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40 articles, 2016-03-25 18:00 1 Attend General Admission Thursday April 14th (VIP Opening Night Preview Party, 4PM–7PM — Open to all attendees) Friday April 15th – Sunday April 17th • Multi-Day Pass: $40.00 each. Valid for entire event: Thursday’s VIP Opening Preview Party and Friday through Sunday... 2016-03-25 18:00 1KB artexponewyork.com 2 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-03-25 18:00 602Bytes artexponewyork.com 3 Exhibitor Registration FOTO SOLO Submit your application for FOTO SOLO 2016 Artexpo New York 2016 will take place April 14–17 at Pier 94. Please fill out the form below and one of our sales managers will then contact you to help you select the ideal booth space for your work. Important:... 2016-03-25 18:00 922Bytes artexponewyork.com 4 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 on- site parking spaces are available for cars, and... 2016-03-25 18:00 2KB artexponewyork.com 5 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... 2016-03-25 18:00 971Bytes artexponewyork.com 6 proposal to build 1,000 foot walls around excavated central park conceived by yitan sun and jianshi wu, the 'new york horizon' proposal was awarded first place in eVolo's annual skyscraper competition. 2016-03-25 16:01 2KB www.designboom.com 7 construction of jean nouvel's louvre abu dhabi well underway new images of jean nouvel's anticipated cultural institution shows its sculptural, latticed dome canopy nearing completion. 2016-03-25 13:20 2KB www.designboom.com 8 konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition konstantin grcic puts the spotlight on the pedestal — exploring its function and challenging its traditional form -- in his kunsthalle bielefeld exhibition. 2016-03-25 12:45 8KB www.designboom.com 9 Matthewdavid’s “Unfolding Atlantis” Video is a Deep Sea Dream Feel the relaxation in Adam Ferriss' music video for a song described by its composer as his own “ambient opus.” 2016-03-25 12:15 3KB thecreatorsproject.vice.com 10 eL Seed challenges cultural perceptions with city-scale anamorphic art in cairo in an effort to challenge preconceived notions about cultures and communities, eL Seed has realized 'perception' in cairo'd zaraeeb community. 2016-03-25 12:00 2KB www.designboom.com 11 1.35 Billion Trumps Saying "China" at the Same Time Sounds Like the Apocalypse Whether or not you were wondering what it would sound like if everybody in China was Donald Trump and they all said "China" at the same time, it's here. 2016-03-25 12:00 2KB thecreatorsproject.vice.com
12 casa modesta offers visitors a rustic retreat in algarve surrounded by olive and almond trees, casa modesta combines rural tourism and wellness facilities - all within a contemporary white building. 2016-03-25 11:35 2KB www.designboom.com 13 Popular Men’s Hairstyles From the Fall 2016 Runways Here are some of the most popular looks — everything from curls to newfangled fringes. 2016-03-25 11:00 656Bytes wwd.com 14 michael samoriz pays homage to the tungsten filament with helix lamp by mirroring the characteristic element of every incandescent bulb, the ‘helix lamp’ hangs from the ceiling in a very gracious way, with light coming only from its bottom curvatures. 2016-03-25 10:50 1KB www.designboom.com 15 11+ Sound1 bluetooth speakers more from elevenplus tech The 11+ Sound1 Speaker pairs with Bluetooth enabled portable devices and computers to provide beautifully clear and crisp stereo sound.(2X3W) Embedded magnets allow the speakers to be conjoined into a single piece, allowing them to be conveniently relocated, or stored neatly in the included... 2016-03-25 12:32 2KB www.designboom.com 16 boom supersonic airplanes a seven hour trip from new york city to london would only take boom supersonic planes 3.4 hours and would save approximately 3.5 hours of flight time. 2016-03-25 10:15 1KB www.designboom.com 17 Shandaken Project at Storm King Announces Residencies for 2016 Storm King Art Center. COURTESY STORM KING In January, the Shandaken Project announced that it would once again host a residency program at the Storm King Art 2016-03-25 09:30 1KB www.artnews.com 18 Laurie Anderson at the Fitzgerald Theater: Danny Sigelman on The Language of the Future To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and op... 2016-03-25 08:48 1007Bytes blogs.walkerart.org 19 Morning Links: The Odeon Edition Must-read stories from around the art world 2016-03-25 09:02 1KB www.artnews.com 20 A Historical Look at Some Easter Window Displays Easter also represents the beginning of spring. 2016-03-25 09:00 2KB wwd.com 21 golden cube student housing complex by hamonic + masson in boulogne-billancourt, french practice hamonic + masson has finalized the design of an eight storey building that contains 156 student residences. 2016-03-25 08:39 2KB www.designboom.com 22 State Changes: Marvin Lin on Vicky Chow and Tristan Perich’s 1-Bit World For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part progra... 2016-03-25 08:48 962Bytes blogs.walkerart.org
23 Milan’s Salone del Mobile to Mix Luxury, Technology Milan’s Salone del Mobile to Mix Luxury, Technology 2016-03-25 07:25 2KB www.blouinartinfo.com 24 Anri Sala Speaks on Improv, and Race Read THE DAILY PIC, where Sala shares some thoughts on his stunning New Museum work. 2016-03-25 07:15 2KB news.artnet.com 25 Australian Indigenous Oceanic Art Activism at Monaco Museum The Oceanographic Museum of Monaco is presenting a major survey of contemporary artworks by Aboriginal and Torres Strait islander artists 2016-03-25 06:59 3KB www.blouinartinfo.com 26 Fred Segal Melrose Building Trades Hands The 29,000-square-foot building housing the retailer’s Melrose Avenue location has sold. 2016-03-25 05:52 1KB wwd.com 27 Sound Advice: Laurie Anderson Artist and innovator Laurie Anderson's upcoming show at the Fitzgerald—a copresentation of the Walker, the SPCO’s Liquid Music Series, and MPR Live Events—is called The Language of the Future,... 2016-03-25 08:48 890Bytes blogs.walkerart.org 28 keisuke fujiwara designs pop-up store for issey miyake's ikko tanaka collection the design concept was to develop a space with a gallery-like feeling, including white walls, good illumination, and a simple floor plan to explore the collection's colorful nature. 2016-03-25 05:25 2KB www.designboom.com 29 Trevor Paglen and Jacob Appelbaum This conversation appears in BOMB 135. Get your copy today... 2016-03-25 06:28 26KB bombmagazine.org 30 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with their SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of c... 2016-03-25 06:28 904Bytes blogs.walkerart.org 31 London’s Zebra One Gallery Launches “Celebrity and the Big C” Exhibit to Raise Cancer Awareness Exhibit includes images of Angelina Jolie, Kylie Minogue, Steve McQueen and David Bowie. 2016-03-25 04:01 2KB wwd.com 32 'Beast Jesus' Restoration Gets Arts Center Beast Jesus may be a terrible restoration job, but the ruined fresco is now the subject of its own arts center, the Centro de Interpretación in Borja Spain. 2016-03-25 03:02 2KB news.artnet.com 33 grimshaw + MDT-tex installs series of tessellated canopies in frankfurt courtyard presenting the lightweight canopies in the form of an installation; its vaulted form provides an expressive structure designed for events and pop-up spaces. 2016-03-25 01:05 2KB www.designboom.com 34 David Korty - Reviews - Art in America David Korty first received critical attention in the aughts for portraits and landscapes indebted to artists including Alex Katz, David Hockney and the painters of the Bay Area figurative school. With each proceeding body of work, however, the elements in his compositions have become flatter and... 2016-03-25 00:00 4KB www.artinamericamagazine.com
35 lagranja design develops versatile tablewares for toshiba the studio was tasked with reassessing the role that industrial products take on within the constantly shrinking size of residences around the world. 2016-03-24 22:55 1KB www.designboom.com 36 Dow Jones, The Wall Street Journal Vow to Close Gender and Minority Pay Gap The media company will investigate claims waged by its union that female and minority journalists are paid less for equal work. 2016-03-24 22:54 2KB wwd.com 37 microclimat builds la taule training center in waterloo, canada canadian architectural firm microclimat has completed the design of the la taule training center in the eastern townships of waterloo. 2016-03-24 20:44 2KB www.designboom.com 38 Last Chance: Julie Zhu Explores Natural and Manmade Beauty at Utterly Art Zhu presents a modern take on classical Chinese art in her first solo exhibition, “Love Is All Around." 2016-03-24 18:22 2KB www.blouinartinfo.com 39 20,000 Fractals Create a Hanging Rainbow Forest Walking through Emmanuelle Moureaux's 'Bunshi' is meant to simulate the meditative quality of a forest, but with a Lisa Frank color palette. 2016-03-24 18:20 1KB thecreatorsproject.vice.com 40 5 Essential Japanese Artists The market has recently seen resurgent interest in postwar Japanese avant-garde painters and sculptors from key art movements that originated in the decades following World War II. 2016-03-24 18:16 14KB www.blouinartinfo.com Articles
40 articles, 2016-03-25 18:00
1 Attend Thursday April 14th (VIP Opening Night Preview Party, 4PM–7PM — Open to all attendees ) Friday April 15th – Sunday April 17th Children aged 12 and under get in FREE. For groups of more than 12, a group rate of $15.00 per person is available. Please Note: Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. If you have any questions regarding tickets please contact us at [email protected] . 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: 2016-03-25 18:00 artexponewyork.com
2 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/ 2016-03-25 18:00 artexponewyork.com
3 Exhibitor Registration FOTO SOLO Artexpo New York 2016 will take place April 14–17 at Pier 94. Please fill out the form below and one of our sales managers will then contact you to help you select the ideal booth space for your work. Important: Please fill out the required information below. Not ready to purchase? Email an Artexpo sales manager at [email protected] to get more information. 2016-03-25 18:00 artexponewyork.com
4 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. 2016-03-25 18:00 artexponewyork.com
5 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! 2016-03-25 18:00 artexponewyork.com
