture Taxi.” While Paglen follows journalistic ethics in fact-checking information and not misrepresenting himself during reporting, he doesn’t see himself as journalist. “Art doesn’t necessarily have to give you an answer. Images don’t explain themselves really. For me, it’s more about developing a way of seeing rather than a way of understanding,” he says. In fact, he sees his role more as raising questions in the minds of his audience than providing any kind of answer or explanation. Others have seen art photography and photojournalism as less in opposition to one another so much as on a continuum. “The image has an uncanny authority which can cut both ways,” says Susan Sterner, a former staff photographer for the Associated Press who heads the New Media Photojournalism program at the Corcoran School of the Arts & Design in Washington, D. C. On the one hand, a photo can seem like a much more authoritative vision of reality; on the other, a photograph always includes an element of contrivance that moves it toward the realm of art “through the lines you are choosing and what you decide to photograph.” Sterner’s program consciously works to break down distinctions between art and journalism, helping journalists to experiment with new ways to make their images stand out. As a successful example of that trend, she points to Washington Post journalist Dave Burnett, who shot the 2004 presidential campaign with an old-school 4×5 black-and-white camera. With the large-size negatives he was able to produce photos with much greater detail and contrast in a way that seems to slow down and isolate the subject in space. “You can create more nuanced work when you allow yourself to think outside the profession’s boxes,” says Sterner. More recently, Dallas Morning News photographer Mona Reeder set out in a photo essay called “ The Bottom Line ” to illustrate Texas’s skyrocketing youth incarceration rate and other statistics with provocative, highly stylized photos of children in prison and inmates on death row. Outside of some ethical guidelines—for example, that photojournalists in general document events as they transpire, while fine art photographers are more apt to compose and orchestrate the subjects of their images—Sterner says that the difference between the genres has much more to do with audience and intent, and sometimes, simply the venue in which it’s shown. We look at a photo very differently in a newspaper from one on a gallery wall. “When something is on the wall, the scale changes,” she says. “You have to move and approach it. It’s a more physical experience. You are meant to lose yourself in the work.” Visitors to the Laura Poitras exhibit are invited to gaze at a video of the skies over Yemen, Somalia, and Pakistan where drone wars are conducted Jake Naughton/The New York Times/Redux T hat’s certainly the feeling of a new art exhibit at the Whitney Museum of Art in New York by journalist and filmmaker Laura Poitras, who directed the documentary “ Citizenfour ” about NSA whistleblower Edward Snowden. The exhibition “ Astro Noise ,” on view through May 1, pulls viewers into the last decade and a half of the “war on terror” in a visceral way, starting with video footage of Ground Zero following the 9/11 attacks and interrogations in Afghanistan put side by side in harrowing confusion. Visitors continue through darkened hallways peering through thin slats at classified NSA and CIA documents, or lying down on a bed to stare up at the sky as drones fly by. They view images of Poitras’s own surveillance, obtained through Freedom of Information Act requests to the government. And at the end of the exhibition, they discover that they too have been subject to surveillance, as images of other museumgoers lying on the bed are broadcast to them, and coded information from their own cellphones scrolls down a screen. The end result is an experience that covers much of the ground of Poitras’s print and documentary work, but in a more physical, personal, and emotional way. An art exhibit by Laura Poitras builds on her print and documentary work, but in a more personal and physical way That’s also true of the arresting drawings of Molly Crabapple , an artist who has travelled from Gaza to Guantánamo Bay to write and illustrate pieces for The New York Times, Vice, and Vanity Fair. As a teen, Crabapple was drawn to the work of Henri de Toulouse-Lautrec, who hung out in cafes with writers and anarchists and painted the demimonde of Paris. “I always dreamed about this role for artists as very much involved in the world and as documentarians of it,” she says. “I am much less interested in art that is of someone’s internal state but impenetrable to others.” Back in 2011, Crabapple was living across from Zuccotti Park as the Occupy Wall Street protests broke out. Her apartment became an ad hoc pressroom for reporters who needed a place to plug in their laptops. “The more time I spent with journalists,” she writes in her recently published memoir, “ Drawing Blood ,” “the more their techniques rubbed off on me—like glitter, or a rash.” Her work became increasingly political, and she spent weeks researching dense allegorical works taking on topics from the Tunisian revolution to the global financial crisis. In 2012, she started practicing journalism herself, travelling to Greece with British journalist Laurie Penny to create the e-book “ Discordia ,” about the Greek debt crisis. Crabapple sketched subjects while Penny interviewed them. “It’s much easier to disarm people when you are sketching,” Crabapple says. “People feel very alienated when they have a camera shoved in their face. I am kind of quiet when I am doing a sketch, and people will really talk to me.” She also feels her artist’s eye allows her to notice details other journalists might miss—like a chart at Guantánamo Bay encouraging guards to rate their “spiritual health” on a five-color scale from red to green—and by sketching scenes she can cause a viewer to look differently at themselves and the issues. With her sketches based on a photographs, Molly Crabapple provides Vanity Fair readers with a look at wartime scenes from Aleppo, Syria Molly Crabapple. Originally Published in Vanity Fair C rabapple’s latest project for Vanity Fair involved taking cell phone photos of daily life in Syria and Iraq from an anonymous source in Raqqa and Mosul and transforming them into colorful sketches. “Usually what they are documenting is violent and graphic, and very often there is not a lot of dignity to them,” she says of the material with which she worked. By taking a fleeting image and turning it into a studied—even beautiful—work of art, she hopes to restore some of that dignity and cause readers to look longer at images from which they might ordinarily be inclined to look away. Each sketch took more than eight hours for Crabapple to make; each has only a few colors, with some parts finely detailed and other parts hastily sketched, with ink blotches scattered across the page. Since publishing the first part of the series in the fall of 2014, however, Vanity Fair story editor Kia Makarechi says the publication has been overwhelmed by the positive response, with many people sharing the images on social media. “Many people remarked on how beautiful the package was,” says Makarechi, a strange response for what is essentially a piece of war reporting. The contrast between the ugliness of the subject matter and the attractiveness of Crabapple’s art, however, helped draw readers into the package, including the accompanying text by Crabapple’s source, who wrote a heartbreaking essay about how rebel rule has transformed life in Aleppo. Jointly hiring an artist-in-residence is a first for three Alabama newspapers While artists like Crabapple, Mostyn, and Paglen use journalistic techniques to create their unique views of the world, some news outlets are using artistic techniques to change the way they connect with audiences. Hoping to expand the scope of its storytelling, the Alabama Media Group, which runs The Birmingham News, The Huntsville Times, and Mobile’s Press-Register, as well as statewide news website AL.com, hired its first artist-in-residence—Jennifer Crandall, a video journalist who produced a successful series of short profiles for The Washington Post called onBeing , featuring a diverse range of Washingtonians sharing their “musings, passions, histories, and quirks.” Each video features a person—a Muslim beauty pageant winner, a 7- year-old fan of rap and metal, a white guy in a blazer talking about his pet peeves—presented against a white background simply talking to the camera about what his or her life is like. In the aggregate, they are touching, intimate, surprising, and strangely addictive. It’s no surprise, meanwhile, to hear that, although she attended journalism school at the University of Missouri, Crandall never quite felt at home as a journalist. “I’ve always been someone who has been asked to fit within these boundaries,” she says. “I straddle them somehow.” For the Alabama Media Group, she crossed boundaries, literally and figuratively, as she traversed the state, recruiting Alabamians for a video project about their state and Walt Whitman. Participants read one of the 52 sections in Walt Whitman’s “ Song of Myself ,” which Crandall invited them to do in the way they wanted and in an environment of their own choosing —from high school football games to horse farms to living room easy chairs. Crandall chose Whitman, a white Northerner who worked as a nurse during the Civil War, to play with the contradictions and complications of American identity. “Walt Whitman is seen as the American writer, and yet he’s a Yankee,” she says. “I wanted to cheekily co-opt that.” As the Alabamians— young and old, black and white—read the words, they let down their guard revealing a more vulnerable side of themselves, at the same time the poet’s words offer a grand celebration of humanity—making the videos feel individual and universal at the same time. The Alabama Media Group plans to release the 52 sections serially over the next year, as a collaborative project among the artist, the journalists, and citizens. The project “allows this to feel so much bigger than when people narrowly speak from their own experiences,” says Michelle Holmes, vice president of content at Alabama Media Group, citing Whitman’s exhortation that his readers, “not look through my eyes” but “listen to all sides and filter them from yourself.” By asking readers to step outside their comfort zones, Holmes and Crandall hope viewers will be inspired to consider, even re-consider, what it means to be an Alabamian, an American, and a human being—something both great art and great journalism do especially well. Artists and journalists went mobile to engage with Oakland residents Bibiana Bauer While journalists have experimented with reader collaboration through citizen journalism and crowdsourced news, “social practice art”—which emphasizes working with communities, often those marginalized or disenfranchised—offers an avenue through which readers can engage with news stories on a more personal and emotional level. In many cases, the art lies as much in the process of creating the piece as in any product resulting from it. That was certainly the case with “ Eyes on Oakland ,” a collaboration between the Bay Area’s Center for Investigative Reporting (CIR) and the Oakland-based social practice art collective, Mobile Arts Platform. For several years, CIR had been reporting on the increasing use of surveillance technology at the Port of Oakland. What started as a network of cameras at the port had “ballooned,” according to CIR’s reporting, into a citywide network comprising closed-circuit cameras, license-plate readers, microphones to detect gunshot locations, cell phone calls, and social media into a unified police database, with little public debate about its use. When Mobile Arts Platform’s Chris Treggiari was invited to participate in an art exhibit at the Oakland Museum of California under the theme “ Who Is Oakland? ” the two groups saw a unique opportunity to collaborate. The team outfitted a van as a sort of mobile newsroom, parking it in locations in the neighborhood and at commercial centers. Cole Goins, a CIR senior manager for engagement and community collaborations, greeted visitors with a clipboard, asking them to take a quiz to test their knowledge of surveillance technology. Participants could also use a screen-printing station in the van to make signs reading, “Surveillance is …” and write in their responses, which included lines like “A tool that cuts” and “In my pocket.” The reactions ranged from outrage over the extent of surveillance to support in the name of public safety. Treggiari photographed participants with the signs they’d made and displayed the images as part of the “Who Is Oakland?” exhibit. “I am not advocating for whether these tools should be used or not used,” says Goins, “but the public has a right to know how they are being used and what they are being used for.” While the project was a collaboration among artists and journalists, ultimately the biggest collaboration was with members of the public. Rather than the one-way mode of transmission typical with an article, participants actively created the story as they contributed their own experiences. “We were giving people information in a way that they can process it and internalize it and create something with it,” says Goins. “We are not telling people what to create. We are providing the pieces and the platform so they can create and respond and act for themselves. If you think of journalism as the collection and dissemination of information, we were doing that. That information is going to stick with them much more than just another thing they read online.” — Michael Blanding 2016-03-30 18:53 @michaelblanding

15 15 Noveller on performing with Iggy Pop and making a guitar sound like a synth – SXSW 2016 Mar 24 2016 This year, FACT TV’s Bryan McKay, Claire Lobenfeld and John Twells packed up and headed to Austin, Texas for South By Southwest 2016 and talked to some of the festival’s most exciting artists. Noveller’s shimmering ambient textures had us mesmerized on last year’s epic Fantastic Planet , and since then she’s not only toured with St. Vincent, but been asked to tour with the one-and- only Iggy Pop. We caught up with her at SXSW following her debut performance with Iggy, and she caught us up on the experience (“Iggy walks in and I just dropped the phone and stood up”) as well as telling us what’s in store for the next album. Fantastic Planet is out now on Fire Records. Read next: Noveller details her process in a talk with FACT’s Ned Raggett . 2016-03-31 00:55 www.factmag

16 Public Art Saint Paul names new city artist Public Art Saint Paul , which seeks to bring art into everyday life, has named Aaron Dysart as its new City Artist. He will join current resident City Artist Amanda Lovelee in April. Since 2005, the City Artist program has integrated art and the work of artists into the daily and long-term work of city departments. "City Artists create a new artistic, social, and civic practice. Minnesota’s capital city is sprinkled with projects dreamed up and implemented by City Artists, including Everyday Poems for City Sidewalk , Urban Flower Field and Pop Up Meeting ," according to an announcement from Public Art Saint Paul. Dysart brings 14 years of experience in visual art "focused on environmental preservation, civic engagement, and exposing and simplifying hidden infrastructure and systems," officials said. His connection with Public Art Saint Paul dates back to 2008 when he was a Sustainable Art- Making Fellow, which led him to a fellowship in the City Art Collaboratory program. Most recently, Dysart was one of four artists involved with District Energy St. Paul on the Plume Project , an idea that emerged from field trips and conversations in the Collaboratory and was funded by a Knight Foundation Arts Challenge grant. “My work stems from a fascination with how an individual relates to their surroundings and furthermore how a self-aware part of a system can understand their role in the larger interconnectivity of this system,” Dysart said. “The many projects that have come out of the City Artist program have always captivated me and this position is truly a dream come true.” He has won awards from Franconia Sculpture Park and the Minnesota State Arts Board. His work has been featured regionally and nationally at Northern Spark Festival, the Walker Art Center, Minneapolis Institute of Art and Josephine Sculpture Park. He has a BFA and MFA in sculpture and has taught sculpture and other art classes for ten years at Anoka Ramsey Community College. “Aaron brings an inventive mind to our organization and a record of increasingly complex and beautiful art projects,” said Colleen Sheehy, Public Art Saint Paul executive director. “He is a real maker, but also a strong conceptualizer. That is exactly what will propel our work forward, working inside the City of St. Paul and thinking about how we can integrate art into City systems to create a more vibrant and equitable community. I’m excited to see the ideas and projects that Aaron will propose.” 2016-03-30 18:53 www.startribune

17 Artist Cheng Ran Presents 9-Hour Film Epic at Chi Art Space Related Venues Chi Art Space Artists Cheng Ran Chi Art Space in Hong Kong is screening Cheng Ran’s nine-hour film “In Course of the Miraculous” (2015) as part of a solo show of the Chinese contemporary artist’s film and video work. The film, created by the artist in collaboration with the K11 Art Foundation, interweaves the stories of true-life adventures that ended in mysterious circumstances. Through scenes shot in locations from Tibet to Amsterdam, as well as a studio water tank in Beijing, Cheng tells the stories of three expeditions: that of George Mallory, a mountaineer who disappeared while climbing Mount Everest in 1924 and whose body was discovered nearly 90 years later at 650 meters from the top; that of 33 men on a trawler that went missing in 2011 only to turn up later carrying just 11 crewmembers; and that of Bas Jan Ader, a performance artist who during the performance of the 1975 piece that gives the film its name vanished as he sailed a small boat across the Atlantic. In the film, what starts as a factual retelling of events becomes increasingly fictionalized as Cheng delves into the unknowns of these strange tales. Speaking before a screening at the Istanbul Biennial in 2015, Cheng said that his inspiration for the film had been highly acclaimed, lengthy epics such as “Shoah” (1985), Bela Tarr’s “Sátántangó” (1994), and “Tie Xi Qu: West of the Tracks” (2003), from fellow Chinese filmmaker Bing Wang. “At one point, I developed an obsession with the concept of an ‘adventure’ and had an irrepressible urge to develop, produce, and direct a nine-hour film,” Cheng said, referencing these classics. “Although they cross genres and have been divergently executed, they were all very powerful.” 2016-03-30 21:18 Samuel Spencer

18 Eerie and Sinister Worlds: RONiiA on Their New, Walker- Inspired EP The Minneapolis-based trio RONiiA—Fletcher Barnhill (Joint Custody, FUGITIVE), Nona Marie Invie (Dark Dark Dark, Fugitive), and Mark McGee (Father You See Queen, Marijuana Deathsquads)—will release a new EP, Sisters, this Friday, March 25. Filled with richly atmospheric music, it derives its hypnotic power through its intricate dance between subtle intimation and emotional verve. On tracks […] 2016-03-30 18:53 By

19 19 “It Gets Dislocated”: The Evocative Cinema of Chantal Akerman In tribute to the late Chantal Akerman, the Walker presents the three- film series Chantal Akerman: 1950– 2015, March 31 through April 3 in the Walker Cinema. Here, University of Minnesota English Professor Paula Rabinowitz reflects on Akerman’s art. A woman alone sits, sits alone repeatedly spooning white sugar from a bowl into her mouth. She stares […] 2016-03-31 00:55 By

20 minhocão marquise plans to transform são paulo viaduct triptyque plans to transform são paulo’s minhocão viaduct into a green landscape all images courtesy of triptyque architecture architecture studio triptyque has revealed plans to transform são paulo’s minhocão viaduct with an array of vegetation and plant life. the 3.5 kilometer (2.2 mile) elevated highway was built in 1971, giving cars precedence within the city. today, despite being closed to vehicular traffic between the hours of 9.30pm and 6.30am, the viaduct remains the most polluted place in são paulo. although there has been much debate regarding the future of the highway, the area beneath the viaduct has been largely left out of the discussion. ‘minhocão marquise’, a proposal by triptyque, in collaboration with the landscaper guil blanche, encourages citizens of são paulo to reconsider the nature of the space, and how it can be used as a productive and engaging environment. the participatory project invites the local community to develop and share their ideas. numbered blocks would host four functions: culture, food, services and shops the project is based around two simple architectural interventions. the first involves providing more natural light, while the second sees vegetation suspended form the viaduct — filtering 20% of co2 emissions from passing cars. the irrigation of these plants is provided by a natural water harvesting system, while its vaporization will help clean the air and surrounding surfaces. divided into blocks determined by the space between each concrete pillar (33 meters), the marquise could potentially host a range of programs. these numbered sections would host four functions: culture, food, services and shops. the viaduct would be populated with an array of vegetation and plant life working alongside interbrand, an international brand consultant, triptyque developed a personality for the ‘marquise minhocão’ through a new visual and verbal identity. ‘today, to be relevant, it is necessary to question the status quo,’ says daniela bianchi-giavina – managing director of interbrand. ‘this project will provide a generous point of view to the city and its environment. it will bring a completely different perspective to são paulo for all brands whom are betting on the city.’ implementation of the proposed infrastructure — related incidents of pollutants (click to expand) 2016-03-30 20:34 Philip Stevens

21 IFP Film Week Heads to Brooklyn The Independent Filmmaker Project’s Film Week is moving to Brooklyn. In what is seemingly a long overdue move, the hipster indie film event will be heading across the river after 37 years in Manhattan. The festival, which includes more than 150 projects — film, television, Web series and now VR productions — from 22 countries, will set-up shop in DUMBO. It will take place on the tail end of New York Fashion Week, beginning Sept. 17 and concluding Sept. 22. It’s also following fashion week in terms of trend — as the festival will expand its public offerings this year through more ticket sales. 2016-03-30 20:14 Taylor Harris