6 proposal to build 1,000 foot walls around excavated central park yitan sun and jianshi wu propose to build 1,000 foot walls around excavated central park all images by yitan sun and jianshi wu / courtesy of eVolo this ‘hybrid multi-functional megastructure’ has been designed to make new york’s central park available to more people. conceived by yitan sun and jianshi wu the proposal has been awarded first place in eVolo’s annual skyscraper competition. densely populated with skyscrapers, nature in manhattan comes in the form of a 1.3 square mile piece of land — central park. however, as a consequence of its location, only a small percentage of new yorkers are able to benefit from this vast public garden each day. a reflective glass surface surrounds the park on all sides in an attempt to make this green space available to more people, the proposed design digs down to reveal the bedrock beneath central park. in turn, this creates new inhabitable space along the exposed cliff-face. ‘the ambition is to reverse the traditional relationship between landscape and architecture, in a way that every occupiable space has direct connection to the nature,’ explains yitan sun and jianshi wu. the proposed design digs down to reveal the bedrock beneath central park the 1000-feet tall, 100-feet deep megastructure provides a total floor area of 7 square miles, which is about 80 times greater than the empire state building. wrapping around all four sides of central park, the system breaks the traditional perception of large-scale skyscrapers without taking valuable ground area away from manhattan. the soil removed from the original park is relocated to various neighborhoods, which would then be demolished and moved into the new structure. ‘this creates a new urban condition, where landscape can serve as an inherent part of the city,’ continue the designers. ‘with its highly reflective glass cover on all sides, the landscape inside the new park can reach beyond physical boundaries, creating an illusion of infinity. in the heart of new york city, a new horizon is born.’ 2016-03-25 16:01 Philip Stevens
7 construction of jean nouvel's louvre abu dhabi well underway new images reveal pritzker-prize winning architect jean nouvel’s anticipated louvre building in abu dhabi is in its developed stages of construction. located in the heart of the saadiyat cultural district, the expressive design of the museum is defined the references to arabic culture and architecture. the geometric domed roof – measuring at 180 meters in diameter – features approximately 7,000 tonnes of steel and is supported by only four concrete piers. internally, the canopy’s intricate latticed perforations not only serves as a decorative element encouraging dappled light, but will create a microclimate without excess solar gain. the pedestrian areas and the nested artworks are roofed by a large dome measuring at 180 meters in diameter the institution developed by the tourism and development & investment company (TDIC) will encompass 9,200 square meters of art galleries and become UAE’s first museum conveying a dialog of culture, history and openness. the permanent gallery will journey from ancient to contemporary artworks from different civilizations. additionally, the temporary gallery will be a dedicated space presenting international exhibitions enriched by loans from notable french museums including musee du louvre, musee d’orsay and center pompidou. for designboom’s previous coverage of the ‘louvre abu dhabi’, see here and here. cranes emerge from the construction of the lattice dome roof the geometric dome references the interlaced palm leaves traditionally used as roofing material the roof has four external and four internal layers, which is an arrangement that gives it its latticed delicate form there will be 9,200 square meters of permanent galleries and 2,000 square meters reserved for temporary exhibitions the development was born of an agreement between the respective governments of abu dhabi and france 2016-03-25 13:20 www.designboom
8 konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition konstantin grcic explores role of the pedestal in kunsthalle bielefeld exhibition all images courtesy of kunsthalle bielefeld in his solo exhibition at the kunsthalle bielefeld, konstantin grcic puts the spotlight on the pedestal, exploring its function and challenging its traditional form as a display. thus, ‘abbildungen’ should neither be considered a survey or retrospective of the german creative’s practice, but rather an opportunity in which he presents his work — a combination of industrial aesthetics with experimental, artistic elements that are functional, yet occasionally cumbersome, and sometimes deliberately disturbing — in a way that considers the architecture and context of the museum space. in his exhibition at the kunsthalle bielefeld, konstantin grcic puts the spotlight on the pedestal on this occasion, grcic takes the formal grammar of the pedestal and uses this as the foundation of his show. a typically monolithic block used for displaying objects and sculptures, the presence of the plinth is often an overlooked element of the gallery space that has continuously been brought into question by sculptors, ever since auguste rodin’s design for the ‘burghers of calais’ (1884). in part, what has fueled this proposition is grcic’s design of a new stand for rodin’s ‘la douleur’ (part of the kunsthalle bielefeld’s collection). in his rendition of the pedestal, grcic places the classic marble sculpture in juxtaposition with today’s industrial aesthetic in the form of a lightweight construction made from metal shelving elements, contrasting the heavy stone artwork. similarities are seen with the companionship of grcic’s best-known piece of furniture, ‘chair_ONE’, placed next to it. in this case, the design is presented with a concrete base that supports the metal grid-like seat shell, in a way placing it aloft in a distinct way much like a sculpture on a pedestal, while simultaneously anchoring it in place. some works are displayed without a pedestal, without any distance between them and the ground today, the pedestal continues to be a theme in art discourse whereby artists are still very much aware of its significance and function. in its long tradition, the pedestal has become an integrated component of the work — a conceptual part of the sculpture. grcic not only employs pedestals in his exhibition, but he explores and questions their function; taking into consideration that when something is placed on a pedestal, it conjures up a particular perception and aesthetic reception from viewers, as opposed to not being presented on one. over several gallery spaces, grcic puts forth different typologies of the pedestal, ultimately rendering each of his industrial products as cultural artifacts, their interplay with the pedestals allowing for aspects of their design to be questioned. the german designer has created different pedestal typologies in which to elevate his work in one instance, grcic reverses the pedestal’s traditional function. rather than elevating the objects on display, he places them within open boxes — two products in each — facing one another; sometimes placed on different levels. in this way, the viewer is forced to look at the pieces from above, which offers a certain level of abstraction. this means of arrangement also draws one’s gaze towards the material characteristics, the color, the interplay of positive and negative forms. in one instance the pedestal stands as part of a two-dimensional space — against it, embedded in it, rising out of it another space sees the designs of grcic standing within an environment — set against it, embedded in it, rising out of it. in this context the designer elevates a yellow version of his ‘sam son’ chair so that it has the presence of a throne, exhibited in front of a landscape with a pond in which the designer’s ‘2hands’ containers appear to be floating like lilies. in this instance, the pedestal is a serene monolith in its subdued landscape. nearby, a gallery wall features a section of le corbusier’s ‘secretariat building’ (1962) in chandigarh, india. here, the modernist architecture stands as the backdrop to wooden chairs, a hat stand, and a ladder, each of which are placed on staggered pedestals extending from its ‘façade'; so that it was as if one were looking at them three-dimensionally. elaborating on this scheme, grcic also places his work in three dimensional settings that are informed by an interplay of wallpapers and low platforms. in these contexts his furniture seems as if it has found a natural home within the kunsthalle bielefeld. general view of the ‘abbildungen’ exhibition at the kunsthalle bielefeld grcic also draws on the notion that the pedestal or plinth forms a fundamental part of the sculpture or object in which it supports, considering the display and the displayed as one entity. viewers observe the designer positioning two of his ‘pallas tables’ with their horizontal tops one over the other, thus mirroring and making extremely evident, the sculptural qualities of the furniture pieces. further playing with this idea, grcic exhibits his ‘hieronymous’ working/seating unit, which can only be fully understood when it rests on the ground, simultaneously making it object and pedestal. the designer places ‘hieronymous’ on the ground, but envelops it by its display so that in its entirety, object and pedestal appear as a monolithic block. in one instance, the designer elevates a yellow version of his ‘sam son’ chair so that it has the presence of a throne while grcic extensively investigates the formal possibilities and impressions of the pedestal, he does not forget its origins and has also conceived more traditional formulations of the display block. for example, he displays his ‘diana’ series of folded sheet iron end tables on top of white, rectangular prisms that he has designed, so that they become sculptures within the museum space. their interplay of open and closed sides, as well as their horizontal and vertical surfaces and edges, are all emphasized by the pedestals on which they sit; precisely accommodating the outlines covered by the furniture pieces. some display settings make grcic’s furniture seems as if it has found a natural home within the kunsthalle bielefeld ‘abbildungen’ concludes with a space that is completely outfitted in particle board, resembling the interior of the open box pedestals seen at the beginning of the exhibition. in this gallery, viewers physically enter the pedestal, taking in insights from the office of konstantin grcic industrial design. skilled crafts and technologies used by the studio are seen in the foreground, alongside manufacturing processes, functional testing and drawings that illustrate moments from the design process. together, they sum up the steps necessary in communicating his particular path towards realizing his industrial products. each product is ultimately an autonomous work of art set within its own spatial dimensions in developing an entire exhibition concept on the theme of the pedestal, grcic challenges its notion and its context within the gallery space to create a specific scenography for presenting his portfolio of products. the result ultimately sees each product as an autonomous work of art, existing within its own spatial dimensions, stimulating the perspective of the viewer and their interaction with the works on show — redefining the viewer’s space, and the presentational one. the designer does not forget to pay hommage to the traditional notion of the pedestal here, grcic reverses the pedestal’s function – instead of elevating the objects, he places them in open boxes placing his designs in boxes forces the viewer to look at them from above, offering a certain level of abstraction the box settings draws one’s gaze towards the interplay of positive and negative forms between object and space the juxtoposition of classic sculpture with an industrial aesthetic 2016-03-25 12:45 www.designboom
9 Matthewdavid’s “Unfolding Atlantis” Video is a Deep Sea Dream All photos by Theo Jemison, courtesy of Matthewdavid If you’re in need of some psychic relaxation or some new meditation music (who isn’t?), then today’s your lucky day, because we've got the new video for Matthewdavid 's “Unfolding Atlantis,” a 13-minute track off his new ambient album, The Trust and the Guide , out on Leaving Records on March 25. Directed by Adam Ferriss , the video is an abstract, psychedelic dive into the deep blue. According to Matthewdavid, “Unfolding Atlantis” was a sort of homage to by Michael Stearns’ Planetary Unfolding , the 1981 “cosmic holy grail of new age space music.” While he was conceiving the track, he was also reading the Illuminatus! Trilogy by Robert Shea and Robert Anton Wilson, and Rudolf Steiner’s essays on Atlantis and Lemuria for inspiration. “Infatuated by the legends of Atlantis in particular, and Stearns’ masterpiece in heavy rotation, I sculpted the sonic scenery conceptualized around nebulous, aqua-infused tones and textures, synthesizers in the key of hope, tickling nuances reminiscent of watery waves, and a particularly crafted sound-texture to resemble an advanced species of dolphin,” Matthewdavid tells The Creators Project. Director Adam Ferriss developed the video's visual style with the help of descriptive writing by Matthewdavid. “I received the track in its already completed state, so for me it was a matter of figuring out how to best augment the sound. I made an app in openframeworks that has about 10 different sliders for varying controls. I like to try and suss out individual sounds of a track and assign each of them a parameter. I defined one for camera speed, a few different color sliders, mesh displacement, and so on,” Ferriss explains. After creating the app, he experimented with the visuals by tweaking the app’s parameters live with the music. Once he became familiar with the song, he recorded multiple versions of the live visuals, eventually picking the one that felt right for the video you see today. “For Matthew, and lot of the other artists he's brought me on to work with, I like to record everything in one take, in real time. I think doing things this way can give you a sense of unpredictability, creative error, and spontaneity, that is sort of impossible to capture in keyframe animation,” he says. Watch the full video below, but first, make sure you’re ready to feel really, really relaxed. Listen to more of Matthewdavid’s music on SoundCloud , and see more of Adam Ferriss’ work on his website . Related: Turn Your Image Searches into Abstract Art with This Browser App Humpback Whales Record an Ambient Album That Speeding Comet We Landed on is Making Music 2016-03-25 12:15 Alyssa Buffenstein
10 eL Seed challenges cultural perceptions with city-scale anamorphic art in cairo in an effort to challenge preconceived notions about cultures and communities, ‘calligraffiti’ artist eL Seed has realized ‘perception’ in the neighborhood of manshiyat nasr in cairo. the installation has been set in the coptic community of zaraeeb — a place known for collecting trash in the city, and for developing an efficient and profitable recycling system for it. despite its ingenuity and essentiality, the town and its inhabitants are commonly perceived as dirty, and are often marginalized and belittled by outside areas. blending the historic art of arabic calligraphy and the contemporary style of graffiti, ‘perception’ sheds light on the architectural and cultural aspects of this community by illustrating an anamorphic piece across 50 of its buildings. only completely visible from a specific point on the mokattam mountain, the painting spans the urban- scale of zaraeeb, inscribed on residential building façades and rooftops. the piece spells out the words of saint athanasius of alexandria, a coptic bishop from the 3rd century, who said: anyone إن أراد أﺣـﺪ أن ﻳﺒﺼـﺮ ﻧـﻮر — who wants to see the sunlight clearly needs to wipe his eye first ’اﻟﺸﻤﺲ، ﻓﺈن ﻋﻠﻴﻪ أن ﻳﻤﺴﺢ ﻋﻴﻨﻴﻪ through its play of optical perception, the artwork stresses the idea that changing your point of view can greatly affect what you can fully see. the piece can only be fully revealed from a certain vantage point ‘the zaraeeb community welcomed my team and I as if we were family,’ eL Seed says. ‘it was one of the most amazing human experiences I have ever had. they are generous, honest and strong people. they have been given the name of zabaleen (the garbage people), but this is not how they call themselves. they don’t live in the garbage but from the garbage; and not their garbage, but the garbage of the whole city. they are the ones who clean the city of cairo.’ the artwork illustrates the quote ‘anyone who wants to see the sunlight clearly needs to wipe his eye first’ the artist collaborated with his own team and members of the local community the artwork blends the historic art of arabic calligraphy and the contemporary style of graffiti the original sketch that became the starting point for the installation 2016-03-25 12:00 Nina Azzarello
11 1.35 Billion Trumps Saying "China" at the Same Time Sounds Like the Apocalypse Screencap via Making fun of Donald Trump is easy, but using his voice to crack a hole in the space-time continuum takes a bit of effort. That's what it feels like experimental musician and video artist Bill Baird has done in a new video where he simulates the sound of a China's worth—that is, 1.35 billion—Donald Trumps saying the word "China" all at the same time. Baird had a lot of source material to choose from, as Trump has used the Eastern industrial superpower as a scapegoat for America's problems in many of his recent rabble-rousing speeches. He crams thousands upon thousands of Trump's agressive-yet-dismissive lilts into less than two minutes of video, culminating in a epileptic cacophony of red, white, and blue— exactly what we imagine a view of the American hellscape after four years of a Trump presidency might look like. The resulting sound, "causes a rupture in space/time and the rich asshole to be sucked into a black hole. All in 2 minutes," Baird writes in the video description. Like many artists, Baird was hesitant at first to bring more attention to the Donald with his work. "But now has come the time to watch him dissolve into the abyss," he says. Check out the Trump says "China" 1.35 billion times. Which is the actual population of China video page to learn more about Bill Baird's creative process. Check out more of his work on his website. Related: Artist Insulted By Donald Trump Turns Him Into a Butt Plug Sex Dolls and Period Blood Paintings Deflate the Donald This Sculpture Simulates Politics with Angry, Indecipherable Beeping A Googol Film Clips Play at Once in This Experimental Short 2016-03-25 12:00 Beckett Mufson
12 casa modesta offers visitors a rustic retreat in algarve ‘casa modesta’ is a rural retreat based in the verdant countryside of algarve, portugal renovated by the owner carlos fernandes and locally-based studio PAr. the architecture consists of two stark white buildings; one with a distinctive stepped rear that leads onto the rooftop and the other, a clean cubic volume. the construction used traditional methods, coupled with local materials with the aim to ingrain the memory of family and place. the construction saw the use of locally-sourced materials and tradition techniques of the area featuring nine suites along with wellness facilities, each room overlooks the green surroundings of olive and almond trees with its own private patio. algarve is known for its warm mediterranean climate which makes is no surprise that adjacent to the hotel, a garden with a section for organically grown vegetables and a solarium encourages visitors to relax and truly enjoy the isolated landscape. the interiors evoke a rustic aesthetic: simple and inviting. terracotta flooring combined with the exposed brick vaulted ceilings provides a backdrop for the selection of timber furniture and bespoke detailing. ‘make this way of life a lifestyle, from gathering clams to baking bread to the harvesting and drying of fruits. we catch a ride on a traditional boat, practice bird watching, support the local nature reserve, and when night falls we turn our verandas into a planetarium and watch the stars. when the body requires rest we surrender ourselves to wellness rituals, taking advantage of the natural properties of local olive, almonds, fleur de sel and algae. some may call it a “vacation”, we call it “culture”.‘ – casa modesta the hotel was renovated in collaboration with local architecture firm PAr cork and brass detailing is seen in the room interiors the spa takes advantage of the abundant olives, almonds, fleur de sel and algae grown nearby as well as a pool there is a garden with a section for organically grown vegetables and a solarium 2016-03-25 11:35 Natasha Kwok
13 Popular Men’s Hairstyles From the Fall 2016 Runways More Articles By A revival of vintage hairstyles, complete with redefined dimensions, were all over the runways for fall. Here are some of the most popular looks — everything from curls to newfangled fringes. 2016-03-25 11:00 Luis Campuzano