22 Time Inc. Forms the InStyle Collection Under Ariel Foxman Time Inc. is building out its InStyle brand, WWD has learned. In a memo to staff Wednesday, Time Inc. executive vice president Evelyn Webster said it was forming The InStyle Collection, and folding InStyle, Mimi, xoJane, xoVain and The Outfit under its purview. InStyle editorial director Ariel Foxman , publisher Patrick Connors and general manager of digital Pam Abbott will oversee the new group. The group will “more than double the volume of original content” already published on Instyle.com every day, and include new verticals focused on lifestyle categories including weddings, home and entertaining. The group will also increase the number of stories that InStyle syndicates from xoJane , which is led by editor Jane Pratt, who will report to Foxman. Beauty-centric Mimi will become a channel on Instyle.com, maintaining its voice, as well as its dedicated social feeds. Launched in 2015, The Outfit, the influencer network launched by StyleWatch and overseen by editor Lisa Arbetter and publisher Stephanie Sladkus, will continue to expand, Webster said. The reorganization of Time Inc.’s brands will likely add more scale for the business team to sell advertising, and increase the volume of stories posted in order to drive more traffic to the site. Supporting this new initiative, Time Inc. has promoted a handful of staffers. InStyle’s Rina Stone will grab the reins as creative director of The InStyle Collection, while Deanne Kaczerski, Mimi’s editorial director, will become executive editor of digital innovation. Victoria Moorhouse, who serves as Mimi’s beauty editor, will become the editor of Mimi. Time Inc. said it is looking to hire a site director for The InStyle Collection, who will report to Foxman, and will be responsible for editorial oversight of all brands in the collection. Connors will be searching for an executive director of digital sales and a marketing director of digital on the business side. He is also on the hunt for five digital-only sales reps in New York, Chicago and San Francisco. InStyle executive digital editor Angela Matusik will change roles, taking the title of director of branded content strategy. She will report to both Foxman and the new executive director of digital sales. “With the trusted authority of its content and the spending power of its audience, InStyle is perfectly positioned to expand into new categories, and our vision for the new Instyle.com is a comprehensive, industry-spanning site for fashion and beauty lovers across every age, style and personality,” offered Webster. Time Inc. said Instyle.com has increased its traffic in the first quarter with 5.3 million unique visitors, and that its social following totals about 10 million across platforms. 2016-03-30 19:47 Alexandra Steigrad

23 The World’s Museums Celebrate #MuseumWeek Together The “first worldwide cultural event on Twitter,” #MuseumWeek is a weeklong event that actually takes place on Twitter, Vine, and Periscope (although it doesn’t really matter, since they’ll all be linked to Facebook anyway). It’s a social media celebration of all things artistic and institutional, aiming to get museums around the world in touch with their visitors, and with each other, through 140-word sentences, photos, videos, and livestreams. Each day of #MuseumWeek has a different theme, and, of course, a different hashtag. Monday saw accounts tweeting #secretsMW, accompanied by media like scandalous backstage videos of assistants unboxing Roman lamps and cleaning display pedestals, but also some little-known facts about artworks. Other hashtags include #architectureMW, a chance for museums to compete over whose Starchitect did the best job, #futureMW, #zoomMW, and #loveMW. The beauty of #MuseumWeek is its intention to connect museum workers and museum lovers with each other through the ubiquitous medium of tweets, changing the image of the stuffy museum towards something more like the way we naturally use social media. This baffling Vine from Twitter user @erik_thomas kind of sums up the inclusivity of the event, which has yet to attract any real trolls. If you’re interested in social media stats, you can browse a page full of fancy widgets and interactive data maps on MuseumWeek’s website. Or, explore the #MuseumWeek hashtag in the embedded search below. New tweets are constantly coming through, so you can choose: spend three hours perusing the brick-and-mortar halls of one actual museum, or sit in front of your computer and be inundated with live tours, interesting factoids, and pictures of paintings from over 3,200 participating museums from 69 countries around the world. Tweets about museumweek Click through to follow The Creators Project on Twitter and Instagram. Share your favorite #MuseumWeek stuff with us! Related: A Brief Guide to Twitter’s #MuseumWeek 10 Art Secrets Revealed as #MuseumWeek Kicks Off Here are the Best 5 Museum Designs of 2015 2016-03-30 19:45 Alyssa Buffenstein

24 PAD Paris 2016 Opens With Packed Aisles, Varied Sales Related Events PAD Paris 2016 Venues Jardin des Tuileries This week gallerists will see if the double-header of design and art events PAD and Art Paris will be enough to bring people back to the city after last November’s attacks. Paris suffered a drop in tourism directly after, and though it remains the number one travel destination in the world, the city still hasn’t quite regained full strength. Paris Photo closed its doors early following the events, and security is still tight after Brussels events. Some gallerists, like Edith Flak of Galerie Flak, worried that collectors might not take the risk to come to PAD. “PAD is very Parisian and very playful,” she said. “The public is usually very impatient to get in. This year, we will see.” Flak is a PAD veteran who has exhibited at the salon since its debut 20 years ago. When the salon began, Flak said it was mostly antiques dealers. In just two decades it has been flooded with contemporary design, which Flak says directly “corresponds to the tastes of people.” Her gallery is one of the few antiquities dealers that has come back year after year as others have fallen away. “Primitive art links to modern art,” she said citing Picasso as an obvious example. Flak’s Hopi Kachina dolls were the centerpiece of Jean-Louis Boullitte’s superb stand design, using gray metal panels. French dealers reign supreme at PAD, with galleries from London, Brussels, Stockholm and New York peppered in. Franck Laigneau, whom the PAD Prize Jury named the best stand, had sold almost all of his anthroposophical wooden furniture in the range of €10,000 (about $11,130) to €40,000, such as a bed frame that looked to be designed for a child giant. Laigneau was preparing to reinstall for the weekend. Galerie Gosserez drew in visitors – including polarizing French design star Ora Ito – with Damien Gernay’s textured leather coffee table painted black and titled “Black Sea,” priced at €4,900. Piergil Fourquié’s low tables of perfectly blown glass bases with printed leather and printed aluminum table tops that evoked Goyard (€3,900) also received consistent inquiries. The gallery Antonine Catzéflis featured Nicolas Cesbron’s sea urchin lamps which had sold ranging from €1,200 to €2,400. His sprawling chandelier in the same style at €2,800 was still available. Pol Bury’s kinetic coffee table with twitching sphere’s atop a black surface was listed for €25,000 at Martin Grenier, which had sold a pair of Fratelli Marelli mirrors for €8,000. A gallerist said that he, like Flak, was worried attendance would be weaker this year after the attacks, but so far he was pleased with the salon’s crowd at the VIP preview. While Galerie Negropontes calls its presentation “Colored Abstractions,” it’s anything but abstract with its bold geometric shapes and deep, lush colors. Hervé Langlais updates mid- century design with contemporary flare such as a pentagonal mirror with a dark-emerald-green beveled frame and gold accents. Carpenters Workshop Gallery created a collector’s home that fluidly melded modern and African tribal motifs with a contemporary patina and understated primitive art themes. Director Cédric Morisset said the styling was a “forecast” for an upcoming Paris show in May. Morisset said buyers at PAD London, now in its 10th edition, take more risks in their acquisitions than at the Paris event, which he said attracts “the best interior designers in the world,” and where “it’s more about the haute décoration.” CWG had sold a Wendel Cassel ash wood coffee table at €90,000, a colossal Thomas Howzigo tribal mask for €110,000, and had several other pieces in negotiations. Several clever works from Loïc Bigot’s gallery play tricks on the eye – and ask to be played with. Dutch designer Pleunie Buyink’s sculptures appear to be ultra-luxurious glass pieces. However, to the touch, they bend and reveal themselves to be rubber. At €1,500 to €4,900, Bigot says the jelly jewels are “rather inexpensive for the effect.” Cologne’s Amman Galerie had a limited-edition series of Nucleo’s resin and wood tables listed at €26,000 and a unique coffee table in the same materials for €42,000. Nacho Carbonnel’s resin-and-sand lamps in various sizes at Galerie BSL were priced at €5,900 to €19,000. A gallerist at London’s Fumi said its booth was about 20-percent sold, including a small piece from Lukas Wegwerth’s crystalized sculptures that can fetch as much as €16,000. Galerie des Modernes and Galerie Fleury stuck to wall art, with works by Calder, Dubuffet, Ernst, Giacometti, Léger and Warhol. A dealer at Bernard Bouisset called its offering of classic fine jewelry pieces from Boucheron, Fred, Cartier and Van Cleef & Arpels “vintage Vendome.” A 19.8-carat Ceylon sapphire ring from 1930 stood out among its case companions. Oldrich Pliva’s large cut-glass ring “Obrazek” from glass queen Clara Scremini will be gifted to the collection of the Musée des Arts Décoratifs by Moët Hennessy. Ben Storms’s polished mirror table fitted with steel and leather was awarded “best contemporary design” and Jacque Lacoste’s 1965 modern stain glass panel received the honor of “Best 20th Century Decorative Arts.” On the first day of the salon, the packed aisles in the evening were a good sign that collectors weren’t going to miss out on perusing beautiful design. If sales weren’t flying as they were for Laigneau, steady inquiries and one-off sales were promising that collectors would return over the weekend to pick up that perfect piece for their home. 2016-03-30 19:28 Jake Cigainero

25 A Surreal Virtual World Evokes Ai Weiwei's Sculptures Screencap via Ai Weiwei's mitosing Stools are iconic sculptures, but if you've never seen them in person then 3D artist Moritz Reichartz 's virtual experience Mashup Between the Clouds might be the next best thing. Put on some virtual reality goggles and drop into a hypersurreal red, yellow, and green world replete with sculpturally morphing, gravity-defying furniture. Mashup Between the Clouds was an entry in rendering software company Otoy 's " Render the Metaverse " competition last year, winning third place. "I wanted to create a colorful and fun spatial mashup of my favourite 3D objects that I was creating," Reichartz says in a description of the video. "I can’t really remember what happened... Everything started lifting off the ground and got mixed up in a colorful space floating between clouds," he continues. In the demo video below, you can see how really good tools can make even wackadoodle worlds like this one seem wholly believable. If you have a VR headset, you can interact with the experience here or download it on the Galaxy Gear VR marketplace. Check out more of Moritz Reichartz's work on his website. Related: Fly Through a Virtual Planet in 360° Music Video [Premiere] Meet the Studio Turning 'The Little Prince' into a VR Experience Take a VR Journey into a Lush Polygonal Dreamscape [Premiere] A War Survivor's Virtual Reality Film Brings the Terror of a Conflict Zone to Life 2016-03-30 19:10 Beckett Mufson

26 Harris Theater in Chicago Names Brian Brooks as Its Choreographer It is not unusual for dance companies to appoint choreographers in residence. But the program announced Wednesday by the Harris Theater for Music and Dance in Chicago is a bit different: The theater named Brian Brooks its first choreographer in residence, and will spend $600,000 over three years to allow him to create works for several different dance companies. Half of the money will be used to pay Mr. Brooks $100,000 a year, while the other half will be used to help dance companies produce and mount his works — which will all either receive their premieres at the Harris, or be presented at the Harris after originating elsewhere. The first fruits of the residency will be seen next season when Mr. Brooks creates a new work for Hubbard Street Dance Chicago , a resident company at the Harris. The following season, he plans to create one new work for Miami City Ballet and another for his own company, Brian Brooks Moving Company. Works for other companies will be announced later. The Harris, a 1,525-seat theater that opened in 2003 in Millennium Park, is used by many of Chicago’s midsize music and dance companies, and has increasingly been a destination for touring performers from around the world. Michael Tiknis, its president and managing director, said that the residency was designed to help an emerging choreographer develop his voice, and to help the Harris, which he called “the newest kid on the block trying to have a voice in the dance world,” extend its reach beyond Chicago. Mr. Brooks, 41, who received a 2013 Guggenheim fellowship, formed his dance company, which is based in New York, in 2002. This summer, he will team up again with Wendy Whelan, rekindling their collaboration from “Restless Creature” in 2013, at Jacob’s Pillow for new dances set to the music of Brooklyn Rider. The residency is being supported by the Jay Franke and David Herro Choreographer in Residence Fund. Mr. Franke, a trustee at the theater, was a dancer who appeared with the companies of Twyla Tharp and Lar Lubovitch and Hubbard Street Dance Company, and who helped found and lead Chicago Dancing Festival with Mr. Lubovitch. 2016-03-30 19:00 By

27 Ride a Johnny Quest-Worthy Hoverboard in This Installation The HVBRD in action. All photos courtesy of the HVBRD team Make no mistake; when Mathieu Désilets , Salim Lounis , and Jean-Claude Macena talk about hoverboards, they mean Marty McFly—not the electric, rolling, banned-in-New York variety. As students in the Université du Québec à Montréal’s Immersive Environments and Interactivity Course, the trio created HVBRD , an immersive audiovisual installation that takes users into a rose-colored, generative world. “We’ve always been huge fans of Retrowave and wanted to find an occasion to create a project using its aesthetics,” Désilets tells The Creators Project. “We also chose the hoverboard as a tribute to back to the future, as Marty McFly’s return was in October of last year.” A player stands on a glowing pink “hoverboard” in the center of the room. On a wide screen a geometric pink world is projected. In the video, the game zooms the player through space, a barren city, and a mountainous terrain full of threatening, floating pink squares and triangles. While the user controls the speed and direction of the visuals, there are no points, and no winning. To create the installation, the students fit a WiiFit board with a custom top to simulate a skateboard, and lined it with pink LED lights. They learned Touch Designer and Max-MSP, and composed an original score inspired by Retrowave, a synth genre influenced by 80s soundtrack music. “The programming challenges were pretty great as we had not completely mastered Touch Designer and our generative road proved to be pretty difficult to make. The soundtrack was a big challenge as well because none of us are composers and creating a generative track with no musical experience is pretty hard,” Désilet laments. Check out the full HVBRD video below, and more of Désilets’ work on his Vimeo. Why? As the team behind the installation would say: “Because Retrowave.” HVBRD from Mathieu Désilets on Vimeo . Click here to learn more about the project. Related: Has Someone Finally Invented a Real Hoverboard? A Hoverboard is Changing How This Artist Paints Watch Skaters Fall Off Lexus’ New Hoverboard 2016-03-30 18:55 Alyssa Buffenstein

28 How Urbex Became the of Trespassing You’ve probably seen Instagram photos like it: a man in a dark hoodie stands on the edge of a building, his fashionable flyknits only inches from a plummeting drop onto the saturated night lights of a major city. If this sounds familiar, then you know about the Urbex (Urban Exploration) Instagram, which has exploded in recent years. As Adrian Chen describes in a 2014 piece for New York Magazine : They can be spotted by the distinctive humpback of their padded photographers’ backpacks and colorful lightweight Nikes, equally effective at gripping rusty ladder rungs and looking cool in a photograph hanging over the city from the edge of a skyscraper’s roof, as if all of Manhattan were just an ottoman. For them, photography is more performance—or competition— than visual art. When urban exploration hit social media, all hell broke loose. Many mark its rise from a series of videos by Russian duo On the Roofs. This sweaty- palm, can’t-look/can’t-look-away video shows two masked figures breaking into a construction site to climb the in-progress Shanghai tower. Theo Kindynis, a PhD candidate at the University of Greenwich who has studied the media depiction of urbex, typifies the video in a 2015 article : Such representations typically depicted the protagonists (and they are very much protagonists, taking center-stage and casting themselves as fearless adventurer-heroes) scaling an under- construction skyscraper or construction crane before inevitably dangling their legs, or even singlehandedly hanging their entire body, without any safety equipment, from some concrete or steel precipice. It’s no surprise that these “rooftopping” posts go viral. But not all explorations of cities’ forbidden regions looks like this. For years, explorers have crawled through dark catacombs, sewers, train tunnels, and many other less-photogenic places. The experience is not so much about claiming an amazing photo, as seeing something few others get to see. Bradley Garrett, a professor of geography at the University of Southhampton, and author of the book Explore Everything: Place Hacking the City , describes the motivations of a sewer explorer in a forthcoming research paper: As the explorer Bacchus explained to me, “I want to understand where the water goes when I flush my toilet; I want to see Bazalgette’s bricks in action.” In the River Tyburn, I stood underneath Buckingham Palace with a team of drainers, the faecal flow pinning our fishing waders to our legs. Bacchus, turning to the other drainers on the expedition said, “Boys and girls, you may never have tea with the Queen of England but you can now say you’ve stood in her shit.” Certainly, sewers are less popular on Instagram, and less favorable to potential sponsorship deals. Many rooftoppers are sponsored or are otherwise professional, note both Garrett and Kindynis. On the Roofs did an ad for Canon ; Humza Deas, the subject of Chen’s interview, is sponsored by a sock company ; and UK explorer James Kingston sells his own apparel, featuring pictures of himself on top of buildings. I asked Garrett how social media, rooftopping, and branding feed on each other. He said: The posting of photos (usually on blogs) used to be mostly about telling stories, attempting to relay the viscerality of exploration, making political statements about the “out-of-bounds” city and demonstrating trained technical skills with a camera (often film). What is being produced for Instagram, Twitter, Facebook and Snapchat is mostly about capturing an aesthetic that that almost has no spatial context. Of course, this slots right into neoliberal corporate ideologies because they can appropriate the aesthetic without having to also relay to socio-political milieu of the image. Certainly this seems predictable, if one considers exploration more akin to an extreme sport than an intellectual pursuit. But the real mind-numbing factor is how all of these photographs fall prey to cookie-cutter Instagrammization. Not unlike the “ruinporn” urbex spin-off, popular back in the height of the 2008-2009 recession, rooftopping all looks the same as it approaches aesthetic ideals. Shoes, dangling off of a thing, over a city. A person in a hoodie, on a bridge. It looks cool, but the faux cool of equivalence, not unlike the brands for which these Instagram celebrities now produce. What makes any of this different or meaningful from any other extreme contrast, high-saturation imagery of urbanism? Instagram rooftopping has taken something as exciting as trespassing and made it as mundane as a latte on a reclaimed wood espresso bar. Do you participate in urbex? Let us know on Twitter or in the comments below. Related: Russian Daredevils Scale Rio's Giant Christ Statue Manchester's Sewers Are Beautiful in This Hyperlapse Watch an Urban Explorer Scale a Massive Times Square Billboard 2016-03-30 18:55 Adam Rothstein