14 michael samoriz pays homage to the tungsten filament with helix lamp michael samoriz pays homage to the tungsten filament with helix lamp (above) the design aims to create an ode to the very symbol of lighting all images courtesy of michael samoriz ukranian designer michael samoriz is one of the founders of local-based umbra-design studio. his work ranges from industrial design to interiors, visualizations, and 3D graphics. for the ‘helix lamp’, his aim was to create an ode to the very symbol of lighting: the tungsten filament. to do so, the designer has maximized the shape of the tungsten coil, then rotated it into a horizontal position resulting in a minimalistic silhouette spring-shaped hanging lamp. by mirroring the characteristic element of every incandescent bulb, the ‘helix lamp’ hangs from the ceiling in a very gracious way, with light coming only from its bottom curvatures. the design allows the user to expand and contract the lamp depending on their use and preference. from a front view, the lamp looks like a spring light is emitted only through the bottom part of the curvatures one of the main attractions of the design is how it changes depending on which side it’s being viewed 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. 2016-03-25 10:50 Michael Samoriz
15 11+ Sound1 bluetooth speakers more from elevenplus tech The 11+ Sound1 Speaker pairs with Bluetooth enabled portable devices and computers to provide beautifully clear and crisp stereo sound. (2X3W) Embedded magnets allow the speakers to be conjoined into a single piece, allowing them to be conveniently relocated, or stored neatly in the included pouch. When not in use, the cables are stored inconspicuously within the empty space at the bottom of the speakers. There is a slight angle at the bottom edge of the speaker, which enables the user to direct the sound. With its minimalist design and ambient LED lighting, the Sound1 Speaker delivers both a visually pleasing and enjoyable auditory experience Specification Material: Polycarbonate Dimensions: L 57.5 / W 57.5 / H 66 (mm) Weight: L 130g / R 127g Output Power: 6W (3W X 2) Bluetooth Playtime: 20hrs (When played in mid volume level) It will take 5-10 business days that you receive your item after the payment is confirmed. Just in case you don't receive your item within 15 business days after your payment, I'd appreciate it if you would contact us at [email protected] or +82-1588-4781 The maximum period of manufacturer warranty for this product is 6 months. During the warranty period stated above, we warrant the product for manufacturing defects or component failure under normal operation, providing free repair service. For compensation for injury or for any other inquiries, please contact us at [email protected] (Even within the warranty period, you may have to pay for services that are not covered by the warranty.) 2016-03-25 12:32 www.designboom
16 boom supersonic airplanes boom aims to create passenger airplanes 2.6x faster than any today boom aims to create passenger airplanes 2.6x faster than any today all images courtesy of boom in a hangar in denver, colorado boom are attempting to overcome the challenges of supersonic passenger flight by making it affordable for business travel. headed by technology entrepreneur blake scholl, the company want to create an airplane that can reach speeds of up to mach 2.2 (1,452 mph), which would be 2.6 times faster than any other airliner available today. a seven hour trip from new york city to london would only take 3.4 hours and would save approximately 3.5 hours of flight time. currently boom is building prototypes with first test flight happening late 2017. with today’s aerodynamics, carbon fiber composites and the latest engine technology, supersonic airlines could be just around the corner. 2016-03-25 10:15 Piotr Boruslawski
17 Shandaken Project at Storm King Announces Residencies for 2016 Storm King Art Center. COURTESY STORM KING In January, the Shandaken Project announced that it would once again host a residency program at the Storm King Art Center after the program’s first run last fall. Between June and October, 15 artists will spend up to six weeks on the 500-acre site in upstate New York, which sounds pretty wonderful considering how gross it can get in New York in the summer. Three artists will take the residency at a time, and each gets a private studio and free reign over the grounds. In addition to the new residents, a group of participants from last year— Carey Denniston, Adrienne Garbini, Dayna Tortorici, and Marisa Williamson—will come back to present programs they worked on last year. The full list is below. Amelia Bande Andrianna Campbell Danielle Dean Taraneh Fazeli S Gernsbacher Shana Hoehn Kristen Jensen Kathryn Kerr Zavé G. Martohardjono Sarah McMenimen Dylan Mira Oren Pinhassi Xu Wang Rebecca Ward Lachell Workman 2016-03-25 09:30 Nate Freeman
18 Laurie Anderson at the Fitzgerald Theater: Danny Sigelman on The Language of the Future 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, artist, DJ, musician, and writer Danny Sigelman shares his perspective on Laurie […] 2016-03-25 08:48 By
19 Morning Links: The Odeon Edition The Odeon. COURTESY GRANDLIFE HOTELS THE ODEON The Odeon gets a second wind with the arrival of Condé Nast’s downtown offices. Included is an anecdote from dealer Mary Boone’s 30th birthday: “Sometime during the course of the evening, Mr. Schnabel and Mr. Basquiat went downstairs to the bathrooms and decided to do a little art project of their own, soaking all the toilet paper in the toilet bowls, after which they threw them up on the walls.” [The New York Times] RENOVATION When artist Ryan Mendoza moved an abandoned home in Detroit to Europe for a show last month, he left a huge mess behind. [USA Today] After criticism from preservationists, the Frick Collection is amending its proposed renovation to preserve its gardens. [The New York Times] Cuban sculptor Alexis Leiva Machado, known as Kcho, has teamed up with Google to install high-speed wifi in his studio that will be available for public use. [The Art Newspaper] ARTISTS Here’s a conversation with Anri Sala on the past two decades of his career. [The New York Times] Holland Cotter reviews “David Hammons: Five Decades,” which is currently on view at Mnuchin Gallery in New York. [The New York Times] How should artists respond to war? A review of Pat Barker’s Noonday . [New Yorker] EXTRAS The DuSable Museum of African American History in Chicago has been granted a Smithsonian affiliation. [ABC] Judith Hopf at Kaufmann Repetto in Milan. [Contemporary Art Daily] 2016-03-25 09:02 The Editors
20 A Historical Look at Some Easter Window Displays More Articles By The word Easter has its origins from Eastre, the Teutonic goddess of spring. In parts of the world, she was called Astarte, Ishtar and Mother Goddess. In addition, she was known as the fertility goddess. The rabbit is also a symbol of fertility. And the egg has long been a sacred symbol for fertility going as far back as pagan times. In Western culture, Easter is the time when children color or hide their Easter eggs. Some pretend that it’s the Easter Bunny that has hidden the eggs. In the U. S., an annual Easter egg roll is held on the White House lawn for young kids, and many cities host parades to celebrate the Easter holiday. Spring coats, Easter bonnets and the Easter parade in New York down Fifth Avenue from St. Patrick’s Cathedral was memorialized in popular culture in 1948 via the American musical “Easter Parade,” starring Judy Garland, Fred Astaire and Peter Lawford, with music by Irving Berlin. The parade still takes place. For fashion firms and retailers, Easter heralds the spring selling season. It’s the time when cooler temperatures give way to warmer weather and hopefully sunshine instead of rain or snow. Here is a look at how some fashion firms and retailers have celebrated Easter, and springtime, in years past. The photos are from the archives of WindowsWear , a visual merchandising and store design firm that has an archival collection of select fashion windows and visual displays dating back to 1931. The firm’s collection provides retailers, designers, brands and creative professionals creating visuals for today’s store front displays with photos from years past for research, inspiration and trend ideas. 2016-03-25 09:00 Vicki M
21 golden cube student housing complex by hamonic + masson hamonic + masson extrudes cubes from golden student housing complex near paris all images by sergio grazia in boulogne-billancourt, a commune in the western suburbs of paris, french practice hamonic + masson has finalized the design of an eight storey building that contains 156 student residences. the scheme, which takes up almost the entire plot, has been dubbed the ‘golden cube’ — a name which refers to its shimmering façades. the brief called for a design guided by the principles of standardization, self-regulation and a maximization of internal space. the scheme is located in boulogne-billancourt, a commune in the western suburbs of paris each unit has an external balcony with pleasant external views across the surrounding area. ‘a 1.5-meter recess allowed us to include loggias along almost the entire facade,’ explains the design team. ‘the building’s outline is blurred by the use of filters, water effects and openings in the perforated sheets of steel.’ developed in collaboration with project coordinators loci anima, the scheme includes a ‘secret garden’, encouraging interaction and a sense of community among residents. this aspect of the scheme also promotes biodiversity, with a range of native vegetation planted on site. additionally, certain façades are populated with birdhouses, which require no maintenance and cannot be interfered with by residents. a range of native vegetation has been planted on site each unit has an external terrace with pleasant views across the surrounding area the building’s outline is blurred by the use of perforated steel sheets the scheme, which takes up almost the entire plot, has been dubbed the ‘golden cube’ the brief called for a design guided by the principles of standardization and self-regulation 2016-03-25 08:39 Philip Stevens
22 State Changes: Marvin Lin on Vicky Chow and Tristan Perich’s 1-Bit World For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part program. Following his February piece on Mary Halvorson, he turns to Vicky Chow and Tristan Perich, whose works Surface Image and Observations will be performed March 24 in an evening copresented with […] 2016-03-25 08:48 By
23 Milan’s Salone del Mobile to Mix Luxury, Technology Related Venues Fiera Milano “Not just a fair — a global event that has, through the years, become a platform for research.” That is how Carlo Calenda, Italy’s deputy minister of economic development, introduced the 55th edition of Salone del Mobile, the must-see event for the design and furniture sectors. This will be the most diverse Salone to date, with a wide range of companies and more than 160 countries represented. It will take over Fiera Milano's 150,000-square-meter fairground from April 12 through 17, with 1,300 exhibitors, 70 percent of them from outside Italy, split into two categories: classic and design. A third category will join them this year, in Pavilion 3: “X-Lux,” where luxury brands like Borbonese, Fendi, Ferrè, Paul Mathieu, Roberto Cavalli, Ungaro and Versace, Aston Martin, Ritz, and Tonino Lamborghini will display their takes on design. The fair will feature the Salone Internazionale del Mobile along with the International Furnishing Accessories Exhibition, as well as the biennial EuroCucina exhibition and its collateral event, FTK (Technology for the Kitchen), in Pavilions 9-11 and 13-15. It will also include the International Bathroom Exhibition, in Pavilions 22-24, and the 19th edition of SaloneSatellite, with 650 designers pursuing the theme “New Materials, New Design.” In Milan itself, the Mall Porta Nuova – Brera Design District Is hosting an event directly linked to the Salone: “Space&Interiors,” a display of surfaces, flooring, doors, and interior finishings curated by Migliore+Servetto Architects. “The 55th edition of the Salone del Mobile occurs during a special year for our city,” says the mayor, Giuliano Pisapia. “‘Design after Design’, the International Exhibition of the Triennale di Milano, back after a 20-year lull, will open just a few days earlier. This means that we are gearing up for an extraordinary Design Spring.” The Triennale will present “Rooms. Novel Living Concepts” (April 2 – September 12), composed of a series of chambers each of which is designed by a different Italian architect with the aim of adjusting the idea of home to present and future technological, logistical, and emotional needs. The 11 architects taking part are Umberto Riva, Alessandro Mendini, Lazzarini Pickering, Manolo De Giorgi, Marta Laudani and Marco Romanelli, Andrea Anastasio, Fabio Novembre, Duilio Forte, Elisabetta Terragni, Carlo Ratti, and Francesco Librizzi. Salone del Mobile, 55th edition. Milan, April 12 through April 17, 2016. Information: www.salonemilano.it 2016-03-25 07:25 Pia Capelli
24 Anri Sala Speaks on Improv, and Race THE DAILY PIC (#1519): The New Museum show called “ Answer Me ," of major video installations by the Albanian-born Berliner Anri Sala, has got to be the most rewarding exhibition in New York right now, and probably the most demanding and complex. In today's New York Times I published a Q&A with Sala , but as always lots had to be left out for space. Here are a few Sala thoughts that didn't make it onto the page, about his piece called Long Sorrow , seen in today's Pic. For the video, Sala suspended the American saxophonist Jemeel Moondoc 25 stories up on the façade of a building in Berlin, and asked him to play his heart out. –Sala on his choice of a musician who plays Free Jazz: Psychologically it was very difficult for the musician to be suspended in that void. The only way for someone to forget that situation was to be in a state of improvisation – in Free Jazz, you are constantly inventing, you are looking for the next moment. I wanted to produce an alertness, an awareness of something that is at stake right here and right now – and this has to do with the musician improvising, trying to forget that he is suspended in the void, trying to find the moment after. –On his decision to use an African American musician, in particular: I chose Jemeel for his quality as a musician, not for his appearance. I was also interested in him because I did not want a musician whose appearance would welcome the existing projections of viewers – for example, if he'd been somebody who looked like he could be an immigrant from Poland or from Russia. I did not want the film to become a projection of local politics, and in Berlin, you don't see many people of color, so they do not immediately express something beyond themselves. It's impossible to completely escape the projections [of your audience]: My film was shot in Berlin, so of course it also carries the history of a place where a political will existed at some point that was anti-semitic, racist. But at least in terms of the immediate social readings people give, the film is completely open to interpretation. (Photo by Maris Hutchinson/EPW Studio, courtesy the New Museum) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-03-25 07:15 Blake Gopnik
25 Australian Indigenous Oceanic Art Activism at Monaco Museum The Oceanographic Museum of Monaco is presenting a major survey of contemporary artworks by Aboriginal and Torres Strait islander artists as part of the three-exhibition “Taba Naba – Australia, Oceania, Arts of the Sea People” project. “Australia: Defending the Oceans at the Heart of Aboriginal and Torres Strait Island Art” presents six major installations by 50 leading artists from across Australia’s east and north coasts throughout the Museum’s three floors, including the rooftop terrace. In addition to providing an international platform to showcase the artists and their work to a global audience, the survey is designed to promote the urgent need to preserve Australia’s coastlines, reefs, and oceans from further environmental damage. Participating artists include Alick Tipoti of Badu, Brian Robinson of Waiben, Sydney artist Jason Christopher, Ken Thaiday Snr of Erub, in addition to artists from Girringun Aboriginal Art Centre, Erub Arts, Pormpuraaw Art Centre, and Ceduna Arts and Cultural Centre South Australia. One of the highlights of the exhibition is a monumental 670m2 stencil floor work by Alick Tipoti on the Museum’s rooftop terrace. Titled “Turtle Mating and Nesting Season,” the rendering of a giant sea turtle will be visible to passengers flying over the city daily. Another highlight is a striking installation of 30 plus ghost net sculptures reflecting local marine life by artists from Erub Art Centre and Pormpuraaw Art and Culture Centre in far North Queensland along with Ceduna Arts and Cultural Centre from South Australia Other major works include a bronze and aluminium Dugong sculpture by Alick Tipoti, a showcase of Bagu sculptures created by artists from Girringun Art Centre, as well as a three- headdress (or ‘dhari’) installation by Ken Thaiday Snr in conjunction with Sydney artist Jason Christopher. “With three artistic universes and taking over the whole of the Oceanographic Museum, the TABA NABA exhibition claims an ambitious positioning and delivers a strong message to the public,” says Robert Calcagno, CEO of the Oceanographic Institute. “Here we are presenting the art of peoples who have remained in contact and in dialogue with nature, combining ancient tradition and modernity. These peoples live and breathe the culture of the ocean in a healthy and balanced inter-relationship that can and should inspire us,” he said. “Defending the Oceans” is presented alongside “Living Waters,” which presents contemporary works by Aboriginal artists from central desert regions, and “Oceania Islanders: Past Masters in Navigation and Artistic Expression,” which explores the connection to the sea shared by Pacific Islanders. 2016-03-25 06:59 Nicholas Forrest
26 Fred Segal Melrose Building Trades Hands DONE DEAL: A retail real estate investor has closed on its purchase of the 29,000-square-foot building housing Fred Segal’s Los Angeles boutique. CormackHill LP bought the property from 8100 Melrose Associates LLC. Both parties were represented by brokers for Kennedy Wilson in the deal. Details of the transaction were not disclosed. Commercial real estate listings service LoopNet listed a $7.5 million mortgage on the retail building at the time of a 2013 refinance. Average retail asking prices in Los Angeles is $346 per square foot, according to LoopNet. The listing attracted both private capital and institutional investors locally and abroad, according to the brokerage, especially given its prime location and renowned tenant in Fred Segal. And, unlike, most real estate in Los Angeles, the site boasts a 102-space parking lot. Fred Segal also has an outpost at Los Angeles International Airport. A 24,000-square-foot location in Santa Monica is set to close at the end of this month to make way for redevelopment of the building it’s in. Meanwhile, buildout on the company’s 20,682-square-foot store at the Runway Playa Vista project is in the works. The first Fred Segal store in Japan opened last year in Tokyo and was followed up this month with a second location , also in Tokyo. New York-based Sandow Media acquired the retailer in 2012 with the aim of expanding the brand’s retail base and licensed products. 2016-03-25 05:52 Kari Hamanaka
27 Sound Advice: Laurie Anderson Artist and innovator Laurie Anderson’s upcoming show at the Fitzgerald—a copresentation of the Walker, the SPCO’s Liquid Music Series, and MPR Live Events—is called The Language of the Future, a name initially employed by a track on her 1984 album United States Live. Thirty years on, as the track’s ominous forecast of the digital age rings true, Anderson has continued to […] 2016-03-25 08:48 By
28 keisuke fujiwara designs pop-up store for issey miyake's ikko tanaka collection keisuke fujiwara designs pop-up store for issey miyake’s ikko tanaka collection (above) the design’s aim was to create a gallery-like shop all images courtesy of keisuke fujiwara design issey miyake has released a series of products featuring motifs from ikko tanaka’s work, a renowned graphic designer who had a major impact on the history of design around the world. to present it, japanese interior designer keisuke fujiwara and the interior design studio from tokyo metropolitan university were commissioned to create a pop-up store located in isetan shinjuku department shop in tokyo. from the outside, the store already reveals its mood the design concept was to develop a space with a gallery-like feeling, including white walls, good illumination, and a simple floor plan. all this to be able to have the pieces be the center of attention and to exploit their colorful nature. in the shop’s frontal face, a large graphic of tanaka’s work is shown boldly on the wall, complemented by miyake’s design. in the center of the store they placed an original shelve that references ikko tanaka’s ‘nihon buyo’ (1981) and ‘the 200th anniversary of sharaku’ (1995)— transferring the bidimensional graphic into a three-dimensional object. graphics on the wall instantly play with the collection the furniture was custom designed for the shop ‘the 200th anniversary of sharaku’s shelf takes the graphics into a three-dimensional reality posters and project text along the aisle 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. 2016-03-25 05:25 Keisuke Fujiwara