29 Hailey Gates Talks New Docuseries, ‘States of Undress’ “I have been detained twice, I have had diarrhea for about a year, and I have a very robust section of gray hairs growing on my head,” cracked Hailey Gates as she addressed a young, stylish audience at the Metrograph theater on Manhattan’s Lower East Side on Tuesday night. She was introducing her new investigative fashion docuseries, “States of Undress,” before a screening of two of the show’s episodes. Premiering today on Viceland, Vice’s new TV channel, “States of Undress” follows Gates to Pakistan, Venezuela, Russia, Palestine, China and the Democratic Republic of the Congo, where she seeks to uncover the standards of beauty, fashion and style in each of the remote areas, but in doing so also explores political and social issues of gender, identity and race. A day after her 26th birthday, Gates arrived at the theater in a printed yellow fit-and-flare dress that hugged her petite curves. Custom-made for her by a designer in the Congo, the outfit came with a matching, handheld folding fan. “Initially I thought fashion might prove limiting in terms of subject matter, but what I found is that we were able to explore all avenues that we were interested in just through this lens,” she told WWD. Spike Jonze, Viceland’s president, turned out for the intimate affair, as did Glenn O’Brien, Lily Donaldson, Jessica Joffe, Cynthia Rowley, Bill Powers and Tom Sachs, whose film “A Space Program” is currently on view at the theater — a docudrama Gates helped write and produce. Gates is a bit of a polymath: after graduating from New York Univesity in 2012, she worked full- time at The Paris Review, where she still serves as an advisory editor; she’s also an occasional model, actress, writer and producer. Her charisma makes her a genuine host for “States of Undress” — at once curious, funny, brave — and delightfully scrappy. Though she’s been in front of the camera plenty — starring opposite Meryl Streep in “Ricky and the Flash” last year, or in Miu Miu’s fall 2015 campaign shot by Steven Meisel — she’d never before dabbled in television journalism. “It was terrifying,” she said. “They called me in and said ‘We wanna make a show with you.’ And I said, ‘Are you crazy?’ But when I watch the [final] China episode, I see a more comfortable human.” In the first episode, shot in Pakistan, viewers follow Gates to Karachi Fashion Week — where she stays in an upscale, bomb-proof hotel — and where the relaxed liberalism of the fashion industry seems rather removed from the religious conservatism of the region. But later, she appears visibly shaken during a conversation with Abdul Aziz, an Islamic cleric at the Red Mosque in Islamabad strongly aligned with Al Qaeda, in which the two discuss women’s dress, among other things. (The recent bombing in Lahore on Easter Sunday — in which a suicide bomber killed more than 70 people, mostly women and children, and injured hundreds more — took place in a park Gates visited during her trip.) “Vice is really serious about [safety]. We took all the right precautions,” she said. “And, I mean, safety is relative. I ride my bike around [Manhattan] with no helmet, which is dumb. But I will say that when traveling around Pakistan, I really felt the most comfortable when I was in a burqa, which I know is crazy. But it just gave me more mobility. The stares really get to you.” Lately, Gates has been spending time in Vice’s Brooklyn, N. Y., office for the show’s final stages of editing, with the project consuming the better part of her last year. She’s also working on some secret writing and acting projects — and hopefully another season of “States of Undress.” Reflecting on the experience, she recalled a memory with a young surfer girl in Gaza, one she thinks of constantly. The sights and smells of the Mediterranean Sea reminded her of growing up in her native Los Angeles. “Going to these places, the otherness is so apparent that the familiarity is actually what strikes you,” she said. 2016-03-30 18:53 Kristi Garced

30 michael william lester animates architectural landmarks with quirky personalities michael william lester animates architectural landmarks with quirky personalities (above) marina bay sands, singapore it takes all three marina bay sands to lift the world’s longest elevated swimming pool. all images courtesy of michael william lester UK-based animator and illustrator michael william lester has developed a series of quirky personalities for some of the world’s most famous structures. the series ‘character building’ takes 20 well-known architectural examples from around the globe and brings them to life through animated gifs. ‘good architecture interacts with its surroundings,’ lester describes, ‘it gives off energy, sparks interaction and pulls so much life in that the building itself lives and breathes.’ from marina bay sands in singapore — whose three towers are seen lifting its elevated swimming pool — to the burj al arab in dubai — which swims in the arabian gulf — the quirky illustrations personify these landmark structures with humor and wit. see a selection from the collection below, alongside clever scenarios describing the building’s personality, and the full series here. burj al arab — dubai, united arab emirates the burj al arab dipped into the arabian gulf in 1999 and hasn’t left the water since. brasília airport — brasília, brazil brasília airport was updated with a more hands-on terminal for the 2014 world cup. hallgrímskirkja — reykjavíc, iceland hallgrímskirkja welcomes visitors with open arms, much like the rest of iceland. one central park — sydney, australia one central park’s east tower keeps its smaller sibling’s hair healthy. proximus towers — brussels, belgium the proximus towers are siblings and like most, never grew out of play fighting. ryugyong hotel — pyongyang, north korea the ryugyong hotel has been peacefully waiting for completion since 1987. bitexco financial tower — ho chi minh city, vietnam the bitexco financial tower longs for a colder climate the leadenhall building — london, united kingdom while london is hard at work, the leadenhall building gets its afternoon nap. petronas towers — kuala lumpur, malaysia a firm handshake let the petronas towers put their differences behind them. portland building — portland, united states the portland building lives in a thriving creative community and fits right in. 2016-03-30 18:50 Nina Azzarello

31 Banned Chinese Photographer Captures Playful Nudes in Nature This article contains adult content. All images courtesy of Klein Sun Gallery Ren Hang ’s photographs may be banned in China , but nobody had an issue at the New York opening of his latest series, Athens Love, at Klein Sun Gallery , but that’s probably because the colorful photos, taken during a residency in Greece, beautifully capture Hang’s crew of beautiful friends stripping bare in and around beautiful Athens. Some of Hang’s images are surreal in their saturated colors, scenic compositions, and sudden intrusions of the human form in some dangerous-looking places like lying between two giant boulders, or in the middle of the road. The artist insists he doesn’t want his pictures to easily reveal the locations where they were shot, and that sense of non-place is expressed in monochrome blue expanses of water and sky, or a close-up of tree trunks scattered with flowers. Photographing nude bodies in nature, Hang captures his subjects as if they were part of the earthly elements with which they mingle. It is comical and cringe-inducing at times, like the close- up of someone peeing onto cacti (below), but always natural. One natural shot was apparently too provocative for the show (maybe the US isn’t that much more liberal than China), but it was perhaps the most memorable, if you can, get a glimpse of it in the exhibition catalog: the recurring, lanky, long-haired woman, legs spread, thighs smeared with menstrual blood. Luckily for those made squeamish by bodies and bodily fluids, another exhibition opened in the back rooms of Klein Sun the same night. Lam Tung-Pang ’s I Was Once Here is inspired by the Hong Kong-based artist’s experiences in New York, where he once spent several months visiting art museums and galleries for four hours every morning. It feels very meta, standing in a room, bathing in projections of cracking oil paintings, and then walking into another room to see a video of museum visitors looking at, and passing by, a version of Edward Munch’s The Scream . Ren Hang’ s Athens Love and Lum Tang-Pang’ s I Was Once Here are on view at Klein Sun Gallery until April 30, 2016. Related: [Exclusive] A Trained Boxer Challenges Viewers in an Art Gallery Die Antwoord Photographer Roger Ballen’s Best Art Advice Drone Photographers Capture Australia’s Natural Beauty Unravel the Fabric of Space-Time in These Collage-Like Paintings 2016-03-30 18:20 Alyssa Buffenstein

32 Irish Arts Center Says It Has Raised $47 Million for New Performance Space The Irish Arts Center , seeking to build a new performing arts space in Hell’s Kitchen, says it has now raised $47 million toward the ambitious project. The center, which presents theater, music, dance and other art forms associated with contemporary Irish culture, is seeking to raise $60 million to build a new space on 11th Avenue and to renovate its existing building on West 51st Street. Work on 11th Avenue is expected to begin this year. The new theater space will be just around the corner from the future home of MCC Theater , which is building on West 52nd Street. The area is home to an increasing concentration of performing arts organizations, including the Alliance of Resident Theaters/New York and the 52nd Street Project, which will be located alongside MCC, as well as Alvin Ailey American Dance Theater, Ars Nova, Ensemble Studio Theater, and Intar. A number of performers will be joining the Irish Arts Center for an Easter Rising anniversary event on April 22, at Symphony Space, to start the final phase of the fund-raising campaign. Among the artists expected are multiple poets, musicians, writers and actors, including Liam Neeson, Panti, Zadie Smith, Colm Tóibín and Cassandra Wilson. 2016-03-30 18:00 By

33 Marcel Berlanger at Rodolphe Janssen, Brussels Installation view of “Marcel Berlanger: raster master,” 2016, at Randolphe Jansse. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Marcel Berlanger: raster master ” is on view at Rodolphe Janssen in Brussels through Saturday, April 2. The solo show, which presents new works by Berlanger, is the third installment in an ongoing series of exhibitions by the artist, four in total, at different galleries across Belgium. Installation view of “Marcel Berlanger: raster master,” 2016, at Randolphe Jansse. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS Marcel Berlanger, The Last Interview , 2015, acrylic on fiberglass mounted on aluminium frame. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS Marcel Berlanger, Tapisserie Bruxelloise , 2016, acrylic and oil on fiberglass mounted on aluminium frame. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS Marcel Berlanger, Star Système , 2016, acrylic on fiberglass mounted on aluminium frame. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS Marcel Berlanger, Mila rose , 2015, acrylic and oil on fiberglass mounted on aluminium frame. HUGARD & VANOVERSCHELDE PHOTOGRAPHY/COURTESY THE ARTIST AND RODOLPHE JANSSEN, BRUSSELS 2016-03-30 17:13 The Editors

34 Treble—Bright—Daylight Savings: Michael Gallope on Tristan Perich and Vicky Chow To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, musician and assistant professor of Cultural Studies and Comparative Literature at the […] 2016-03-30 19:58 By

35 Karl Lagerfeld Puts Models in Motion for Chanel Which is why he cast runway pro Mariacarla Boscono for Chanel ’s forthcoming fall 2016 campaign. “Because it’s all about movement, and she moves so well,” said the designer, who also cast model Sarah Brannon. Boscono also features in ads for Chanel’s so-called Act One ready-to-wear, a pre-fall range that has been the French house’s answer to see-now-buy-now for eons. “They only come out the day the clothes are in the shop,” Lagerfeld explained. “You see? No new idea. We’ve done that for years and only the shops and the buyers see and order it before.” 2016-03-30 16:31 Miles Socha

36 schmidt hammer lassen to realize dynamic campus for utrecht university of applied sciences schmidt hammer lassen to realize dynamic campus for utrecht university of applied sciences all images courtesy of schmidt hammer lassen architects schmidt hammer lassen has won an international competition to develop a new facility for the university of applied sciences in utrecht, the netherlands. once completed, it will be located on the campus among building designs by firms including OMA, UNStudio and mecanoo. the educational facility will host seven institutes as well as university programs. the building faces the adjacent buildings with a series of green terraces and roof gardens the new building will offer two large 200+ seat auditoriums, two smaller auditoriums, TV / radio studios, a knowledge center, classrooms, café, food shops and parking for more than 1,200 bicycles. additionally, a new internal courtyard facing the neighboring student housing will seamlessly it to connect with the existing buildings on site. ‘we have created a strong and clear gable motif that forms the final end of the kasbah masterplan. the building yields to the adjacent buildings with a series of green terraces and roof gardens. coherence with the surrounding campus is achieved by the use of a similar floor-tiling outside and inside on the building’s ground floor, which acts as a large open piazza with cafes, conference center, amphitheater and lecture halls,’ explains kristian ahlmark, senior partner at schmidt hammer lassen. the atrium becomes the building’s meeting place where paths cross and experiences are shared the façade of the building will be clad in light concave and convex panels of anodized aluminum in seven warm colors: each tone representing one of the seven institutes. with all general functions situated on the ground floor. the institutes all connect at the core of the central atrium. on each floor, ‘academic bookshelves’ containing smaller meeting rooms and study cells serve as gateways to classrooms and offices via a walkway. the general programs are situated on the ground floor, the seven different institutes are spread over the other there will be available parking for 1,200 bicycles the vast extension will provide space for over 6,500 students, staff and visitors 2016-03-30 16:30 Natasha Kwok

37 Revolve Taps Mara Hoffman, Seven For All Mankind for Kids More Articles By Contemporary e-tail destination Revolve is getting into kids apparel. The Los Angeles-based site, which carries more than 500 brands spanning women and men’s clothing, footwear and accessories, will today launch Revolvemini, a kids shops-in-shop at revolve.com. Apparel and swimwear from brands such as Mara Hoffmann, Seven For All Mankind, Lolli Swim, Private Party, Timberland, Fin & Vince and Haus of JR will be available for girls and boys ages one to five. “We saw an opportunity in the market to cater to the Revolve mom. She works, travels and loves dressing her kids. We know our entire customer base isn’t necessarily all having kids, but her friends and sisters definitely are,” said Lauren Yerkes, buying director at Revolve. This is the latest effort for the fast-growing company, which according to cofounders Michael Mente and Mike Karanikolas, did $400 million in sales last year, a 50 percent increase from 2014. In March of last year, Revolve entered the bridal market, rolling out The Wedding Shop , and acquired Alliance Apparel Group, which folded Alliance’s brands — Lovers + Friends, Tularosa and NBD — into Revolve. 2016-03-30 16:28 Rachel Strugatz

38 Maison Margiela to Invade Hotel Bathrooms — White Robe Included Maison Margiela is to provide shampoos, conditioners, shower gels, body creams and bar soaps to the Time New York, along with a white cotton bathrobe — a wink to the lab coats still worn by staffers, including current creative director John Galliano. Brendan McNamara, executive vice president at Time parent Dream Hotel Group, said he chose Margiela to supply the amenities for the Paris-based house’s “take on unconventional luxury,” the descriptor for its new concept and redesign by Rockwell Group. The bathroom range’s products include olfactive formulas found in the Margiela fragrance line, called The Replica Collection, whose perfumes created by L’Oréal are based on reproductions of familiar scents. The Time hotel is also offering guests a travel pack containing all five products for $30. This isn’t Margiela’s first infiltration of a hotel. In 2011, the house designed 17 rooms and suites out of the 57-unit La Maison Champs-Elysées hotel in Paris, each with a theatrical and minimalist decor where white prevails. The inimitable Margiela touch — unsettling yet playful — can also be felt in the restaurant, bar, smoking room and the silver entrance hall. In 2010, Margiela decorated a one-bedroom suite perched on stilts, called L’Ile aux Oiseaux, at Les Sources de Caudalie’s vinotherapy spa near Bordeaux, France. 2016-03-30 16:25 Miles Socha

39 Wim Wenders to Direct an Opera for Berlin Company BERLIN — He has directed more than 30 films in a career spanning four decades, but Wim Wenders , now 70, will soon dip into unfamiliar waters. The Berlin Staatsoper, one of Germany’s foremost opera houses, has announced a collaboration with the filmmaker as part of its 2016-17 season. Mr. Wenders, whose groundbreaking films include “Wings of Desire,” “Paris, Texas” and “Buena Vista Social Club,” will direct the opera “Les Pêcheurs de Perles” (The Pearl Fishers) by Georges Bizet. The Staatsoper’s music director, Daniel Barenboim, will conduct the production, which is to open on June 24, 2017. The announcement follows what the Staatsoper’s general director, Jürgen Flimm, described as “a long flirtation” between Mr. Barenboim and Mr. Wenders, who Mr. Flimm said was drawn to “Les Pêcheurs de Perles” because it was the first opera he ever saw. First performed in 1863, the three-act opera recently completed a run at the Metropolitan Opera. Set on the island of Ceylon in ancient times, “Les Pêcheurs de Perles” tells the story of two pearl divers whose lifelong friendship is threatened by their love for the same woman, a Hindu priestess. The opera world has courted Mr. Wenders before. In 2013, he was in talks with the Bayreuth Festival in Germany to direct Wagner’s “Ring” cycle, but the deal fell apart in negotiations. Mr. Barenboim said Tuesday that he planned to stage his own production of the cycle in 2020, despite the fact that one of the city’s other major opera houses, the Deutsche Oper, is already planning its own version of the four operas. “Les Pêcheurs de Perles” will be staged in the Staatsoper’s temporary dwelling in the Schiller Theater, as the long-running renovation of its permanent home on the Unter den Linden is not expected to be finished until October 2017, the opera house said. 2016-03-30 15:56 By

40 Getty $8.5M Grants Pacific Standard TIme- The Los Angeles-based J. Paul Getty Trust just revealed grants totaling $8.5 million to various institutions for another edition of Pacific Standard Time, the sprawling ambitious exhibition program that takes place at 43 institutions across Southern California. The first edition of PST was groundbreaking, as it presented a much-needed survey of art from Southern California dating from 1945 and 1980. With the next edition, the momentum builds upon insights made during its 2011 debut. Set to open in the fall of 2017, the theme of the next program is "L. A./L. A.," which stands for Los Angeles/Latin America. "Now we have a greater understanding of the potential and benefit of the project, so we can invest more confidently in it," Getty director James Cuno told told Jori Finkel in the New York Times. "What we want to leave behind after the exhibitions are over is a bedrock of scholarship," he added. Since 2013, the trust has awarded nearly $14 million in funding to arts organizations. With this new infusion of grants, institutions are able to be ambitious. The Los Angeles County Museum of Art (LACMA) will host "Home—So Different, So Appealing," that will look at ideas surrounding the American dream, and the Hammer Museum will show work by influential artists from Mexico to Argentina, in "Radical Women: Latin American Art, 1960-85. Hammer chief curator Connie Butler said the show is now able to become "bigger in scope and budget" than originally envisioned. Some museums are pursuing single-artist shows, such as the Museum of Contemporary Art (MOCA), which will present a major survey of Italian-born, Brazil-based artist Anna Maria Maiolino, while Los Angeles Contemporary Exhibitions in Hollywood, and Pitzer College Art Galleries in Claremont will focus on the late artist Juan Downey, known for his large-scale installations. Not to be outdone, nonprofit group LAND (Los Angeles Nomadic Division), will exhibit a midcareer survey of noteworthy Mexican artist Jose Dávila. LA Times writer Carolina Miranda called the next edition of PST "an unprecedented series of exhibitions that will add to the scholarship of an under-researched area of art history. " Follow artnet News on Facebook. 2016-03-30 15:46 Eileen Kinsella

41 Kevin Spacey as Richard Nixon Meets Michael Shannon as Elvis Photo by White House photograph by Ollie Atkins via Two of the most easily-impersonated figures of the 20th century, Elvis Presley and Richard Nixon, are going to be portrayed by two of the greatest actors of our time, Kevin Spacey and Michael Shannon, in a new movie called Elvis and Nixon. The film, directed by Liza Johnson, is based on the true and documented story of the time Elvis approached the President of the United States about becoming an undercover narcotics agent. He really wanted a badge. They took a photograph together that became the most requested image in the National Archives, and the seed of the new film, which—if you didn't think it could get any more ridiculous—also stars Johnny Knoxville, Colin Hanks, Evan Peters, and Sky Ferreira. In the featurette below, watch Spacey talk about how realistic his Nixon impression is, Shannon describe what it's like being inside Elvis' head, and Knoxville belly laughing about the uproariousness of the whole situation. Learn more about Elvis and Nixon on the official website . Related: National Portrait Gallery Hangs House of Cards'Frank Underwood Meet the Man Who Made Elvis' Signature Gold Suit This Is American History on Steroids 2016-03-30 15:45 Beckett Mufson