29 Trevor Paglen and Jacob Appelbaum This conversation appears in BOMB 135. Get your copy today. Trevor Paglen, Bahamas Internet Cable System (BICS-1), NSA/GCHQ-Tapped Undersea Cable, Atlantic Ocean , 2015, C-print, 60 x 48 inches. Images courtesy of the artist and Metro Pictures unless otherwise noted. The following conversation is a transcribed and condensed version of a videoconference between Trevor Paglen in New York and Jacob Appelbaum in Munich. The exchange took place before audiences in both locations and was hosted by the NYC Goethe-Institut this past December as part of their symposium Images of Surveillance: The Politics, Economics, and Aesthetics of Surveillance Societies. It brought together artists, philosophers, writers, activists, and scholars, and opened Sensitive Data , a series of events that the organizers describe as "a long-term project that aims to advance international, interdisciplinary, and theoretical discourse and artistic exploration on and around surveillance and data capitalism. " Artist and geographer Trevor Paglen, renowned for his photographs, films, installations, lectures, and books on the theme of surveillance, engaged in a conversation with long-time collaborator, computer-security expert, activist, and hacker Jacob Appelbaum, who has contributed to the causes of WikiLeaks and Edward Snowden. They advocate for Tor, the global, volunteer-run, peer-to-peer anonymity network that is a viable alternative to submitting to ever-increasing mass surveillance. The images that appear throughout partly correspond to the works presented during the videoconference. Trevor Paglen We've come to learn that the network is hostile. The Internet was supposed to be the greatest tool of global communications and means of sharing knowledge in human history. And it is. But it has also become the most effective instrument of mass surveillance and potentially one of the greatest instruments of totalitarianism in the history of the world. Jacob Appelbaum You might think of the Internet as a series of servers or companies and think of how you personally connect to it. Instead, there are signals intelligence stations around the world, along with enormous fiber-optic cables used for interception. Many computers have been compromised to serve for signals intelligence collection. Berlin and Vienna, for example, are signals intelligence platforms, which are actually used as part of the special collections service. When German Chancellor Angela Merkel was collected on by the NSA, it happened from a US embassy. In fact, we know that it happened from the one in Berlin, on Pariser Platz. The way that computers are broken into is via passive tap, a fiber tap of the kind that Trevor is fond of scuba diving for and taking photographs of. The collection is possible because the NSA works to compromise standards: you think that something is secure—you do banking online or read online—and the NSA makes sure that you believe it is safe, but, actually, it isn't. Trevor Paglen, National Security Agency, Ft. Meade, Maryland , 2013, C-print, 35.625 x 53 inches. Before Edward Snowden, when people said such things, the reaction was, "Oh, crazy conspiracy theorists. " Now we know they were and are right. And that is not reassuring! We can now imagine this type of mass surveillance—all data being stored in a database—and what that allows for is a kind of time travel, if you will. When an intelligence analyst thinks you're interesting, they can basically travel back in time and see the things you've previously done and then decide if that is worthy of more inspection. That inspection will potentially include all of your web browsing or surveillance of all your telephone's content, as well as the metadata. The program group that bothers me the most is called JTRIG [Joint Threat Research Intelligence Group] and they're a division of the British GCHQ [Government Communications Headquarters]. JTRIG is a mass propaganda operation; it's using data for disinformation and for changing political outcomes, harassing people, defaming and harming them—treating them as subhuman, effectively. And that's an entire division of the intelligence service; they have lots of people working on that. For example, they find someone who's a particularly religious Catholic or Muslim—I'm sure it doesn't happen to Catholics as much as it happens to Muslims—and then they use that information to blackmail them. These are the claims that they make themselves. They use the mass surveillance data sets—those fiber-optic cables—and there's a full life cycle between the cable tap and actually using that information to harm people in a material fashion. For me, that's the hallmark of a tyrannical operation. I don't want to see governments engaged in those kinds of secret and damaging activities. Trevor Paglen, National Security Agency Utah Data Center, Bluffdale, UT , 2012, C-print, 36.875 x 48.875 inches. TP One way the network is hostile is that state actors are conducting mass surveillance and are attacking critical infrastructure using weaponized malware. They orchestrate propaganda and blackmail operations against political enemies. There's another side of the hostile network, which is done by corporations. We all know for a fact that Google and Facebook are collecting enormous amounts of data on every single person who uses their services and they are conducting analytics on a scale that was unimaginable even a few years ago: tracking everybody who uses credit cards, who uses a cell phone, and so forth, and collecting intimate details about their lives. Google probably knows more about me than my family does. Today, in large part, that information is being used to sell you things, or they try to sell your information to advertisers. But tomorrow, that information will be used in all kinds of other ways. We can imagine your Google searches modulating your credit score, we can imagine a picture of you drinking a beer that you posted on Facebook will be recognized by an object-recognition algorithm. Maybe Facebook will want to sell that to your auto-insurance company, and your auto- insurance company would change your insurance rates based on that. We can imagine that if you wear an exercise-monitoring device like Fitbit, corporations will be collecting intimate vital metric data on you. If you don't exercise, maybe your health insurance premiums go up, and if you do exercise, they go down. But the point is that—although it's not evenly distributed yet, this will increasingly be true in the future—the rights and the privileges that you have will be modulated according to these kinds of metrics. In China this is already beginning to happen. Trevor Paglen, still from 89 Landscapes , 2015. JA The Chinese scoring system is part of their identity intelligence—these guys are all about doing everything they can to identify everybody in every way. The scary part about what's happening in China is how we can imagine it as the future everywhere. Identification of all things at all times and their correlation and linking with data sets effectively means that there's a database of all of a person's activities linked through time with their identity and anything that might identify them—their fingerprints, their biometric passport, their retinal scans, and whatever else is going on. Imagine big data analytics processing your personal patterns—biometric, biographic, contextual, what you read, your military service, whatever it is that you might do. This might include your social relations: you have a friend who smokes, and his or her credit score goes down. Then your credit score also goes down because you keep the company of someone who smokes. It's a paternalistic control and surveillance that informs automatically. You no longer need people to tell on each other. The mere existence of certain devices ensures that the devices themselves tell automatically. This is the nightmare of the science-fiction writer Philip K. Dick. Not that everyone would be a spy—that's sort of a trope about the former East Germany— but that every thing would be a spy... I think it's in Ubik , there's a doorknob which is a sort of Internet of Things doorknob. When someone wants to open the door, the doorknob demands to be paid. And of course the person says, "I don't have to pay you. " And it says, "Well, actually if you look at the contract you signed when you took this doorknob, you'll find that, in fact, payment of the doorknob is a necessity if you wish for it to open the door. " We're sort of moving into that world. While it doesn't seem so obvious, if you look, you see patterns emerging about social control in which you want to have those doorknobs to track who might be opening the doors and whether or not you want them to open. I mean, it's really an extreme of the control society tied directly to your identity. And there are in fact plans for something called real-time tipping. The NSA will ensure that if you ride on a train or a bus or fly on an airplane, you'll have to show an identification card even for domestic travel. And it's tied to biometric information. In other words, you scan your Lufthansa boarding pass to fly from Amsterdam to Munich, as I just did today, and a real-time alert that I was traveling would be sent to an analyst or to a database. And if someone decided that I was a person of interest, I would get tipped off and sent to an analyst in real time. And now you start to see how these things tie together—it becomes extremely alarming to think about how this information might be used to impact your life. It's a very scary thing. The system might also work in your favor when you behave well. You buy the right brand of thing, which needs to be bought today because the centrally planned economy says so, and you may get VIP treatment at the airport. You get a high score and preferential treatment because you're leading the way by doing your civic duty and it's automatically "told" that that's the case. Trevor and I are not futurists when we talk about this. This is a present thing. It just isn't entirely clear yet how and when it works and how it is in fact doing this. The Chinese, weirdly to their credit, are actually completely open about it. It took Edward Snowden for us to learn that the NSA has the same plan. When you fall into the bad credit score in the NSA system and you happen to be a twelve-year old Muslim in Pakistan, you get droned. TP The Internet is a predatory network that is, on one side, potentially a very coercive tool of totalitarian power and, on the other side, a tool that will increasingly be used to allocate rights and privileges through commercial means—credit scores or insurance rates and that sort of thing. Given that situation, can we imagine a different kind of network? Can we envision a network that is nonhostile? Our project Autonomy Cube is an attempt to imagine what this alternative network might be like. Jacob Appelbaum and Trevor Paglen, Autonomy Cube , 2015, plexi box with computer components, 14 x 14 x 14 inches. This is the sculpture that we made. There are a couple of them around the world now. You put the sculpture in a museum or a Kunsthalle or what-have-you and it sits on the host institution's Internet connection. You plug it right into their Internet. And once you've done that, it does a couple of things. First, it creates an open Wi-Fi network throughout the museum for anybody to use. Then it routes all the traffic over the Tor network. Tor encrypts the data, which results in a more secure Internet using the host institution's Internet connection. The other thing that it does: it turns the museum into a Tor relay, making it a part of the Tor network's infrastructure. JA The Autonomy Cube has a feature that is very uncommon here in Germany and I'm not sure about New York City these days—the Wi-Fi connection is one where you don't need a password at all. The reason is that when you join the wireless network, you actually route, not through the normal Internet connection, but through Tor, which means that what you do there does not trace back to the museum but to the Tor network instead. It's a peer-to-peer network and the sculpture is itself one of the peers. When you use this network it allows you, for example, to pop out in Russia or to pop out in the Netherlands or to go through the United States. The websites you might visit—or your email provider when you check your mail—they'll see you not as coming from wherever the sculpture is installed but as coming from this other place. If you've ever seen a bad Hollywood movie where they try to trace hackers around the world, it's like that—except the users can't be traced, which is kinda nice. Screenshot of Tor relay connection listing. Courtesy of Tor Network. The actual Tor relays are run by volunteers around the world and we need more of them. Because this is a so-called overlay network, you have to have a network on top of the network to be able to get certain privacy and security properties that can hide your metadata. There's a huge discussion about hiding content versus metadata these days, especially with data retention. Data retention is a concept that allows the collection of enough information to know a great deal about you, even if you were to encrypt the contents of your message. So if you go to your bank every day to check your bank account, they would probably know that it's you that went to a certain bank. Using Tor, they would see someone from the Tor network has gone to that bank. That's a big difference. When you look up medical information, for example, with Tor, somebody somewhere knows that someone looked that up, but they don't know that it was you. So the Tor relay in the museum is not about helping people in the museum—it's about helping everyone else to enjoy the freedoms that the museum brings, but from any point in the world. So everyone who uses Tor right now has a probabilistic chance of routing through our Tor relay in Oldenburg. There are Tor relays in the Reina Sofía Museum in Madrid, at Metro Pictures in New York City, and at the Witte de With in Rotterdam. The museum is a bastion of free speech, helping to protect everyone's right to read and speak freely on the Internet, even if they're not in the museum. So the museum becomes a part of the infrastructure of fundamental liberties. There are many people all around the world who need this privacy-preserving technology. With Tor, you have the ability to look at the source code that makes up the program; you can modify it, share modifications with other people, and run it for any purpose. Those are the four freedoms of free software. You can download the software to your computer when you leave the museum and continue using it. You can put it on your phone, on your mobile computer, wherever you want. This is not just imagining a new future, it's actually building that alternative future as we speak— and you can use it right now, wherever you are in the world. Trevor Paglen, National Security Agency Surveillance Base, Bude, Cornwall, UK , 2014, C-Print. 48 x 64 inches. TP I'm thinking about the ways in which we are talking to artists from the past when making artworks—while also talking to people in the present. Our project is very much influenced by post-Minimalist sculpture, especially Hans Haacke and his Condensation Cube. It's combining what's sometimes called Systems Art with Institutional Critique. There's a whole history of artists engaging with Institutional Critique, looking at the guts of the exhibition places where they will be showing work. An artist might look at the funding structure of the institution, uncovering a museum's financial politics, which are also the politics of the collection. It's a critical tradition in art to pull back the walls and to see how the guts of the institution work. We're inspired by these investigations into the infrastructure, politics, and economies of museums, but we are approaching them in less critical ways and more in terms of enhancement. The Autonomy Cube is a way of enhancing museums—for a couple of reasons. Right now, institutions are almost on autopilot trying to install more and more invasive surveillance systems. They are unthinkingly installing biometric surveillance setups, which track how people move around in a particular space. You can imagine why a department store would want to do this: they want to know what displays are the most successful, what's the best architecture for selling different kinds of products. But increasingly, civic institutions like museums are also installing these types of systems that track people's faces, that track the artworks which people are looking at. And one can understand why they would want to collect this demographic data to do their own analytics, to use in fundraising, and that sort of thing. But what we're proposing is that civic institutions and museums should perhaps do the exact opposite: they should be the bubbles in society that are free from this type of data collection. Trevor Paglen, still from 89 Landscapes , 2015. And this goes back to a very old idea in democracy, which is that you need to have certain institutions that allow for freedom of exploration and freedom of expression. I want to give a shout-out here to Alison Macrina from the Library Freedom Project. Alison has a project that's analogous to ours in that she's using installments or relays in libraries, which are fundamental democratic institutions where you can go and explore any ideas you wish to learn about. They provide an enormous amount of intellectual freedom. Free libraries foster a society where you have an educated populace and diversities of opinions. But the other very important thing about libraries is that the police don't get a record of the books that you check out. In other words, you are able to use a library to explore culture and information anonymously. And that anonymity is a crucial part of the freedom and the contribution to a democratic society that a library affords. Our proposal is that museums should do the same. They should be places where you can go and encounter ideas that might be challenging, where you are given permission to look at images and think about concepts that you don't always have permission to think about in your everyday life. We propose to approach museums as safe spaces from a world that is increasingly tracking everything you do and collecting as much information as possible about you. The proposals that we're making with Autonomy Cube , with the Tor network, and in our exhibition and lecture projects are aimed at the future of civic institutions in general. Every time we talk about our work, people say, "But what about the Internet apocalypse? What if people use the Tor network to do bad stuff? " Jake, do you want to take that on? JA Oh, you could answer that, Trevor. ( laughter ) First I want to echo what you just said: the Library Freedom Project is really important. Alison is the Emma Goldman, I would say, of anonymity in the modern world. She travels all around the globe and teaches people about anonymity. And she faces the same questions. The front-runners of the "info apocalypses," as people like to call them, are essentially child pornographers, drug dealers, terrorists, and money launderers. You always hear that the reason you can't actually have any civil liberty on the Internet is because of these four groups. It is the case, of course, that the Tor network is a reflection of the larger Internet and there are people who might buy a weapon online using Tor. This is, of course, very regrettable. But there's a big difference in scale, which is often lost: the majority of weapons are not being traded on the Tor network or on other anonymity systems. Trevor Paglen, still from 89 Landscapes , 2015. The same happens with other criminal activities. While it is true that you can find child pornography on the Internet, it's also true that the police who investigate the crime need the protection of networks like Tor in order to hunt down the perpetrators. So if you give people this anonymity they will use it, in theory, to do very good things and also clearly very bad things. Someone downloading information about drugs may be a person exploring, or it may be police officers gathering evidence. So in general, we have a counterintuitive situation here: we might want to shut down every avenue for terrorists to have a conversation. But if we cut off all the avenues of