42 Hollywood Favorite Akid Brand Jumps From Shoes to Apparel More Articles By After making its debut in the footwear market in March 2014, the Los Angeles-based children’s label is introducing a trio of jackets on its e- commerce site on Thursday and following up with a selection of sweats in mid-April. Retail prices range from $55 for hoodies and sweatpants to $90 for a field jacket and $95 for a jean jacket. If Akid’s egg hunt held earlier this month at Hollywood’s Lombardi House gave away any clues via the celebrity tots in attendance, the apparel line is destined to deck out some small style stars. When not posing for caricature portraits or donating shoes as part of a charity drive organized by Akid and Baby2Baby, the tykes of Malin Akerman, Gwen Stefani , Johnny Knoxville, Emily Current and other movers and shakers from the entertainment and fashion industries scoured the grounds of the Victorian-style farmhouse in quest of chocolate eggs. Arthur Bleick, the son of actress Selma Blair and fashion designer Jason Bleick, slid down a two-story-high slide in his astronaut-themed chukkas from Akid. The burgeoning sneaker head “really loves Stan Smiths and he loves Akid — that’s not a joke,” Blair said. Ashleigh Dempster, co-owner of Akid, said footwear continues to remain a focus for the company. That said, she noted “we thought it would be fun to launch a mini capsule collection of key pieces for spring.” This season’s shoe collection inspired the clothing’s tie-dye treatments in both indigo and a hodgepodge of bright colors that would rival a bag of Skittles. Enabling head- to-toe dressing, a handful of styles come in the same colors and prints. As with the denim, “everyone needs a good jean jacket,” she said. Even if you barely stand over 3 feet tall. 2016-03-30 15:38 Khanh T

43 Trip into a Dark Sci-Fi World in ‘Checkpoint Charlie’ [Premiere] Images courtesy the artist If Romantic composers and prog rock bands share anything, it'd be a surplus of ambition and a flair for the melancholic. Ghost Against Ghost frontman and producer Christopher Bono combines these musical mindsets on Checkpoint Charlie , an EP on which he also adds tasteful doses of drone, psychedelia and post-rock textures. A two-part excerpt from Ghost Against Ghost’s upcoming album Oia , Checkpoint Charlie follows a narrative arc of love lost and the descent into personal hell it produces. And this narrative arc is given visual form with the experimental short film of the same name, soundtracked by a remix from film composer Satoshi Mark Naguchi and Christopher Bono. Directed by Craig Murray, the short features human forms writhing below a white fabric on a landscape that resembles an asteroid drifting in a void. Beneath the fabric is a fluid, and out of this is born another fluid that takes a humanoid form and attempts to escape. Bono first came across Murray’s work with the video for Mogwai’s “Teenage Exorcists” , a similarly trippy video with deep shadows and single dynamic light source. After initial discussions about the concept of the video, Murray got to work on the visuals. “My initial idea was the journey of two different liquids, how they move and react with each other, repel and attract,” Murray tells The Creators Project. “These liquids were visualized as figures, one battling to get away from the other. After one of the liquids has seemingly been borne out of the other, the journey begins with an instinct to escape. This can be referenced, reasoned and reflected upon in many ways and in all walks of life, but I prefer for it to be left for the viewer to immerse themselves in the video as a trip-like experience.” In setting the languid rhythms of the video, Murray found inspiration in the slow pace of the Checkpoint Charlie EP. He was happy to find a musical piece that would let his shots breathe and immerse the viewer. Murray and his director of photography, Colin Elves, also wanted to evoke the painter Caravaggio’s use of a single light source, which would create areas of high illumination and shadow. To shoot the film, Murray used Vision Research’s Phantom, a camera known for its insanely high frame rates used for slow-motion filmmaking. For some shots, his team placed the Phantom in a fig rig, a circular camera mount that allows filmmakers to shoot rotating footage. “I had not seen this as a physical move before in films and I was super happy with the results,” Murray says. “We also shot loads of liquids to mirror the actions of the performers, which was fun, albeit a lot to clean up.” To create visuals that reflected the depth of the music, Murray shot multiple miniature models and built landscapes using coral to detail the tunnels and voids. These structures were hand-built miniatures influenced by the Polish painter Zdzislaw Beksinski. “I wanted to create architectural forms which also had a very organic look—they needed to present themselves similarly to how fabric or liquid freely falls and covers a structure or figure underneath,” Murray explains. “They also needed to convey logical weight and architectural robustness whilst creating a balanced and semi-symmetrical backdrop for the performers to inhabit.” Murray’s team shot all performers against black or green with a bit of live full-scale dressing of the miniature environment. They then pieced the shots together in post. “I believe there is a realism in miniatures that is lost in computer graphics,” says Murray. “This has a lot to do with how light hits them and how volume and form is created. It is often visceral imperfections that sell the shot.” Multiple liquids were chosen and used because of the way they reacted with each other and mirrored the performers. Murray says they were mainly oil and water-based liquids, as well as some metallic powders used to highlight the actor’s movements. This unlikely fusion of fluids and performers, of light and shadow, coalesce into a surreal dark science fiction space opera of Wagnerian scale. “I gave him the overall arc of the piece’s narrative, and he created a kind of dreamy psychological journey silhouetting the idea without taking it too literal,” Bono tells The Creators Project. “The results are a strange, surreal sci-fi, dark fantasy film that has a (hard to describe) emotional impact and visceral feel.” Ghost Against Ghost- Checkpoint Charlie (music video by Craig Murray) from Our Silent Canvas Records on Vimeo . Ghost Against Ghost’s Checkpoint Charlie is out April 7 on Our Silent Canvas. Pre-order a copy here. Click here to see more of Craig Murray’s work. Related: When Pixel Art, Cyberpunk and Horror Collide [Premiere] Generative Electronic Music Inspires a Series of Digital Matrices Glitch Video Game Nightmares Can Be Beautiful [Music Video] 2016-03-30 15:30 DJ Pangburn

44 Halle Berry Joins Instagram and Twitter More Articles By Another one for your feed: On Tuesday, Halle Berry made her debut on social media with the launch of Instagram and Twitter accounts. With 155,000 followers already on the photo-sharing app, and one photo to date — a topless one at that — it looks like she will be gathering followers quickly. “Hi everyone. Welcome!” she wrote on Instagram , captioning a photo of herself wandering through a field of bamboo. “Today is a very exciting day for me…. I’m looking forward to sharing our world through images that reflect my emotions and perceptions. I am in awe of photography and its ability to capture and reflect this extraordinary world that we live in. I’m excited to share with you my love of nature, the arts, fashion and much more in the hopes that the images will inspire, promote conversation and bring you joy. ❤ Halle.” From the look of things, she’s already a social media pro. Exotic locale as a casual background? Check. Envy-inducing beauty look? Check. Inspirational quote in bio? You bet. This may be Berry’s first rodeo, but she knows what she’s doing. Instagram has been busy this week, aside from being graced by the Oscar winner. The platform announced last week it would be changing the order of feeds to reflect accounts users view most, instead of the chronological order the app has used up until now. The company had to issue some clarification on the matter after users were sent into a panic. Yesterday, Instagram also revealed they would lengthen video abilities from 15 seconds to 60 seconds. 2016-03-30 15:28 Leigh Nordstrom

45 IWC Schaffhausen Issues Limited-Edition Tribeca Film Festival Watch The Portugieser Annual Calendar “ Tribeca Film Festival 2016” has been produced in a limited- edition run of 50 and is available for purchase at IWC boutiques worldwide. The watch boasts a stainless steel face, slate-colored dial and shows the day, week and month in three separate, burgundy-colored windows. It comes furnished with a black, stamped leather bracelet. On April 14, IWC will hold its annual “For the Love Of Cinema” Gala, where it will award one young filmmaking talent with the IWC Filmmaker Award. A donation of $100,000 will be split between the Tribeca Film Institute and the award’s recipient. Said Edouard d’Arbaumont, IWC’s North American President: “It is important to us at IWC Schaffhausen to continue our tradition of supporting the Tribeca Film Festival and the Tribeca Film Institute by fostering the young talent and creating awareness for their amazing creative work. “The filmmaking and watchmaking industries also share similar qualities, as both rely on the appreciation of time and require the effort of thousands to make the final product come to life. IWC Schaffhausen is proud to be a part of the support system creating opportunities for young filmmakers to further their careers.” 2016-03-30 15:23 Misty White

46 Yeasayer Puts the Art in "Art Rock" with David Altmejd Album artwork for Yeasayer's 'Amen & Goodbye.' Images courtesy the artist Art rock outfit Yeasayer is dropping its first record in five years, Amen & Goodbye , on Friday, and with it comes a holistically artistic approach to the music, album, videos, and touring. Working with Venice Biennale alum David Altmejd , they've put together truly fascinating album artwork and embedded fine art aesthetics into every aspect of their current identity. For the 2012 Fragrant World tour, The Creators Project brought Yeasayer together with Casey Reas and Aranda\Lasch to create a high-tech crystalline stage with trippy visuals, and we heavily documented the process. As they transformed between their wall of sound first album, All Hour Cymbals , and the danceable Odd Blood , Yeasayer has again emerged from the chrysalis a beautiful, transformed butterfly. Their reaction to the bright lights and alien landscapes that defined their last tour now fraternizes with a surreal DIY artist whose work has been shown along the likes of bricolage evangelist Tom Sachs. In an exclusive interview with The Creators Project, co-lead vocalist and co-songwriter Chris Keating recalls visiting Altmejd's studio and seeing the Canadian artist, "just picking up a saw and chopping stuff in half and gluing it back together. " The intentionally unpolished look Altmejd's work can have is a huge, yet welcome departure from Fragrant World. "We went so large on the last tour, obviously with The Creators Project’s help, that we were dwarfed by the technology that was happening on stage every night," Keating says. "I’m nostalgic for when I used to see shows in the 90’s and their whole light show was just some Christmas lights. Even the bigger bands. You know what I mean? " Speaking about designing the visuals for the Amen & Goodbye tour, Keating playfully bandies about the idea of incorporating animatronic robots into the show, followed by a more solid concept channeling the likes of James Turrell. "Immersive light installations are really beautiful," he says. "I’d love to maybe capture that in stage show, where you turn the whole club into a light environment, instead of just the stage. And if they really felt like they were inside of this weird, floating entity, that would be awesome. " While Keating didn't mention whether or not he has contacted the legendary light and space artist about designing his tour visuals (unlikely), he did talk extensively about the band's collaboration with Altmejd, whose work appears on the cover of Amen & Goodbye and the music videos for "I Am Chemistry" and "Prophecy Gun. " Altmejd designed a series of sculptures, contraptions, and costumed characters framed with a powder blue background. The result is a delightful visual cacophony that you could spend an hour unpacking. Yeasayer has given The Creators Project a suite of exclusive images highlighting each of the characters, which you can peruse throughout this article. We also chatted with Keating about the band's creative collaboration with Altmejd, the upcoming tour, burnout, and the importance of play. Read the full interview below. How did the collaboration between you and David Almejd come about? I’ve been a big fan of his work for the last 10 years. I always felt like the things that he was making looked kind of like the sounds that I wanted to make. They’re deconstructed and rebuilt, with alien landscapes and references to some unknown history, with maybe a kind of an obfuscated narrative. But it’s also accessible. It’s not super obtuse. It’s fun, really enjoyable to look at, but also grotesque. It’s really nice. I thought it would make great album artwork, so I just called him up. Was he already a fan? I don’t think he knew who we were [laughs]. But when I started a dialog, it felt like we were speaking the same language. What was the creative process like between the two of you? We started talking about making a video before we got to the place of doing the album artwork. It started out as a vague concept of incorporating a bunch of different characters from our past albums, videos, songs, and this album. I gave him a list of 30 or so names and he just sort of ran with it. He started turning them into his own ideas and some things he interpreted in a completely different way, which I love. There’s a reference to a manic pixie dream girl. I wrote it down, and he happened to make this crazy anime character. And I asked who the anime character was and he says, “That’s the manic pixie dream girl!” And I hadn’t pictured that at all. I guess he hasn’t seen Garden State . [Laughs] It was perfect, though. There are so many layers. We were talking about them all and engaging with each other, referencing Hieronymous Bosch and Sgt. Pepper’s Lonely Hearts Club Band , album covers from the 70’s where there are a lot of characters. I remember holding up Prince’s Paisley Park , Sgt. Pepper’s , To Pimp a Butterfly for inspiration. Donald Trump is in there, and Mark Twain. There’s a weird Caitlyn Jenner or Gina Davis character that Ira is turning into, which I love. There’s a character that was a sculpture of our manager, and then his head got chopped off and then he was crucified upside-down in a very brutal fashion, like Peter the apostle. I love that stuff. I love his destructive process. He makes a character and then just chops their face off. Tell me about collaborating with Yoonha Park, who has also worked with Vampire Weekend, the Fuck Buttons, M83, Beach House, and more, on your video for “Prophecy Gun.” We wanted to document the process. What he was able to do with the video was make the tableaux almost look composed in Photoshop, but it’s for the most part all there in real life. The coolest part is that it captures when everyone comes back to life and comes back to life and stops holding their poses. I like these layers where you’re unveiling all these things that don’t seem real, and then all of a sudden they’re revealed to be real. I think that was captured really well in that video. The moment when the guy holding the javelin relaxes was really good. He kept having to say, “Freeze! Everybody freeze back into your positions… Ok now relax. Now freeze! Ok, now relax.” That was really cool. The video for “I Am Chemistry” by New Media Ltd. is also crazy. How did that collaboration come about? A friend of mine was working on this cool stop-motion technique where he was creating sculptures, but then doing 3D scans of them and animating those. He showed me this technique a couple of years ago, and I thought that if we ever had the opportunity to use it, that would be really cool. We already had these sculptures that were made by David, so I asked him if it would be cool for us to incorporate them into a video as ruins, or if they could be animated and dance and move around. He was cool with it, so that worked out well. Then Mike did 3D scans of us, and a bunch of David’s sculptures and incorporated them into this other crazy narrative that he built for the video. I like linking all the worlds and relationships together. Having a continuity of aesthetic became really important for this record. Can you give me an interpretation of just what is going on in there, in your opinion? There’s going to be a prequel to “I Am Chemistry.” All the videos that we’re making are going to link together and inform a broader story. You keep thinking you’re witnessing the full universe and then it pulls out even more, just like in …’s video. The other videos will elaborate on the story and expand on the world. David’s stuff and the weird voguing, dancing sculptures of us in “I Am Chemistry” are kind of the ruins of the world, but this is going to be on an entirely different type of planet. More Earth-like and grounded. Will Altmejd’s ideas and aesthetics manifest in the upcoming tour? I think so, to some degree. We can’t take the sculptures on tour, but some version of the characters on stage with us is something that we’re exploring. I want some manifestation of all those characters to appear in every facet of our show. Live, video, everything. We created this weird little family, with only weird mutant uncles and naked dudes. For the tour, we were thinking, “Can we do animatronic robots? Probably not.” Oh man, now I really want there to be animatronic robots. I’m always disappointed when a big, giant band with a whole lot of money doesn’t do animatronic robots. Maybe it’s gimmicky, but I would want that on stage. I don’t think it’s going to be anything elaborate, I just want to reference the album artwork live. Nothing too over-the-top, we’re not going to have holograms or anything like that. I just want to pay a little homage to that amazing tableau that was created and I want it to appear live every night, and I want to be surrounded by my weird mutant uncles. What technological aspects—animatronic robots notwithstanding—do you want to incorporate? We went so large on the last tour, obviously with The Creators Project’s help, that we were dwarfed by the technology that was happening on stage every night. I’m nostalgic for when I used to see shows in the 90’s and their whole light show was just some Christmas lights. Even the bigger bands. You know what I mean? We’ve entered into the age of a technological arms race for stage shows—which can work out really well for people like Skrillex, who’s got the money to pay for this really big show. It’s just him on stage, you know? There’s a balance I want to hit. And we went really big last time, which I enjoy, but I also realized that it might not translate as well for this music. I’m trying to weigh the benefits of not being overpowered by your lights. These are all discussions we’re having right now. We want to incorporate projections, but we don’t want to just play in front of a movie screen. We’re trying to think about an interesting way to present it. But we also want to recognize that we’re a band, and we’re up there playing instruments. We can’t rely on the technology too much. We want to make sure that we’re compelling performers without anything. We’ll come up with something. Aside from Altmejd, who are some other visual artists you enjoy? Well, I really like artists like James Turrell and Olafur Eliasson. Their immersive light installations are really beautiful. I’d love to maybe capture that in stage show, where you turn the whole club into a light environment, instead of just the stage. And if they really felt like they were inside of this weird, floating entity, that would be awesome. We’re working with a guy named Nick Doyle who is designing some stuff for the stage show. We’re talking about how minimal we want to make it, and he works with some really cool lighting. We’re playing with incorporating only white light into the stage show, which we we think will look really different from what everybody else is doing these days when you use LEDs that can be as many colors as you want. So I was just like, “Nick, will you do something with only white light?” It’s funny because so much art doesn’t seem to get attention in a mainstream way. Every now and again you’ll have Drake referencing a Turrell installation, or something, and that’s kind of cool. You toured pretty hard last time, which you have said resulted in serious burnout. How are you planning on avoiding it this time? Dude, I don’t know. You kind of just have to burn yourself out. We’ve toured a lot since 2008, which has been really beneficial for us. I look at us as a big, small band. We’re not a big, mainstream act or anything. So continually touring is good. Having those relationships with people in both small and big cities all over the world has just been a part of what we’ve done. But you have to get to a point where you just burn yourself out again, I think. We’re not going to white glove it and just do a few shows on an airplane. None of this bicoastal shit. Some of the best shows are in smaller clubs in small cities all over the place. Burnout is inevitable. More and more burnout until you’re just a wily, veteran-looking musician dude, chain smoking with a shaky hand and skull rings. That’s what we’re shooting for. Do you think that burnout is a necessary part of the creative process? Probably. You have to push it until you get sick of it, I think. It’s good and bad because at a certain point, man, you can’t think about doing it ever again. But making art is something that is done out of compulsion, and hopefully out of joy. That’s definitely what I saw in David’s studio. It looked like a playground in there. It was so inspiring. He had ten or so people working on different things, doing experiments, working on different projects that might never come to fruition. But they looked like they were having fun and everyone was exchanging ideas. He was overseeing everything and getting his hands dirty, sometimes just picking up a saw and chopping stuff in half and gluing it back together. It’s so cool, and I think he’s acting out of this compulsion to create something, and I think we’re the same way. I don’t know any other way to be. Amen & Goodbye drops on April 1. Learn more on the official website. See more of David Altmejd's work here. Related: Creators Remix Roundup: Passion Pit, Emily Kai Bock, Diplo, And Yeasayer Yeasayer, Casey Reas, And Aranda\Lasch Create A Generative Tour Environment First Look: Yeasayer's Prismatic New Tour Environment Designed By Casey Reas Surreal Taxidermy Gets Suspended in a Plexiglass Labyrinth 2016-03-30 15:22 Beckett Mufson

47 Spencer Tunick To Stage Photo in Hull, England Artist Spencer Tunick has staged and photographed mass nude gatherings around the world , and the latest city to get the Tunick treatment is the British town of Hull, which is also 2017's UK City of Culture city. "Think you know Hull? Think again," is one way the sleepy town is trying to rebrand itself in the run-up to the festivities, which will include film screenings, music and theater performances, and workshops. The BBC reports the nude gathering will take place on July 9. The work, tentatively titled Sea Of Hull , will feature participants in colored body paint, organized to mimic the waves of the ocean—a fitting concept given the city's seaside location. In an email to artnet News, Tunick described his vision for the project: "[By] flooding the city with a humanity of color, I hope to make a living sea. " "I'm very interested in Hull and its history as I seafaring center. Many of it's streets and parks today, previously were canals and waterways," the photographer continued. Anyone over 18 is invited to participate in the shoot—assuming you're willing to bare your birthday suit in front of hundreds (maybe thousands) of strangers, that is. On July 10, Tunick will produce a second installation featuring a group of invitation-only participants, so be sure to look alive on day one. While many of Tunick's previous portraits feature participants going completely bare, he hopes the use of body paint in this installation will help people who wouldn't normally participate in this kind of thing to feel more comfortable. Tunick told artnet News that he's been working alongside New York-based body paint company Mehron, who are manufacturing a new kind of paint for the project. "Upon my request they developed a special formula for me to easily apply paint to 1000's of bodies in under 10 minutes," he shared. If the promise of a thin layer of paint between you and world wasn't enough to convince you, all participants will also walk away with a limited-edition photograph by the artist. Now let's just hope it doesn't rain. Follow artnet News on Facebook. 2016-03-30 15:14 Cait Munro

48 Say Oi! to 40 Years of Punk Photos in London Punk turns 40! Sid + Nancy. Sex Pistols. Ramones Dressing Room. 1977. © Jill Furmanovsky/rockarchive.com Colorful mohawks styled alongside safety-pinned leather jackets, an aversion to establishment is proclaimed in no better way than with a hard drum beat and straightforward lyrics: "There is no future / in England’s dreaming. " There was once a time in London when you could walk down any street and get a front row seat to some of the key moments in music history. Whether it was a Sunday night at the Lyceum Theatre with Sid Vicious and The Sex Pistols, or The Pogues down at Water Rats, London’s explosion onto the punk scene helped developed the genre, both sound and style, into what became a voice of a generation with a distinct spirit that lives on today. Soo Cat Woman Punk Fans. © Jill Furmanovsky/rockarchive.com Giving nod to these moments, London this year celebrates 40 years of punk in a calendar of events, gigs and exhibitions, aiming to chart its subversive heritage. Blondie. 1977. London. © Jill Furmanovsky/rockarchive.com Jill Furmanovsky , a renowned British rock photographer, can easily look back, having been there documenting punk when it was at its height. “I didn't know, none of us did, how far-reaching its influence would be,” she tells The Creators Project. “It was a 'can do—have a go' time,” she explains. “That was true for all the creative people who were inspired by it, from musicians to designers, fashion to photography and writing too. It was a generation influenced by that energy.” In 1998, Furmanovsky founded Rockarchive , a platform for rock photographers and visual artists like herself to exhibit their work in a public platform. With over 50 photographers included in this rock art collective, their body of work comprising of live concerts or album cover shoots, each has a defyingly unique style. For Furmanovsky, it was more about who she was shooting rather than any photography technique. Romance Fiction by The Buzzcocks. © Jill Furmanovsky/rockarchive.com “It was mainly the musicians that defined the style,” she says. “But I have an ability to cut to the essence of what I'm presented with and make something that may seduce visually but has some deeper level, or so I like to think!” Helping celebrate punk’s anniversary, Furmanovsky is opening the Rockarchive in a one-off display at the Barbican Music Library , presenting a visual slice of an era of loud, riotous expression. The Ramones at The Roundhouse. © Jill Furmanovsky/rockarchive.com “Good photographs are like portals,” says Furmanovsky. “If you look carefully, tune in, it can really give you the feeling of what it was like to be there. I could only show a small part of my punk archive in the small space but I made the prints big, and mainly live, to give people a chance to experience the sheer energy of punk. It was a powerful thing.” The punk rock movement wasn’t the only thing of interest from this period. As Furmanovsky rightly points out, the present-day digital environment has changed photography, in some ways for the worse. “During the film era, making images took longer and took some skills that had to be learned,” explains Furmanovsky. “That gave it value. Perhaps this is why there is such an interest in the past. Strange times.” The Jam. Tower Hamlets. 1977. © Jill Furmanovsky/rockarchive.com See more photos like these, from The Undertones to Iggy Pop, at the Rockarchive 's A Chunk of Punk , running at the Barbican Music Library until April 28, 2016. It’s free. Need more punk? See what other events London has planned here . Related: The Punk Rock Life of a Rare Book Librarian Revisit the Golden Age of Hip-Hop in a New Photo Exhibit 9 Tips for Composing the Perfect Picture 2016-03-30 14:35 Catherine Chapman

49 Kathryn MacKay Named Associate Film Curator at Berkeley Art Museum and Pacific Film Archive MacKay. COURTESY BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE The Berkeley Art Museum and Pacific Film Archive announced today that Kathryn MacKay will be an associate curator in its film department. She begins her new position at the Californian museum on Friday. In Toronto MacKay has held various positions at festivals like the Images Festival of Independent Film and Video and the 8Fest, and at institutions like TIFF Cinematheque and the Ryerson Image Centre. Since 2009 MacKay has been the chair of the board of director at the Liaison of Independent Filmmakers of Toronto, which supports local productions and filmmakers. At one point she was also a projectionist at the Art Gallery of Ontario.“I am honored to be joining the staff of BAMPFA,” MacKay said in a statement. “I have a great respect the institution’s commitment to preservation, archiving, and education and admire its long- established dedication to the presentation of art and cinema that inspires reflection, encourages critical dialogue, and educates as it entertains. As cinema continues to evolve and moving images proliferate on the screens that surround us, institutions like BAMPFA become increasingly important, offering insight and perspective on the visual culture we inhabit. I look forward to exploring all that cinema can be with audiences from UC Berkeley, the Bay Area, and beyond.” 2016-03-30 14:27 Alex Greenberger

50 Mercedes-Benz Taps Alexis Mabille to Head Design Competition More Articles By They have asked 30 designers to imagine three silhouettes that make use of the German carmaker’s codes, including its famed three- pointed star emblem. A jury headed by Mabille will shortlist 10 finalists on June 15. Mercedes-Benz, which sponsors fashion weeks in Berlin, Istanbul and Sydney, will reveal the winner of the Prix des Étoiles Mercedes-Benz 2016 award on Oct. 4 during Paris Fashion Week. The prizewinner will receive a grant of 15,000 euros, or $16,800 at current exchange, in addition to long-term support from the company. Mabille last year headed the jury of the E-Fashion Awards, an international contest that encourages fashion students and young designers to explore the links between clothing and new technologies. 2016-03-30 14:04 Joelle Diderich

51 Andy Warhol’s First New York Studio Hits the Real Estate Market Related Artists Andy Warhol Andy Warhol’s first New York City studio building is up for sale. The real estate firm Cushman & Wakefield is asking $9.975 million for the 5,000- square-foot former firehouse where Warhol created many of his seminal works from the early 1960s, including his “Disaster” paintings. Before discovering the building at 159 East 87th Street in 1962, Warhol had been working out of the townhouse where he lived with his mother, a few blocks away on 89th Street. But after three years there, canvases had begun to fill the ground floor apartment, while Brillo boxes and Campbell’s soup cans were stacked to the ceilings. So when a friend told him about a vacant space in the nearby firehouse, where a hook and ladder company held a lease, Warhol wrote a letter to the city, offering to pay $100 a year. (The building had no heat or running water.) It was at this point in Warhol’s career that he decided he didn’t need to be fabricating his own work anymore. “I think somebody should be able to do all my paintings for me,” he told the art critic G. R. Swenson in 1963. That June, he hired an assistant, Gerard Malanga, to work with him at the new studio. “I remember when Kennedy was shot,” Malanga told New York magazine in 1987. “We went back to the firehouse and made a silk screen of Dracula biting a girl’s neck.” By that time Warhol had reached the height of his fascination with death and disaster. It began for him when he saw the front page of the New York Mirror with an image of a felled plane and a screaming black headline: “129 DIE IN JET!” He realized that “when you see a gruesome picture over and over again, it doesn’t really have any effect,” Warhol told Swenson. He began to sense then that all the sensationalized images he had been reproducing, of Marilyn Monroe and Elizabeth Taylor, were deadened, too, in their own ways. At the same time that Warhol moved his studio into the firehouse, he was also scouting locations in midtown to establish the first iteration of The Factory. He settled on a crumbling former hat manufacturer on East 47th Street. “Andy was attracted to the space because it didn’t appear to be your typical artist’s studio, with wood floors and big windows looking out on a grand urban vista,” Malanga recalled. “It didn’t have that artsy aura. It had, more or less, an anonymous feel to it. You walked into it and you weren’t quite sure what it was or what had gone on there previous.” Warhol covered the walls with silver foil and opened up in January 1964. So far, Warhol’s former firehouse studio building has managed to stay within art-world hands. Property Shark lists the current owner as Guy Wildenstein’s art dealership Wildenstein & Co. The real estate firm is now marketing the space as “a blank canvas to create boutique condominiums, mixed use rental, luxury townhouse, or community facility/medical use.” If it’s any indication of the market value for the actual building, the old lease for the property, signed by Warhol, sold at Sotheby’s in 2014 for $13,750. 2016-03-30 13:39 Rachel Corbett

52 Resurrected on Broadway: ‘An Act of God,’ This Time with Sean Hayes Cue the Second Coming puns. “An Act of God” is returning to Broadway. Sean Hayes, whose lone previous Broadway outing (in “Promises, Promises” ) garnered him a Tony nomination, will play the title role in a show that imagines God offering a new version of the Ten Commandments for today’s world. The comedy, a 90-minute near-monologue (God is accompanied by a pair of angels who have some lines) first had a limited run on Broadway last spring and summer , starring Jim Parsons, and was a commercial success. Mr. Hayes, best known for his work on television’s “Will and Grace,” is now starring in a production of “An Act of God” in San Francisco, after a previous run with the show in Los Angeles. The producer, Jeffrey Finn, will bring the show, and Mr. Hayes, back to Broadway for 14 weeks, from May 28 through Sept. 4, at the Booth Theater. The play, by the television comedy writer David Javerbaum , has been revised since the last Broadway run, both to personalize it for Mr. Hayes, and to reflect current events. “I haven’t had such a fun gig in a long time,” Mr. Hayes said in a telephone interview. Mr. Hayes said he did not see last year’s Broadway production of the show, but read the script when it was sent to him by Joe Mantello, the director. “By the time I was on page two, I was in,” he said. “Any actor knows what I’m talking about: It’s hard to find great writing, and when something is presented to you like this, you’d be a fool to say no.” Mr. Hayes said he had been open to returning to Broadway — “Promises, Promises” was in 2010 — but was waiting for the right opportunity. “I’ve been in the fortunate position to have been offered several things, here and there, but I haven’t really connected with, or really fallen in love with, anything like I have with this,” he said. “To me, it’s poignant, it’s touching, it’s hilarious and it’s all in the writing.” Mr. Hayes said he sees the play not as a critique of religion, but as an occasion for laughter. “The show is strictly a comedy, and nothing more,” he said. “But comedy can also be thought- provoking.” Asked about his own faith, Mr. Hayes, who was raised Catholic, said he no longer practices any form of religion. “I practice lines for the show,” he said. 2016-03-30 13:30 By

53 Design Dealers: Ole Høstbo, Dansk Møbelkunst Gallery Related Events TEFAF Maastricht 2016 Venues Galerie Dansk Møbelkunst Artists Finn Juhl Established by Ole Høstbo in 1992 in Copenhagen, Dansk Møbelkunst Gallery specializes in rare furniture created during the 1920-1970 in Denmark, the heyday of the Danish modern. Taking its name from the Danish term for 'Furniture Art', a term rooted in the synthesis of aesthetics, utility, and craftsmanship that distinguished the era, the gallery is renowned for its expertise in the works of craftsmen, architects, and designers, spanning both industrially produced iconic works, and handcrafted masterpieces. First show: Copenhagen 1992 Tefaf Maastricht, Design Miami/Basel, and CHART Copenhagen. The idea behind founding the gallery was to present early works by the most important Danish furniture makers to an international audience. We are located where the source of these pieces is, and have had the benefit of finding the objects straight from people that acquired them back in the 1940s and 50s. The first years as a gallery owner were hard, but it has been such a pleasure to see the growing interest of collecting Nordic design and experience how people appreciate the quality in the craftsmanship and designers' work. What have been some of the most significant achievements and landmark moments of the gallery? The opening of our Paris gallery in 2002, and over the years being invited to the most important and prestigious art and design fairs all over the world. The design market has been growing over the years. I hope that what I do is not a trend, and I think and hope that the pieces we have and have had in the gallery will be just as respected and valued in the future as they are now. I would like trends to disappear when we speak about historical design. The worst is seeing that design is presented as a lifestyle. One of the best Danish architects was Palle Suenson. You do not see much of his design, since it was only made for projects. But one should keep an eye out for when they turn up. A good gallerist should have a very clear and visionary idea from the start, and not make any compromises in the quality of what the gallery shows. It is a joy to see your gallery mentioned as a good and respected place of provenance, when you later see the pieces from your gallery coming up for sale at auctions. The Danish artist and designer Gunnar Aagaard Andersen once did a temporary canteen for the Danish shirt factory Angli in Herning, Denmark. This room would be a pleasure for me to show. An art historian. Form and function. 2016-03-30 13:28 Jana Perkovic

54 rebecca louise law suspends a spring garden within bikini berlin retail space within the atrium of concept shopping mall bikini berlin, london-based artist’s rebecca louise law has deconstructed a blossoming spring garden and suspended it from the ceiling. the stems of 30,000 live flowers of varying color and quality make up ‘garten’, tethered to copper wire strings and hovering just above visitors to the retail space. the brightly colored blooms, — donated by tollwasblumenmachen, an affiliate of the flower council of holland — are carefully hung upside down with petals facing those passing beneath. the site specific installation will dry in-situ over time, creating an ever-changing landscape of color and form. the installation is placed within the atrium of the bikini berlin mall the sculpture invites visitors to contemplate nature, while keeping with the language of the architecture — a triad of 1950s buildings that stand as symbols of berlin’s city west district. the spectrum of colors and floral scents that punctuate the internal setting brings the outdoors in. ‘the installation is designed to be an inviting, enchanting celebration of the outdoors and of spring color,’ rebecca louise law says. ‘we decided to name the sculpture simply ‘garten’ the german word for garden, in keeping with the simple, understated post-war design statement made by the bikini berlin building itself.’ the stems of 30,000 live flowers are suspended from the ceiling blooms of varying color and quality make up the installation ‘garten’ blooms hover just above mall guests, with petals facing those passing beneath the installation will dry over time, creating an ever-changing landscape of color and form the spectrum of colors brings the outdoors in the sculpture interacts with the existing architecture of the building 2016-03-30 13:15 Nina Azzarello

55 Minor Victories Made a Film About Skating Empty Towns in Tory Britain [Premiere] British supergroup Minor Victories are a band foremost but they're also filmmakers, too. The group, who consist of Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey, and his brother James, have their debut self-tilted album coming out on Play It Again Sam on 3 June 2016, but by then they'll already have two short films under their belt. The first short, Film One , came out last year and was made by Justin and James under their filmmaking partnership Hand Held Cine Club —the pair make all the group's music videos and films. Today they release the followup Film Two , a piece to complement their latest single " A Hundred Ropes " and complement the cinematic soundscapes on the album. The making of the album was one that took place online without meeting in the flesh, the music coalescing "by swapping ideas, songs, fragments and finished recordings via broadband connections. " For them, the short films are a chance to not only showcase the group's aesthetic, but also bond as a band by exploring experiences and memories. "The only thing that connects them [the films] is the visual sense, the way we cut and what we like seeing, how we make films, which in our case is a self taught very personal manner," Justin Lockey explains to The Creators Project. "This makes sense to us for a few reasons, mostly because the Minor Victories album was made without any of us being in the room together, or before we even met each other so there was a disconnect from the start. In a band there is usually a shared history and group relationship mentality, a togetherness and friendships and bonds developed over time, with this record we didn't have this to start from. But, not having that to start with makes you look at things in a very different manner, and also in some ways give you a more expressive and restraint free perspective to work from. " Image courtesy of Minor Victories Film Two follows a group of friends as they kill time skating around, eating take away, and hanging out. It's shot in crisp black-and-white with a dreamy feel, as Goswell's ethereal tones and the elegant music drift into and punctuate the narrative, which references the bands' experiences growing up in an austerity Britain of a not-too-dissimilar age. The film also reflects the shared passion for skateboarding between Braithwaite and the Lockeys ("I guess in this film it replaces that band bond," Justin notes) and their time spent skating around desolate towns under a Tory government nearly four decades ago. It's pertinent because now, in a 21st century Britain full of food banks and job losses in the manufacturing industries, there's more than a sense of déjà vu. "Empty towns to skate through, long forgotten by governments, no work, no money, no future. In this film we tried to explore that with the backdrop and the brooding sense of history repeating," says Justin. "In our case the specter of the 80s Tory government again looms large on most of Britain, north of London, especially the North of England where we're from. The only difference this time is it's wearing a sharper suit and smiles more whilst it fucks you over. " Image courtesy of Minor Victories Minor Victories will be touring May 03 LONDON Village Underground tickets 04 BRISTOL Thekla tickets 05 LEEDS Brudenell Social Club tickets 06 GLASGOW Art School tickets Related: FKA twigs Just Dropped a 16-Minute Short Film for Her New EP Stunning CGI Imagines Humans with Patterned Skin Filmmaker Reimagines His Youth in Beirut Through a Surreal Animated Short Film 2016-03-30 13:15 Kevin Holmes

56 56 ‘Artists Can Do Anything In Our Restaurant’: Michael Chow on Food, Painting, and Mae West Michael Chow. Michael Chow had been a struggling painter in London for ten years before founding his first restaurant, Mr. Chow, in 1968. He eventually expanded the business to New York and later Los Angeles, and now also has spots in Malibu and Las Vegas, among other places. Chow is best known for being the ringmaster of social life in the New York art world throughout the ’80s, the de facto host for gallery dinners for Soho’s more hedonistic corners. He provided a safe haven for artists, who could get away with anything at his restaurant, in between plates of Chicken Satay. “Mr. Chow’s became sort of the cafeteria of all these artists,” Chow said in a phone interview from California this week. Many of the artists who were Mr. Chow regulars at their peak in the ’80s— Julian Schnabel, Kenny Scharf, Red Grooms, Francesco Clemente, and so on—are experiencing a popular resurgence now. Chow has not been overlooked in this nostalgic reassessment. Schnabel, who is not exactly known for praising others, toasted Chow at an event last year at Art Basel Miami Beach. (Or, he attempted to. The speech devolved into a Schnabelian rebuke of the audience.) Chow’s first solo show in the United States is on view now at the Warhol Museum in Pittsburgh. And Chow, along with his wife Eva, will be honored next Monday at the New York Academy of Art’s Tribeca Ball. Chow speaks in art-historical tangents, and offered a rather concise narrative of the New York art scene when he opened his restaurant on East 57th Street in 1979, a story that was entwined with the roots of the New York Academy of Art. Andy Warhol (Chow’s friend) and others founded the Academy in 1982 in order to champion the importance of figurative painting and classical drawing. “Andy’s worries were that the art of classical painting was getting lost,” Chow said. “But it’s sort of ironic that he almost singlehandedly destroyed that kind of painting! When he was a kid he always did transfers, and later on he broke through with the silkscreen, part of a Duchamp way of thinking. Of course, a few years later, everyone was claiming that painting was dead, which is a ridiculous statement.” He said claiming painting is dead is the equivalent of telling a restaurant owner “no one is going to eat meat anymore.”Chow was born Zhou Yinghua. He was “uprooted from China” in 1952, going to England at the age of 13, after which he “lost everything, so to speak, including my name.” His father was the celebrated opera performer Zhou Xinfang, who died during the Cultural Revolution. Chow did not ever see his father again after leaving China. He trained as a painter at Central St. Martins in London, around the time that Abstract Expressionism was peaking. The rise of Pop art in the early ’60s, Chow said, “destroyed everything. Even Rothko’s career was on the rocks. All the other different schools were put on the wayside.” Chow was concerned that he wouldn’t be able to survive as an artist, so he took what he described as a “50-year sabbatical.” He’s only recently gotten back into it, though he was always a connoisseur. Alongside his own work at the Warhol Museum are selections from his collection of portraits of himself, by artists like Keith Haring, Ed Ruscha, and Jean-Michel Basquiat. (The Academy will also put one of Chow’s own paintings on view at the Tribeca Ball.)Taking a cue from his father’s history, Chow decided to start a restaurant after giving up his painting career, “because I treated it like theater.” He also saw some overlap between art and food: “You make a painting, like you make cake,” he said. “That’s the implication.” His inspiration for the look of the restaurant was Rita Hayworth glamorously gliding across the screen in the 1946 film Gilda . (Chow’s fondest memory is of another Hollywood icon, Mae West, coming into the Los Angeles Mr. Chow: “The whole room stood up and applauded.”) But, more than anything, he thought of Mr. Chow as a way to educate the West about Chinese culture. The restaurant quickly became a gathering place for artists, models, and musicians— Paul McCartney, he said, banged out the rhythm for “Back in the U. S. S. R.” on one of the dinner tables. Chow commissioned original art to hang in the dining room. Most of these were portraits of the restaurant’s owner. At the time, he said, “Portraiture was out. Just like meat is out, or painting is out. Only the queen got her portrait done. Those who did portraits were in Siberia, as far as artists go.”In New York, Mr. Chow opened in Midtown, but it quickly became a piece of downtown folklore, SoHo’s restaurant of choice. Cathleen McGugigan’s classic profile of Basquiat in the New York Times Magazine opens in the restaurant, a scene so full of cameos, it is worth quoting in full: When Jean Michel Basquiat walks into Mr. Chow’s on East 57th Street in Manhattan, the waiters all greet him as a favorite regular. Before he became a big success, the owners, Michael and [his first wife] Tina Chow, bought his artwork and later commissioned him to paint their portraits. He goes to the restaurant a lot. One night, for example, he was having a quiet dinner near the bar with a small group of people. While Andy Warhol chatted with Nick Rhodes, the British rock star from Duran Duran, on one side of the table, Basquiat sat across from them, talking to the artist Keith Haring. Haring’s images of a crawling baby or a barking dog have become ubiquitous icons of graffiti art, a style that first grew out of the scribblings (most citizens call them defacement) on New York’s subway cars and walls. Over Mr. Chow’s plates of steaming black mushrooms and abalone, Basquiat drank a kir royale and swapped stories with Haring about their early days on the New York art scene. For both artists, the early days were a scant half dozen years ago. Chow set out to have his restaurant be a place for creative people to congregate. “Creative people have a tendency to be glamorous—to be beautiful,” he said. “Artists can do anything.” He quickly qualified this. “Artists can do anything in our restaurant. They have that right.” 2016-03-30 13:10 M.H

57 Q&A: "Head of Passes" Playwright Tarell Alvin McCraney Related Venues The Public Theater Alana Arenas and Phylicia Rashad in "Head of Passes" / Photo by Joan Marcus At the beginning of Tarell Alvin McCraney’s “Head of Passes,” Shelah Reynolds has it all figured out. Beset with a terminal illness, the Southern matriarch is determined to set everything right concerning her deceased reprobate husband with her dysfunctional family, including her two sons, Aubrey and Spencer, and her prodigal daughter, Cookie. A strongly devout woman, she doesn’t allow the word “devil” to be spoken in her house, which is located where the Mississippi River flows in the Gulf of Mexico, thus giving the play its title. Then all hell breaks loose. Shelah’s comfortable understanding of faith becomes highly uncomfortable. Her faith is shaken much like the raging storm that brings apocalyptic destruction to her home and family. Based on the Book of Job, McCraney’s play evolves from a conventional family comedy-drama into an existential meditation on suffering, with Phylicia Rashad, as Shelah, giving an acclaimed career-defining performance. “Head of Passes,” which is at the Public Theater through April 24, represents yet another provocative work from McCraney, whose eclectic career has encompassed “Wig Out,” “Choir Boy,” and the “Brother/Sister Plays,” which launched his career in 2007. This one is also his most personal. He has dedicated the play to both of his grandmothers, who are, aptly enough, named Grace. In a recent conversation with ARTINFO, McCraney, spoke of the Book of Job as one of mankind’s seminal stories and why he jumped at the chance to write about it when Tina Landau, who directed the production, first broached the idea. It was through a song we sang in youth choir: “Old brother Job who was sick so long/till the flesh fell off his bones.” And I wondered, “Who was this guy named ‘Joe’ and why was he waiting so long?” I was always very curious and trying to unpack these very complex stories and narratives in the simplest way possible but not undermining their complexities. The Book of Job is really a meeting point of many religions. It’s one of the few pieces of text that even Buddhist and Hindu scholars think about. It’s something of an origin tale, a part of the early cosmology of human beings, which talks about suffering and fate. I knew I wanted to write Job as a woman of color. In my discussions with Tina Landau, we knew that we weren’t looking to match the events of Job one to one but to get at the conversation of faith and suffering: What does it mean to endure until morning? What does faith look like when the unknowable is all around you? Instead of trying to tie all this up in a neat bow, we had to go to the unanswerable in a stronger way. Well, you write what you know and the people with the strongest faith in my life are women of color. There were men of deep faith but I couldn’t feel it as palpably as through my mother and grandmothers. So it just made sense that if you were going to have a person with deep reserves of faith at the center of the play, who was going to have conversations with God — literal or imagined depending on who’s watching — that it be a woman of color. They didn’t explain it. That’s the thing. The conversation was that hard times were actionable, watchable, seeable, and teachable moments. My [maternal] grandmother passed away from lung cancer and none of us knew. She only told my great aunt about it and it hurt my mother to know her mother had suffered alone. But my grandmother felt it was her load to carry and no one else’s. That was an example of the way they took things on. If it had happened to the men in my family, we’d have known about it! Faith. It called upon them to be alive and not shrink from life. My grandmother on my dad’s side is ninety years old and she’s in intense pain from bad arthritis, and yet she will not stop walking around the neighborhood. Why? She’ll tell you it’s called living and she’s not going to stop. It’s also learning. Suffering will make you perfect, it will ready your soul for perfection. We are made better through these edifications. They didn’t preach it, they lived it. Whether there is faith or a lack thereof, there are some themes that are the same: we are all trying to explain the unexplainable, trying to deal with the unimaginable. And when that happens, we try to lean onto understanding. But what happens when that understanding goes? The Bible says, “Lean not unto your understanding.” And that’s really what I came away with. Understanding is not always going to provide succor or provide salve to what is hurting and in giving that up sometimes we feel that we lose so much. That was what became clearest to me. It had been clear to me before in an abstract way, that there’s a reason for everything. But then it really dropped in for me. We all have a moment when we have to let go of what we think we understand and that happens to all of us. You wait. My grandmother always used to say, “There is working in waiting.” I remember that phrase very well. There is something active in waiting. Asking God to hold onto me because I will let go at one point. I am human. I will let go of my faith, let go of my hold on what I think is higher. But the real prayer to that [higher] power is to hold onto you. I’ve heard that my whole life, it has resonance now and it will for the rest of my life. It certainly will be new. For me, that’s the crux. Shelah has spent the whole play telling us what the plan of action is going to be. Then she’s had to wrestle with the idea that the purpose of her life becomes uncertain, unknowable. What does it mean when that isn’t clear? How does life go on? At this point it has shifted because I’m coming to an understanding that what is greater than us is within us. We have to remember that we are stardust. Billion-year-old stardust is part of our being and that allows us to illuminate ourselves even in the darkest hour. That’s how I feel about it now. But check with me in 30 years, I don’t know how and if it will still resonate with me [laughs]. 2016-03-30 13:09 Patrick Pacheco

58 eL Seed's Cairo Garbage Collectors Mural More that 50 buildings in one of Cairo's poorest neighborhood have been transformed into a work of art by eL Seed. The French-Tunisian street artist spent several weeks creating a massive mural in Mansyiyat Naser, home of the city's informal garbage collectors, who are predominantly Coptic Christians. The piece, titled "Perception," is a massive circle formed by Arabic calligraphy written in white, orange, and blue. The Islamic-looking design, which can be seen in its entirety only from the top of nearby Moqattam Mountain, features the words of Saint Athanasius of Alexandria, a third-century Coptic bishop: "Anyone who wants to see the sunlight clearly needs to wipe his eye first. " "Egypt's highhanded government has shown little tolerance for artists," the New York Times notes, adding that eL Seed would have likely been harassed or arrested by officials had he attempted to work in a less "forsaken corner of the city" than Manshiyat Naser's trash-lined streets. "The place is perceived as dirty, marginalized and segregated," the artist writes on Facebook. "I am questioning the level of judgment and misconception society can unconsciously have upon a community based on their differences. " The neighborhood's so-called Zabaleen , or garbage people, are reviled despite their important role in the urban ecosystem, where they recycle up to 80 percent of the city's waste. The artist told Glenn D. Lowry, director of New York's Museum of Modern Art , at a talk at Art Dubai 's Global Art Forum earlier this month. "In a project like this, the art was just a pretext for what we do, which is really a human experience. " Follow artnet News on Facebook. 2016-03-30 13:04 Sarah Cascone

59 More Bite Than Bark: William Wegman’s Other Side Related Venues Sperone Westwater Artists William Wegman Edward Hopper David Schnell William Wegman resides with his family in a sprawling, multi-floor live/work domain in Chelsea. It’s the house that dogs built — specifically, the emotive Weimaraners that the artist has photographed, often garbed in human clothing, for decades. But Wegman has quietly and significantly amassed an oeuvre, stretching back to the early ’70s, that has nothing to do with man’s best friend. A series of exhibitions in 2012 helped broaden the understanding of Wegman’s larger practice: “ Hello Nature ,” a retrospective at Bowdoin College Museum of Art; a selection of drawings presented at Salon 94 Freemans ; and “ Artists Including Me ,” a solo painting show at Sperone Westwater. This month, New York has another chance to take in Wegman’s comic genius and serious artistic chops, with barely a dog in sight. First, there’s “ Postcard Paintings ,” also at Sperone Westwater, through April 23. These small- and large-scale paintings on panel exploit a simple conceit: a cheap postcard used as the centerpiece of a larger composition. The postcards themselves are of various types — sourced from museum gift shops and holiday destinations alike — and they offer Wegman both a prompt and a cheat. While the postcards are collaged onto the surface, these works aren’t collages; the cards, whether depicting a famous Edward Hopper canvas or a romantic waterfall, act more like a conversation starter, while simultaneously (and subtly) doing the heavy lifting of building a composition. By focusing the eye on the often photographic, found image, Wegman tricks the viewer: the painted passages around the postcards achieve, via osmosis or some form of vampirism, a clarity and grace that they might not have on their own. In the best works, it’s difficult to discern the boundary between postcard and painting. What Wegman essentially does is build up a frame or environment for the postcard to live or float within. The surrounding paintings are often architectural in nature, depicting unreal spaces whose planes and perspectives are all out of whack (reminiscent at times of the exploding angles and walls of Leipzig School painter David Schnell ). Often the juxtapositions are played for laughs, as Wegman extends the postcard imagery out past the frame (a station wagon goofily distended, in one instance). Two or three or more postcards can coexist in a single painting, creating worlds within worlds whose contradictions amuse and confuse. These more complicated works are impressive, but Wegman does just as well when he keeps it simple — as in a small painting based around a postcard of the Golden Gate Bridge, which becomes an abstracted landscape populated by purple mountains and boxy cars. A series of paintings on the gallery’s second floor break form by including books, rather than postcards — namely a series of vintage how-to home-repair guides, bulkily affixed to the panel’s surface — giving Wegman additional chances to land sly visual puns. The “Postcard Paintings” are a charming mixture of the serious and the silly, a mood that carries over into the second Wegman exhibition, at Magenta Plains on the Lower East Side through April 24. Here we get drawn-on photographs and drawings, many of them in the form of perverse or absurd cartoons. As with the postcards, photographs are a “way in” for Wegman here — his doodles and defacements act to finish the existing image. In one of the most striking (and disturbing) works, from 1979, we see a young girl, her face — only half of it retroactively lipsticked in ink by the artist — poised at the edge of a kitchen table, which is bare save for a bone-shaped dog biscuit. The effect is a discomfiting combination of the commercial and the erotic, of wholesomeness and fetish. But the main event at Magenta Plains is the drawings, which generate strange laughter. (Fans of Glen Baxter will feel right at home.) In one, resembling a captionless New Yorker cartoon, a Native American woman, her baby snugly papoosed on her back, converses with a yellow- blazered society lady. In another, a man and a woman sit in an apartment that’s literally raining money from the ceiling; on the wall hangs a Wegman dog portrait (it’s unclear whether the man in the frame is Wegman himself, flush with canine cash, or simply a money-hungry collector). In his sketches and studies and one-offs the artist wanders casually from the puckish — photos of Bruins hockey players with lipstick and thick eyelashes drawn on their faces — to the sweetly sentimental, as in a washed-out purple landscape depicting ducks in migration. “More my impression than actual rendering,” reads a line of text below the painted scene. “(how I felt).” 2016-03-30 12:54 Scott Indrisek

60 Extreme Relaxation: Michael Mahalchick Goes the Distance in Performance at His Canada Gallery Opening Michael Mahalchick during his performance last Saturday at Canada. JOHN CHIAVERINA Last Saturday, for the duration of the opening of his current solo show at Canada, which is titled “Skin Game,” Michael Mahalchick was stationed in the main gallery space with his face down on a massage table, staring at his own reflection in a bucket of water. On the back of Mahalchick’s head was an ominous Michael Jackson mask. He stayed that way for two hours. “Well, the massage table is an old massage table of a friend of mine who died recently,” Mahalchick told me directly after the conclusion of the performance. “This show is about living and dying, so I think that table, with the Michael Jackson mask, it sort of looks like a weird corpse sitting on the table, but then this massage thing is about life and feeling things and your skin,” he continued. I arrived three quarters into the performance. In that time, Mahalchick moved his legs up and down a few times, but other than that, as far as I could see, he stayed impressively still. Gallery-goers took photos, and some even talked to him. In an email, Mahalchick detailed a few of the things that were said, as well as some nuggets he just happened to overhear.“Are you OK?” “Can I touch you?” “Can I give you a massage?” “Are you asleep?” “The medium is the massage.” “I really like the use of Cheerios in your work.”“They don’t have this at the Frick.” “Is that a real person?” “Is he dead?” “I can see him breathing” “I think it’s a she.” “I want to go over and slap his ass.” “Can you see his face?”As this happened, Mahalchick was surrounded by his own work, loose mixed-media pieces that use a collection of found posters their jumping off point. “When I moved to New York, the first apartment I moved into, [the show’s] posters were out in front of the apartment going into the garbage, so I brought them all back into the apartment,” the artist said. “I was planning to do something but didn’t until now because it made sense.”Alongside the massage chair, the patinated posters feel like a time capsule. Alt-rock mainstays Pearl Jam sits next to ‘80s goth band Bauhaus, Led Zeppelin, and more contemporary artists like the folk singer Devendra Banhart—interesting, considering Banhart himself used to show at Canada in the gallery’s early days. Local dancehall reggae ads are posted up near a weathered Soul Asylum poster. Collaged and presented together, everything takes on a mysticism that I normally associate with a more singular, bygone era of rock and roll. It all feels old. The collages are covered with everything from Powerball stubs to old car-service receipts. “If you look at the posters there’s like exhibition postcards and things people have sent me over the years, and there’s also candy wrappers and whatever,” Mahalchick said. “I don’t search out stuff, I sort of let whatever stuff is around, whatever flows in, I don’t really source things necessarily.”Mahalchick has shown with Canada for over a decade, and in that period has staged a variety of performances. A few highlights include a 2012 piece at Canada wherein the artist created assemblages live in the gallery as well as a 2013 re-creation of the Jay Z “Picasso Baby” video/durational performance in the basement of Louis B. James Gallery. Over the course of the current exhibition’s run, the artist will do the massage-table performance three more times. “Now the water has absorbed my image—it’s sort of in there,” he said. “Your reflection of water is on the skin of water really, it imprints the water with my identity in some way.” 2016-03-30 12:38 John Chiaverina

61 APOLLO architects conceals home and art gallery within stacked volumes tokyo based firm apollo architects & associates have completed their latest mixed-use project consisting of a residence and a contemporary art gallery space. sited in obu city in the aichi prefecture, the building is made up of three stacked volumes. the hybrid scheme features a podium on the 1st floor level composed of reinforced concrete and glazing. as the upper levels increase in size, the steel siding material changes color to establish its differentiation, while providing a distinct character from its proportion with a sense of floating in the space. the ground floor is marked by a glazing to allow views into the gallery the cantilevered second levels hold the living areas with the external positioning forming a garage space underneath for two cars. meanwhile, the ground floor features a fully glazed façade to invite views into the gallery from the street. the floor of this gallery has been purposely lowered as a semi-underground sunken space, while a concrete partition prevents direct daylight, allowing visitors appreciate the art via reflected light on the ceiling. the kitchen, lounge and dining area sits in the second floor volume access is through a separate staircase which takes the residents directly into the second floor. a monochromatic color scheme has been used to establish simplicity and allow the home to be converted into an extension of the gallery below. with the communal spaces hosted in the second floor, the top volume hosts the bedroom and private programs which are lit by skylights positioned above the balcony and staircases. the color palette of the house consists of muted greys natural light streams through the skylights located above the staircases the space itself has been left slightly sunken from street level the top level has access to a private terrace area the delicate staircase weaves up the upper levels the ground floor hosts a private gallery to display the client’s art collection 2016-03-30 12:30 Natasha Kwok

62 Italy Presents Anti-Terror Plan for Heritage Sites In reaction to the terrorist attacks on Brussels last week that claimed 32 lives and injured hundreds, the Italian government has announced a three-year €300 million ($336 million) plan to increase security at its world-famous cultural heritage sites to ensure the safety of visitors and tourists. The first level of the two-part plan sets out emergency response protocols in the event of an attack. It lays out the establishment of a task force organized at a local level by Italian prefectures in coordination with specialized supervisors and museum directors. The second level sets out an investment of €300 million ($336 million) over a three-year period in increased security infrastructure such as metal detectors and surveillance cameras at Italy's 20 most-visited heritage sites. These include the Colosseum , Rome; Pompeii; the Galleria dell'Accademia, Venice; the Capodimonte Museum, Naples; and the Uffizi Gallery, Florence. "We evaluated cultural heritage sites which are most at risk, identifying around 20," Antonella Recchia, secretary general of the Ministry of Culture told the Italian daily Corriere della Serra. "We increased security measures at these sites, including greater police and carabinieri presence, installed metal detectors, and increased surveillance cameras. " Recchia added that the Ministry of Culture could not reveal more information on the government's security plan. "If we reveal all the details then the plan is no longer useful. " According to the Italian Ministry of Culture, €50 million ($56.6 million) has already been spent on bolstering security. Eike Schmidt, director of Florence's Uffizi Gallery, said, "here at the gallery the presence of military and Carabinieri is already clearly visible. " Underlining the importance of the increased security measures he added, “thousands of people come to our museum every day. On Easter Sunday alone we recorded 8,000 admissions. " Follow artnet News on Facebook. 2016-03-30 12:18 Henri Neuendorf

63 The Soundtank: Invading A Party Near You Screencaps by the author, via When he was young, Nik Nowak experienced a traumatic gunshot near his right ear that left his hearing impaired, unable to pick up certain high frequencies. Since then, the German artist and designer has developed a fascination with sound design and mobile sound structures. Once upon a time, the Panzer Tank was the crown jewel of the German armored vehicle division, a paragon of German engineering. Now, thanks to Nowak, it's a party machine. A cute little mini tank now exists as a locomotive homemade sound system. Powered by a 4000 watt amp and equipped with 13 speakers and 18" subwoofers, the Soundtank, or PANZER is quite the force to be reckoned with. Armed with an strong motivation to engage with the public, Nowak constructed his first " Mobile Booster ," a sort of stepping stone to the Panzer, and the first addition to his festive weapons cache. Nowak has made a career out of realizing new futuristic sound artworks that combine his love for drawing, architecture, and sound. We literally cannot wait to see what he comes up with next. ELECTRON 2016 – PANZER/NIK NOWAK from electron festival on Vimeo . Soundtank was set to roll out at the Electron Music Festival this past weekend (March 24-27). Head over to the festival’s website for details here. Check out more of the Nik Nowak's sound sculptures here . Related: Introducing the 'Sound Torch': A Speaker That Turns Music Into Fire The Loudest Sound System In The World Will Kill You If You Hear It 'Sound City Project' Is A Google Street View For The Ears 2016-03-30 12:15 Nathaniel Ainley

64 ezri tarazi designs table that pays tribute to the demolished city of aleppo ezri tarazi designs table that pays tribute to the demolished city of aleppo (above) ‘halab is gone’ is the name of the table all images courtesy of ezri tarazi israeli designer ezri tarazi takes geopolitical issues into his creations, aiming to materialize his thoughts and reflections on the actual situation of the place he was born. ‘higher view’ is a design installation that is based on the ‘objective’ exhibition in collaboration with haim parnas in the tower of david museum in jerusalem. in this exhibition, designed enabled the creatives to build new products for a better and more optimistic future. with the ‘higher view’ tarazi presents an objective warning of external perception through tables, in which two essential human qualities are woven together: sharing and hospitality. ‘halb is gone’ will be part of the ‘coffee on fire’ installation held at the triennale museum in milan ‘halab is gone’ is a table that pays tribute to the demolished city torn apart by destructive forces. on the motivation of the installation the designer comments, ‘in ‘higher view’ we may be able to see that as advanced as the human race is, we fail to create sustainable forms of living on this earth. the land of mesopotamia, where great civilizations were born, is now torn apart. the state of two ancient cities, halab and jerusalem, is a wake-up call. it shows that without a higher view, the destiny of these great civilizations will continue to deteriorate into endless wars, threatening to pull the majority of the human race down with them.’ the table shows the destruction of the city with: haim parnas | ‘coffee on fire’ installation light objects: avi fedida chief curator: eilat lieber curated by: smadar keren production: tamar berliner design assistance:avi fedida, noam yaish, roni zaslavsky, tal preger-galili, inbal yannai, nir amir, sharon sides,michal liberman, noga shimshon, baruch mogilevski,shay tavori, sarit yudilevitch, nurit grinberg. designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-03-30 12:00 Ezri Tarazi

65 65 Thelma Golden Joins LACMA Board of Trustees Thelma Golden, director and chief curator of the Studio Museum in Harlem , is extending her sphere of influence to the West Coast, having been named one of three new members of the board of trustees at the Los Angeles County Museum of Art (LACMA). Golden's appointment comes as no surprise, given the curator's long-standing history in the art world. In addition to over a decade's experience at the Studio Museum's helm, Golden's knowledge of New York City museums dates back to the late '80s. She started out at the Studio Museum, and worked in a curatorial capacity at the Whitney Museum of American Art throughout the '90s before her eventual homecoming. Amidst a lineup of star-studded members , the most notable of which is Hollywood personality Ryan Seacrest, the addition of Golden to the board brings the museum the kind of art-world industry credentials it can benefit from. Golden will be joined by fellow new LACMA board appointees Soumaya Slim and Caroline Grainge. Slim, who serves as director of Museo Soumaya, her father's museum in Mexico City, manages a private collection of 66,000 works, while Grainge draws from a background as a fashion executive. In a statement, LACMA CEO Michael Govan described the museum's board, which now tallies up to 54 voting members, as "diverse" and "multi-talented. " Even without her newest role, Golden is busy these days, having been appointed to the board of the Obama Foundation in August. Also in 2015, New York City's Mayor Bill de Blasio invited the curator to join the city's Cultural Affairs Advisory Commission. Earlier this month, Golden was honored with the Audrey Irmas Award for Curatorial Excellence by the Center for Curatorial Studies, Bard College . Follow artnet News on Facebook. 2016-03-30 11:04 Rain Embuscado

66 XXI triennale international exhibition - 'STANZE: novel living concepts' at salone del mobile 2016 salone del mobile. milano 2016 protagonist at the XXI triennale international exhibition palazzo dell’arte, milano april 2nd to september 12th, 2016 interior architecture is a prime field of creative exploration and reflection, directly impacting people’s everyday lives. it speaks of our homes, and of the domestic spaces in which we spend most of our life — places where we relax, recharge, read, think, sleep, study, eat, entertain and spend time with our families and friends. it is the interior architect who is responsible for conceiving and defining these environments with different colors, moods, passions, shapes, temperatures, filled with details that accommodate and welcome our human diversity. they are ultimately responsible for designing the world around us. but, despite its importance, and the fact that it is a highly practiced trade, over the past 50 years this field has been critically undervalued as a sphere of design; and there have been very few occasions on which this theme and widespread profession has been acknowledged. early exhibitions that explored this area have been: the ‘colours and shapes in today’s home’ exhibition at villa olmo, como, in 1957; and the ‘la casa abitata’ exhibition at palazzo strozzi, florence, 1965. then there was the seminal, groundbreaking MoMA exhibition, ‘italy. the new domestic landscape’, new york, 1972, where there was no lack of projects for ‘interior environments'; and of course, one must not forget ‘the domestic project’ exhibition at the triennale di milano, in 1986. so, if you’re taking count, it’s been twenty years since the last triennale exhibition, and thirty since the last great exhibition on interiors. for the 55th edition of the salone del mobile.milano an event dedicated to the ‘state of interior architecture’ is being brought forth. it is set to showcase the sophisticated, experimental and original work of a select group of practitioners who have been chosen to put forth their visions of what a room should be, encompass, feel like. curated by beppe finessi, ‘STANZE. altre filosofie dell’abitare’ (‘ROOMS. novel living concepts’) is being held at the palazzo dell’arte at the triennale di milano, a protagonist of the larger XXI triennale international exhibition. ‘STANZE’ is geared at underscoring the particular remit of interior architecture, and providing a vision of home living projected towards the future. it takes the opportunity to reflect on the work carried out by a great many number of architects, those already established and the masters, by means of a great exposition focusing on the state of the art of interior architecture. ‘STANZE’ sets out with an overview of the subject, introducing the topic and historically placing it through stories about great achievements of past great masters, like: franco albini, carlo de carli, carlo mollino, gio ponti, carlo scarpa, vittoriano viganò, ettore sottsass, joe colombo, leonardo savioli, toni cordero etc. — all of which share interior architecture as their first professional sphere. projects by major twentieth century italian cultural players, such as: BBPR, gae aulenti, luigi caccia dominioni, ignazio gardella, vittorio gregotti, vico magistretti, angelo mangiarotti, nanda vigo, marco zanuso, etc.; who, even if just on particular occasions, have conceived and realized housing concepts, will also be presented. alongside them are works by architects who have expressed their thoughts, skills and visions of the world around us through interior architecture, including: michele bonino/coex, antonello boschi, guido canali, maria giuseppina grasso cannizzo, gabriella and massimo carmassi, gianfranco cavaglià, carla ceccariglia, massimo curzi, cherubino gambardella, luciano giorgi, johanna grawunder, decio guardigli, guido morpurgo and annalisa de curtis, calvi merlini moya, francesco pasquali, daniele rossi, italo rota, alessandro scandurra, uda, stefano testa/cliostraat, bruno vaerini, francesco venezia, etc. some of the significant accomplishments of these architects will be selected and exhibited in a large area called the great ‘celestial vault’ in which photographs, models and drawings will illustrate the history of 20th century italian interior architecture in the form of a vast three-dimensional encyclopedia. visitors will then walk through a series of rooms, each designed by a different contemporary architect: andrea anastasio, manolo de giorgi, duilio forte, lazzarini and pickering, alessandro mendini, marta laudani and marco romanelli, fabio novembre, carlo ratti, umberto riva, and elisabetta terragni. they have all formulated their own rooms, each one influenced by different theories, philosophies, and literary works, to illustrate their ideas on the concept of living. ‘INTRO’ by fabio novembre recalls the first room that we encounter in our lives – the womb fabio novembre on his living concept – ‘INTRO': ‘if you think about it, an egg is like a solidified uterus, and the apparent great difference between oviparous and viviparous species is simply a matter of the consistency of the outer membrane. if we then tried to plunder our remotest amniotic memories, it would be easy to show that our earliest perception of space occurred while we were floating about in the warm hollow of an ovoid form and that every concept of domesticity is geared to recreating that condition. however, unlike the gestational sac, the egg retains its formal and aesthetic dignity even after it has carried out its function. perhaps this is why mankind has always been fascinated by its shape, and why all its vital potential has always been associated with the idea of perfection. art has celebrated its iconic value, and architecture – especially in the endeavour to predict the future – has seen its ovoid shape as the perfect formal synthesis. I tried to imagine a bedroom made of leather with high-end saddlery fittings inside a chrome eggshell. the ovoid shape and its reflective power are selling points, and the colour and warmth of the leather literally engulf the visitor, who finds himself inside himself, looking out from within. let us not forget that sleep is the space-time threshold that carries us back to our original amniotic immersion by night, yet compels us to be reborn each day, more human and more sentient than ever.’ in partnership with natuzzi fabio novembre draws on the perfection of the ovoid form as the perfect formal synthesis for a space ‘pin room’ by carlo ratti envisions a room that is a personalized working, playing, talking and sleeping space carlo ratti on his living concept – ‘pin room': ‘‘pin room’ is a personalized working, playing, talking and sleeping space. a responsive module that changes according to need, becoming an office, a lounge, a bed, an orderly sitting room, a small auditorium or a domestic landscape. the starting point is a flat surface, made up of soft pins, that can rise up in response to a simple hand movement, and reconfigure the space in a potentially infinite number of combinations. each of its components – pixels turned matter – allow us to literally manipulate the physical universe and transform it, each time, into the best of all possible tangible worlds. like mark weisler’s ubiquitous computing utopia, we inhabit the spaces – made up of bits and atoms – like habitative interfaces, to which we can give shape through the simplest of interactions.’ carlo ratti associati team: carlo ratti, giovanni de niederhausern, andrea cassi (project leader), ina sefgjini, damiano gui, antonio atripaldi, emanuele protti, gary di silvio ‘pin room’ is composed of modules that can reconfigure space in an infinite number of combinations ‘my prisons’ by alessandro mendini addresses his feeling of serving a life sentence for the crime of ornamentation alessandro mendini on his living concept – ‘my prisons': ‘for a long time, forever in fact, I have felt as though I were living shut inside a prison. serving a life sentence for the crime of ‘ornamentation’. I find myself in an introverted room, a blockaded perimeter, an insurmountable mental space. small yet also enormous, completely confined, in any event. my ideas, my style, my atmosphere, my mirage: everything is in there. it is the isolation cell inside a romantic and privileged alcatraz. imprisoned by nightmares, by torture, by hallucinations, by the abyss of decoration. it’s like the methodical self-building of walls and surfaces destined to deny me of my freedom. I often think about abet laminate. it was the first material I fell in love with. cold, flat, high-tech, geometrical, amorphous yet erotic, up for anything, prepared to lose and make me lose our purity. my conventions, my desires have smoothed it, painted it, stroked it, illuminated it, polished it and softened it. laminate seduced me so completely that it must have been the source of the decorative obsession with infinite signs, styles and colours that wrapped me ever more firmly inside the cocoon of my sins, my terrible thirst for ornamentation. if I try to locate the true, distant beginning of my design life sentence, of my prisons, I find it in the emptiness of the drawings produced by hand or on the computer, above the superficiality of the surfaces, not in the depth of space and form.’ ‘ursus’ by duilio forte draws on the principles of his arkizoic manifesto duilio forte on his living concept – ‘ursus': ‘this project comes under the heading of ‘domestic landscape’ according to the principles of the arkizoic manifesto. ‘on 12th february 2009, the 200th anniversary of darwin’s birth, atelierforte laid down the principles of arkizoic style in a manifesto based on a set of seven rules inspired by the geological eras, thus underscoring temporal continuity with the phanerozoic era, the aeon in which life on earth was explosively affirmed.’ there are five particular fundamental points: i. put your soul into your work ii. use natural and traditional shapes iii. use drawing as an emotional sketch iv. adopt heuristic methods v. leave room for chance, error and the incomplete the design is a proposal for contemporary living, made possible by the speeding up of communication today. the size of the social group is determined by the ability to maintain personal connections. monkeys, for example, manage to make up groups of up to 30 individuals. language has enabled social groups of up to 150 people to be formed. the computer revolution has now overturned this threshold, obviating the need for proximity, such as the social habits of primates and the traditional verbal language of human beings. it will enable society to break apart and fragment. faced with a rapidly fragmenting society, we have come up with a minimal survival module on which to base our visions of our own future. a centrifugal force to counter the progressive abandonment of the planet, in which 50% of its inhabitants now occupies 1% of the earth.’ in partnership with rimadesio duilio forte’s design is a proposal for contemporary living, made possible by the speed of communication today ‘la vie en rose’ by lazzarini & pickering explores the possibilities thrown out by new solar technologies lazzarini & pickering on their living concept – ‘la vie en rose': ‘sheets of glass ranging from pink to claret define the walls of a minimalist habitative cell that explores the technical, aesthetic and ethical possibilities thrown up by the new solar technologies. surfaces screen-printed with special pink, organic and hybrid photovoltaic ink produce energy when exposed to direct, indirect and artificial light sources, triggering a virtuous circle of energy consumption and production. thirty-three internal square metres and twelve metres of loggia/greenhouse encompass all the residential functions required by a couple looking from the contemporary to the future, bringing elements of memory with them. the loggia/greenhouse, a mediation space between the interior and exterior, controls the air conditioning and energy production and hosts plants and domestic utilities. a central plan, covered by a vault, is enclosed by a perimeter of server spaces and solar panels, which open as required, altering the space like theatrical scenery. the furnishings meld with the fixtures, the fixtures become furnishings and everything becomes transformed. the habitative cells duplicate and join together to generate architecture and landscapes that aspire to energy self-sufficiency.’ in partnership with florim ‘D1. discovering the domestic space’ by francesco librizzi sees the threshold of the interior and exterior as one francesco librizzi on his living concept – ‘D1. discovering the domestic space': ‘D1 is a room that spells out the discovery of the domestic space. in an elliptical space formed by concentric rows of coloured narrow metal columns, the viewer gradually sees the threshold between interior and exterior become defined and include the role of the architecture in the mediation between landscape, domestic space and objects. the concept is drawn from a fascinating experience of hospitality in several private interior spaces in beirut and illustrates a timeless way of living, rooted in the collective memory of the entire mediterranean basin. an empty space positioned in the centre that acts as the cornerstone for a series of satellite spaces orbiting around it: the home and the city we can all remember or imagine. ‘D1′ leverages the mythical imagination of an original moment in which, for the first time, a person has paused because they are fascinated by the quality of a place and decides to stay there. in this sense ‘D1′ is the ‘person’s first room’, the place we identify with and in which we became conscious that we are nomads no longer; that place at the centre of everything, where we take the things we pick up along the way and around which we build our home. ‘D1′ is a project that represents the threshold that divides nature, across which the space ceases to be wild and becomes domestic.’ in partnership with de castelli ‘the absence of presence’ by marta laudini & marco romanelli sees home as a stage where daily lives are performed marta laudini & marco romanelli on their living concept – ‘the absence of presence': ‘when organizing internal spaces our time is spent debating alternative dichotomies between revealing and concealing, or rather between presence and absence, and between ‘gymnasium’ and ‘stage set’. homes are not merely machines à habiter, but stages on which our daily lives are played out. this duality conceals the ‘raw nerve’ of twenty-first century design. machines à habiter actually makes for perfect distribution, carefully evaluated climate conditions and generous fixed furnishing systems. ‘stages for daily life’ serves to show off objects and materials that demonstrate how far we have come financially and culturally: from large screen televisions to original paintings, from large amounts of books to elegant drawing rooms still covered with plastic, from hydromassage tubs to brass-effect finishings, from hyper-technological kitchens to mega sofas. people throughout the ages have attributed specific ‘powers of representation’ to different and particular objects. this therefore means that when tackling a design for a ‘novel living concept, the value of ‘absences’ needs to be explored. it is no longer simply a matter of modifying the ‘presences’ in terms of taste and culture, but of building a room to be lived as an ‘absence’ (an empty space for coming and going and for contemplating works of art). the ‘presence’ will return, transformed into experiences for “lone” activation within well-defined areas, earmarked for different human activities: reading a book, getting undressed or eating. this is a project that does not simply aesthetically valorize the concept of emptiness, but is driven by different ‘contemporary family’ structures. families made up of individuals all of whom have reached adulthood but who, out of necessity, continue to live together, or unrelated people required to share a space, for instance. within these nuclei, each person needs to create their own intimacy, their own story, their own ‘oneman tent’.’ collaborators: stefano ragazzo and giorgio bonaguro laudini & romanelli looks at the interior as an evaluated set of climate conditions with generous furnishing systems ’round and round’ by manolo de giorgi looks at the notion of occupying rooms manolo de giorgi on his living concept – ’round and round': ‘room equals occupying, but are we sure about all this occupying? are we still convinced that this occupying should act as a protagonist for inhabiting, over and above any other factor? or would a potential new melange not be more realistic, one that combines occupying+utilizing services+moving about, all in more or less identical proportions? I tried to conceive a habitat guided by spaces dedicated to movement, 80 cm strips lined up against each other to form an environment dictated by ‘ongoing operations’. a summation of corridors that ought to result in a continuously flowing space, dispensing with the rigid tile-like juxtaposition of rooms. I thought about the great opportunities offered up by corridors: those indeterminate spaces in which functions are sped up, ‘stripped’ to some degree, cross-contaminated, short-lived, ‘jokes’, almost, and then, ultimately, spaces ripe for opportunities and small places of freedom.’ in partnership with poliform ‘resonances’ by andrea anastasio looks at living space as a place for human beings to co-exist andrea anastasio on his living concept – ‘resonances': ‘the design for the room was triggered by reflecting on living spaces as places in which the many relational potentials for human beings coexist on a daily basis – the opportunities to affirm or deny the dimension of listening to oneself, to others and to the world, in particular. the project is intended to give shape to a combination of polarities, identified by this reflection on the domestic space. internal-external; microcosm-macrocosm; isolation-relationship; closed-open; dialogue-indifference; health-illness, etc. the furnishing elements essential to daily life were identified – table-bed-container –, and then arranged inside the room so as to mark out two virtual axes, suggesting the intersection of two rooms. a semi-transparent curtain was hung across them, chopping them in half. while substantially altering the furniture, splitting it did not preclude its functionality, while sharpening its symbolic/narrative properties.’ andrea anastasio gives shape to a combination of polarities, identified within the domestic space ‘putting things into perspective’ by elisabetta terragni draws the notion of space gently mutating into two elisabetta terragni on her living concept – ‘putting things into perspective': ‘taking away rather than adding to means recognizing the essence of things and communicating them in their essentiality.’ – bruno munari ‘max ernst’s watercolour ‘das schlafzimmer des meisters – es lohnt sich darin eine nacht zu verbringen’ (the master’s bedroom, it’s worth spending a night there), painted in 1920, draws us into the theme of the room with a deceptive ploy, demanding curiosity and respect. the outside is a closed parallelepiped, inside the spaces hide and gently mutate in two perspectives. the perception of space changes, not by much, but enough to make us think. occupying the resulting spaces between the interior and exterior walls, margins and gaps open and close in a constantly changing perspectival play, generated by light and the movements of the viewer. an ethereal image fragments against the walls and becomes whole again from one single viewpoint that the viewer has to seek out by moving around. two individuals inhabit it, they are close, but can also not see each other, almost miss each other, although they can communicate and hear each other. as in haruki murakami’s books, two is the magic number, a double life, an unconscious whole yet split in two, two people and also two moons. a parallel world, just slightly different, in an altered perspective.’ collaborators: architects paola frigerio and mike dolinski and yiwei he; graphics: daniele ledda xycomm ‘proposition for a bolt hole’ by umberto riva offers a place of isolation umberto riva on his living concept – ‘proposition for a bolt hole': ‘this is a proposal for a place in which to isolate oneself. my thoughts immediately flew to the cabanon designed by le corbusier in a pine forest on the cote d’azur where he spent the summer months during the latter part of his life. the project consists of a small completely self-sufficient room (13m2), in which the spaces and utilities have been pared down to a minimum. an exploration of existenz minimum, in which the relationship between the person and the internal space is the most important and delicate consideration of all. a room of monastic rigour, in which the light, the materials and the design of the furnishings assume the most important role.‘ umberto rivapares down the internal space to a minimum 2016-03-30 11:00 Andrea Chin

67 Jenny Jaskey on The Artist’s Institute / New York Jenny Jaskey, director and curator of The Artist’s Institute , discusses the organization’s new ventures and its continued pursuit of long-term engagement with artist’s communities and ideas. The Artist’s Institute The Artist’s Institute announced two big changes. What are they? The Artist’s Institute has been downtown for the past five years. This March, we moved into an Upper East Side townhouse. Our new space will maintain the intimate scale of our previous location but will expand over three rooms — two galleries and a library with sections dedicated to each of the artists we’ve worked with. This is really the impetus of The Artist’s Institute: to make visible and to explore over time the worlds that artists make. Our new magazine , which will be published as a companion to each season, does this too. Our new magazine The location emphasizes the salon and reminds me of Louise Bourgeois’s infamous Sunday get-togethers. Did this also influence your choice of writer Hilton Als for the upcoming season? That’s a wonderful reference, and what I love about a salon like Bourgeois’s is that it was truly a gathering place for artists. Hilton is someone who has been an important interlocutor for artists over the past three decades—writing about art but also curating exhibitions. He seemed like a natural starting point for thinking about the creative life and how this is always done in conversation. Hilton also makes visual work, and we’ll be opening with a new installation. The Artist’s Institute has had a somewhat barebones approach, which, with the institution’s voice, could be invoked anywhere. What does it mean to mature into a more specific gathering place? It’s true that we had always worked with a small budget and with a small space, but those constraints enabled us to do specific programming, responsive to each artist’s research interests. Our basement on Eldridge Street became a particular site for an artist like Pierre Huyghe , for example, to experiment in a situational process — something that the demands of a large institution’s architecture, budget or audience couldn’t do in the same way. This could be one way that the institution’s voice has shifted a bit under my leadership — from “thinking about,” we’re growing into a “working with,” identifying what questions we can explore with an artist over half a year’s time. Pierre Huyghe by Sam Korman 2016-03-30 10:53 www.flashartonline

68 National Poo Museum Opens on the Isle of Wight Let no one say the UK's newest cultural institution, the National Poo Museum on the Isle of Wight, is without universal appeal. As they say, everybody poops—so who wouldn't relate to a museum full of shit? Presumably, that was part of the thinking for inventor and social entrepreneur Daniel Roberts, who came up with the idea for the museum, which he created with local artist collective Eccleston George. The new institution's collection is small, but instructive, with feces specimens from 18 species encapsulated in glass globes that light up when visitors press a button. A specially designed machine desiccates each sample to prepare them for display—a process that can take up to several weeks for particularly prodigious poos. In addition to easily-procured human bowel movements, there are samples from an owl, meerkat, cow, lion, and fox, among other animals. The oldest piece of poop on display is believed to be an impressive 38 million years old. The museum, which is two hours from London off England's South coast, will probably gross some people out (which puts it in good company among the word's creepiest museums ), but its goal is to teach visitors about what our bowel movements can tell us about our health, and that of animals. The institution also has displays about the workings of our sewer systems, and on excrement as an alternative energy source. It certainly takes a much more educational approach than the UK's other "pooseum," the Viktor Wynd Museum of Curiosties, Fine Art & Natural History in London, known for its assortment of sniffable celebrity samples, among other assorted oddities. Believe it or not, the National Poo Museum isn't the first of its kind: Almost exactly one year ago, Italy debuted its Museo della Merda , dedicated to the history of human and animal waste. On a related note, a high-tech toilet museum opened in Japan in August. Modern and contemporary artists have also been known to embrace the turd. Artist's Shit (Merda d'artista), a 1961 work by Piero Manzoni which is part of the Tate's collection , is one example. More recently, Chris Ofili is known for his glittery, elephant dung-encrusted canvases , and Wim Delvoye created a machine that digests food much like the human body , literally pooping several times a day at the Museum of Old and New Art in Tasmania. (On a less institutional level, there were even a pair of dueling poo-bedazzling artists in Brooklyn ). The National Poo Museum is making its debut at the Isle of Wight Zoo , in the appropriately named "Poo at the Zoo" exhibition. Poop is "stinky, unpleasant and sometimes dangerous stuff," a description on the zoo's website admitted, but "this exhibition is not to be sniffed at and will aim to change the way people think and feel about poo. " Follow artnet News on Facebook. 2016-03-30 10:14 Sarah Cascone

69 Crystal Bridges to Open Contemporary Venue— The Crystal Bridges Museum of American Art is upping its commitment to the contemporary by turning a disused Kraft Foods plant into a cultural venue. The 63,000-square-foot building, abandoned by Kraft in 2012, will play host to visual art as well as music, film, theater, and an artist-in-residence program, and is slated to open in 2018. It's located just a mile and a half from the museum, in downtown Bentonville, Arkansas. Heading up the new venture will be Steuart and Tom Walton, grandsons of Walmart founder Sam Walton and his wife, Helen. Collaborating with Crystal Bridges on programming is the Massachusetts Museum of Contemporary Art (Mass MoCA) , another art venue housed in a former industrial facility, this one in North Adams, Massachusetts. The Kraft site becomes just the latest in a long line of similar sites transformed into contemporary art venues, taking advantage of relatively raw industrial settings and spacious buildings. London's Tate expanded into a former power station, opening Tate Modern in 2000, which boasts more than 84,000 square feet of gallery space. In 2003, the Dia Art Foundation expanded from New York City to upstate Beacon, where it occupies a former Nabisco box factory with 240,000 square feet of exhibition space. Chicago firm Wheeler Kearns Architects is charged with rehabbing the facility, which was erected in the 1940s. The plan is to maintain something of the building's industrial feel. Opened in 2011 and devoted to American art since colonial times, Crystal Bridges was founded by Walmart heiress Alice Walton and holds works by artists including Asher Brown Durand , Georgia O'Keeffe , Norman Rockwell , and Andy Warhol. The museum made headlines in February 2015, when it snapped up O'Keeffe's Jimson Weed/White Flower No. 1 for $44.4 million at Sotheby's New York , tripling the the $15 million high estimate. It expanded its reach into contemporary art with the 2014 survey " State of the Art: Discovering American Art Now ," and it added a Jeff Koons sculpture to its collection that same year. Follow artnet News on Facebook. 2016-03-30 10:04 Brian Boucher

70 The 5 Top Booths at Salon du Dessin Paris 2016 Related Events Salon du dessin 2016 Venues Palais de la Bourse Salon du dessin Artists Lucian Freud Pierre Bonnard Henry Moore Vincenzo Gemito Many visitors gathered in the Palais Brongniart for the opening of the 25th anniversary of the Salon du Dessin. The fair, running through April 4, is the leading event for works on paper, attracting the world’s most important dealers. It is specialized, selective and with a limited number of participants – just 39. It nevertheless benefits from a healthy international dimension. Seven new exhibitors join the show for the first time this year, including Galerie Eric Gillis (Brussels) as well as the Parisians Hélène Bailly and Jacques Elbaz. There is an increasing openness to Modern Art galleries and 60% of the drawings are modern. The New York gallery presents a beautiful selection whose highlight is an ink drawing by Rembrandt representing a young man. Coming from an English private collection, it is priced at €650,000. Another highlight of the booth is an impressive large study by Anne Louis Girodet de Roucy-Trioson for his famous painting “The deluge.” Tagged at €95,000, it is one of the only four known drawings preparatory for the painting. On the first evening, the gallery sold a charming work with red lavish by Claude Gillot, depicting four actors in theatre costumes. The French gallery, a cornerstone of the fair, immediately found a buyer for a beautiful head of a Moorish Guard dated 1886 by the orientalist Italian painter Giuseppe Signorini. It is preparatory for a watercolor entitled “Justice in Morocco” kept in the National Museum of Barcelona. For a more classical tastes, it also features a refined drawing executed with red chalk, “A Gardener with Washerwomen Among Roman ruins,” executed by the 18 th -century French artist Jean- François Amand, a contemporary of Hubert Robert. Attending the fair for the second year, the gallerist offers a rare surrealist drawing by the poet Paul Eluard. Called the “Mappemonde,” it was drawn by the artist on a napkin of the restaurant Le Catalan in quai Malaquais, located near Picasso’s studio (€15,000). Also worth a look is “Study of a Head- Letter to Michael Nelson” by Lucian Freud , from the very early period of the painter. Dating back to 1940, it is actually a letter sent to a friend Nelson whom he met at Bryanstan School in 1938. Freud’s handwriting is surprisingly round and labored, explained by the fact that he had originally been taught the German Gothic script (€95,000). Art Cuéllar-Nathan This modern gallery has an outstanding gouache with pastel and colored pencils by Pierre Bonnard , representing a subject dear to the artist, “A Tub.” The picture of a bathroom scene is probably one of the most expensive drawing of the fair, priced at €1,200,000. One can also admire, hung on that same wall, a drawing with black chalk by Vincent van Gogh, “Backyard With Three Figures,” from 1882 (€1,050,000), and a work by the sculptor Henry Moore , “Silhouettes standing,” 1940 (€600,000). Pandora Old Masters, Inc. The visitors’ attention is drawn in that booth by two works by the Neapolitan artist Vincenzo Gemito. One of them is a disturbing but beautiful head of Medusa executed in 1923, and the other, more charming, a representation of the daughter of the artist, Giuseppina (respectively priced at €95,000 and €12,000). The booth also has a high quality selection of 17 th -century works including several studies of figures by Salvator Rosa and a delicate “Study of Angel and Putto” by Giovanni Francesco Barbieri, known as Il Guercino. 2016-03-30 10:03 Nathalie Mandel

71 UK Export Deferral Put on Veronese Masterpiece UK Culture Minister Ed Vaizey has placed a temporary export bar on a 400-year-old drawing by Renaissance master Paolo Veronese with an asking price of £15,400,000 plus VAT of 20 percent ($22,162,757). Vaizey is trying to keep the drawing—a preparatory work for the painting Apotheosis of Venice (1582) commissioned by the Venetian authorities in 1577, after two fires at the Doge's Palace prompted a commission for the palace to be redecorated entirely. The finished painting occupies the central ceiling compartment in the Sala del Maggior Consiglio, the most important room in the Doge's Palace. “This rare drawing provides us with a remarkable insight into how Veronese created one of his most famous works," Vaizey said of the work in a statement . “I hope we can find a buyer to keep this beautiful artwork here in the UK. " This preparatory drawing is considered the most important of the three drawings made in relation to the final painting, and it is thought that Veronese used it to experiment with the final composition. The decision to defer the licence comes after the Reviewing Committee on the Export of Works of Art and Objects Cultural Interest (RCEWA) made a recommendation due to the significance of the work and its status as Veronese's most impressive modelli. An export deferral can be applied when a private owner wants to take a work of significant value out of the country. Once the licence has been deferred, there is a period of around two months when someone can state intent to buy the work—with proof of funds—and then there is a following two month period after which the owner is approached if there is a buyer. If the owner turns down the offer, the work will remain in the country for 10 more years. If no one comes forward, then the work simply leaves the country. Vaizey has slapped a deferral on the work in an effort to persuade a British institution or collector to splash out on the stunning and unique masterpiece. The first deadline for potential buyers of this Veronese gem is on June this year. “This spectacular sheet offers a fascinating insight into the working method of one of the foremost artists of the Venetian Renaissance," said RCEWA member Aidan Weston-Lewis in a statement. Vaizey has used the export ban several times recently to fight items of great value and historical significance leaving the UK. For example, his intervention helped rescue a ring owned by Jane Austen from the clutches of X-Factor US winner Kelly Clarkson. The Jane Austen's House Museum ended up buying back the ring back after an anonymous donor came forward. Export bans and deferrals have also been used to keep a ring owned by Joan of Arc and a $54 million Rembrandt from leaving UK. Those interested in purchasing the drawing should telephone RCEWA on: +44 (0) 845 300 6200. Follow artnet News on Facebook. 2016-03-30 07:34 Amah-Rose

72 Charges Against Pyotr Pavlensky Altered The criminal charges against the Russian radical performer and art activist Pyotr Pavlensky have been changed from “ideologically motivated vandalism" to “damaging a cultural heritage site". Russian investigators altered the charges on Tuesday, but the artist lawyer Dmitry Dinze told AFP that the maximum sentence, which stands at three years, would not change. Pavlensky was arrested in November 2015, after carrying out the performance Threat , which involved setting fire to the wooden door of the Lubyanka building in Moscow, the quarters of the FSB today and of the KGB in Soviet times. The notorious historical building was erected before the 1917 revolution. "The FSB acts using a method of uninterrupted terror and maintains power over 146 million people," Pavlensky said in a statement released alongside a video of the protest. According to AFP , last year, a judge estimated the cost of replacing the door at 55,000 rubles ($800). Shortly after being detained, Pavlensky himself asked for his charges to be changed from vandalism to terrorism. “Based on the logic of the law enforcement authorities, I demand that I be tried for terrorism," Pavlensky said in November 2015, as reported by the Guardian . He then added that he would “refuse to carry out these court rituals" if his charges were not changed, and linked his case to that of Ukrainian film director Oleg Sentsov, who was convicted in 2015 on terror charges over arson attacks on pro-Kremlin party offices in Crimea. Pavlensky, who has made headlines in the last two years with a series of radical political performances— including nailing his scrotum to the Red Square, cutting off his earlobe while perching on the roof of the infamous Serbsky psychiatric center, and sewing his lips together to protest at the prosecution of the punk-rock activists Pussy Riot—is currently at Moscow's Butyrka prison, where he was transferred after spending a month at Serbsky to verify his mental state. Last week, the artist was placed in solitary confinement for 10 days, accused of breaking light bulbs. On March 21, the artist's partner Oksana Shalygina, wrote a post on Facebook stating that investigators had “started hauling in for questioning and searching the homes of people that Pyotr Pavlensky and I know," and asked friends who could be targeted to refrain from opening their front doors without calling her or a lawyer first. Follow artnet News on Facebook. 2016-03-30 07:15 Lorena Muñoz

73 hou de sousa's raise/raze claims victory of dupont underground competition new york based architecture studio hou de sousa has been announced as the winner for the international re-ball competition, hosted by dupont underground in collaboration with the national building museum and the phillips collection. their winning proposal, ‘raise/raze’ is scheduled to open to the public at dupont underground in washington DC on april 30th, 2016. drawing from the competition brief’s emphasis on re-purposing previously used materials, the design team focussed on creating a dynamic, reconfigurable system; as opposed to a specific, non-versatile form. ‘raise/raze’ is an assembly block system that is not only totally alterable, but exceptionally strong and light-weight as well. the project is based on a hexagonal configuration of plastic balls formed in 27-piece cubes. velcro placed on the corners of each cube allows for attachment and detachment from other units; in effect providing the building blocks for a real-life version of minecraft. the site itself — DC’s iconic but largely dormant dupont circle — is a long, slightly curved hallway. ‘raise/raze’ divides the space into a series of distinct zones that present visitors with various situations and scenarios. these include: a cave of text, a forest-esque colonnade of trunks and stumps, a valley of shells, and another of domes, and a group of scaled down versions of the city’s famous structures (including the white house and supreme court building). all of these, of course, can be further altered and played with by the public. ‘raise/raze’ opens april 30th, 2016 with a full-scale, live-action performance at dupont underground in washington DC. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-03-30 06:35 Josh De Total 73 articles. Created at 2016-03-31 06:00