speech, we haven't stopped those people from existing. We have merely blocked off our ability to spy on them and to understand what they are saying. Of course, Tor won't be able to stop people who have the desire and the ability to break a law and are willing to commit heinous crimes like terrorism or large-scale money laundering like HSBC did and get away with it, or child pornography. On the flipside, if we take away Tor, we are left without an option. Trevor Paglen, Untitled (Reaper Drone) , 2013, C-print, 49.125 x 61.125 inches. In other words, Tor is the option for law-abiding, reasonable people—even if it's sometimes used by police officers who commit acts of police brutality against civilians when it is a crime to do so, or by American soldiers who commit war crimes, and even by regrettable people like child pornographers, terrorists, and drug dealers, you name it. But it's really hard to design a system where, for example, the Chinese idea of the bad guy, or the German or the American idea of the bad guy, would be stopped. And what would happen when you have built in such a facility? Then it would become even clearer that the people who built and run the system are even more at risk than they were before, because they're in a position of power. So the idea instead is to increase everyone's liberty and to give regular people an option that doesn't cost them money and is helpful in the sense that they are now more protected. Meaning that their rights are now larger than they were before. This is very important for not only resisting censorship of certain things, but also for making sure that there isn't mass data collection that's tied to you for the rest of your life and that becomes a function of wealth and privilege. With Tor, you'd be able to have some sort of privacy. Trevor Paglen, still from 89 Landscapes , 2015. TP The point is that Tor saves lives. If you are queer and young in Uganda and you want to connect with other people like you around the world and you do that on the normal Internet, you are putting your life at risk. If you're an activist in Iran or Bahrain or Saudi Arabia, Tor will save your life quite literally if you want to communicate with the outside world. If you are in China, or in Turkey for that matter, and you want to circumvent the state censorship that happens there, Tor allows you to communicate with the rest of the world in a way that is more secure than using the hostile network. Or, if you are a mom in the United States and you want to understand more about your kid's health problems and don't want to give that data to Google or to Facebook, you can use Tor to protect your information. Both Jake and I believe that we are not going to engineer our way out of a totalitarian future. Technology won't save us. Tor will not save us, but it can help. What this project is about is trying to show the ways in which technologies congeal social, political, economic, and cultural relationships. Let's think about what technologies and communication infrastructures may look like if we try to build them with different values at their core. We imagine an alternative to the hostile network that is preying upon us all the time, and try to enhance the parts of the network that do allow us the kinds of freedom and intellectual exploration and participation in democratic projects that were previously unavailable to us. In other words, can we reimagine the promise of the Internet toward a more productive future? Trevor Paglen, still from 89 Landscapes , 2015. JA I would add that there are different stages. We can imagine that we would protest certain things because we don't like them. The reason for resisting is not because you think that you're going to win, but because you know that it is the correct thing to do. And that is not an easy thing to say. I doubt that we will see the end of mass surveillance anytime soon. We won't win it in our lifetime. But we must resist because it is in fact something that we do not want. We even wish that we had not been born into this situation. So we should return with some efforts to change that the situation. And this project goes beyond resistance by building an alternative. It is real and it is the best thing that we have. Part of what we want to do is to inspire other people past the security nihilism that brings us into a passive place where we don't critique the system anymore because we feel disempowered, where we don't speak because mass surveillance silences us, where we say there's nothing to be done because technology alienates us. If we can imagine something different, we might participate in another way. In fact, we could build a different world. Jacob Appelbaum is an independent journalist, computer security researcher, and hacker. He is a core member of the Tor Project, a free software network designed to provide online anonymity. He represented WikiLeaks at the 2010 HOPE conference and contributed extensively to the publication of documents revealed by Edward Snowden in 2013. Appelbaum currently lives and works in Berlin. Trevor Paglen is an artist whose work has been exhibited at the Metropolitan Museum of Art, New York; Tate Modern, London; Walker Arts Center, Minneapolis; and the San Francisco Museum of Modern Art, among others. He is the author of five books and numerous articles on subjects including experimental geography, state secrecy, military symbology, photography, and visuality. His most recent book, The Last Pictures (University of California Press, 2012), is a meditation on the intersections of deep time, politics, and art. 2016-03-25 06:28 by Sarah
30 Raw Material: An Interview with Google Design The SPAN Reader, a book released by Google Design in conjunction with their 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 […] 2016-03-25 06:28 By
31 London’s Zebra One Gallery Launches “Celebrity and the Big C” Exhibit to Raise Cancer Awareness British photographer Kate Garner’s images of David Bowie — who lost his life to liver cancer earlier this year — and of Angelina Jolie , who has undergone a double mastectomy and had her ovaries removed in the past, are featured on the exhibit. There are also photographs of Steve McQueen — who died of asbestos-related cancer — and “Apocalypse Now” star Dennis Hopper, by pop artist Russell Marshall. Also on display are previously unseen images of rock great Lemmy and Kylie Minogue , by photographer Phil Knott. There will be 15 editions of Minogue’s images, released to coincide with the 10th anniversary of the singer beating breast cancer, on sale for 1,400 pounds, or $1,980 each. “The vast mix of stars touched by cancer in this exhibition illustrates just how indiscriminate it is — women and men of all ages and lifestyles, facing different forms of the disease in different ways,” said Zebra One Gallery owner, Gabrielle Du Plooy. The exhibit’s principal aim is to raise cancer awareness and will thus be supporting the fund- raising campaign “Marie Curie’s Daffodil Appeal” by donating 10 percent of the proceeds from the sales of the photographs to the organization, which provides free care and support to people living with terminal illnesses. Zebra One Gallery had also mounted “Kate Moss: Unseen” earlier this year, a n exhibit featuring previously unseen images of a young Kate Moss at age 14, by photographer Owen Scarbiena. 2016-03-25 04:01 Natalie Theodosi
32 'Beast Jesus' Restoration Gets Arts Center A small Spanish town is doing its best to extend the Ecce Homo craze that saw thousands of tourists flock to Borja to see the perplexing amateur restoration of a church fresco. The disastrous efforts of local resident Cecilia Giménez are now immortalized at the newly- opened Centro de Interpretación. Mayor Eduardo Arilla hopes the new art center will help sustain tourism related to the painting , which has waned since Beast Jesus first became a sensation in 2012, bringing thousands to the sleepy town. In the first year after the story broke, "one couldn't even be here, there was a line to see el paquirrín " Arilla told El Pais , using a local nickname for the now-infamous artwork. Giménez, now 85, had attempted to restore Elías García Martínez 's damaged 1930 fresco, only to be ridiculed for the cartoonish, primate-like appearance of the altered work, which came to be known as Beast Jesus. The new arts center contains 15 posters explaining the story of Ecce Homo and its unusual claim to fame, written in English, French, and Japanese. Two students who helped with the Japanese translation told El Pais that Japanese people were drawn to Beast Jesus because "it's on TV and it's funny," and "the actor who plays the red Power Ranger was here filming a documentary on the painting. " Giménez, who will received a cut of the profits of any Beast Jesus merchandise sold at the new center and on Amazon, appeared at this week's opening in a wheelchair, having recently broken her hip. Also on hand were several of Garcia's grandchildren. "This is too much, my God, I don't deserve all this," said an emotional Gimenez at the opening ceremony. In addition to providing a new revenue stream for the town, the Beast Jesus meme has led from everything from a music video and an opera to a documentary film. As for Giménez, she's come to terms with the much-maligned appearance of her inadvertent creation, telling El Pais "sometimes, after seeing it for so long, I think to myself, son of mine, you are not as ugly as I thought you were in the beginning. " *Spanish translation by Cristina Cruz. Follow artnet News on Facebook. 2016-03-25 03:02 Sarah Cascone
33 grimshaw + MDT-tex installs series of tessellated canopies in frankfurt courtyard providing visitors with a vibrant display of light in the courtyard of the grand palais thurn & taxis in the heart of frankfurt, grimshaw and tensile designers MDT-tex have presented their ‘tensilation’ product in an installation for the light + building festival and trade fair. the canopy system is an exploration of engineering, creative collaboration and light, with the resulting design incorporating projections by photographer and light artist, laurenz theinert. the installation is displayed in the courtyard of the grand palais thurn & taxis in frankfurt ensuring the robustness of the overall frame and materials was an important part of the process and final product. each canopy unit is structurally connected to its neighbors, creating a unified form strengthened by its components. comprised of tessellating diamond and square-shaped form, the canopies can be reconfigured in different ways and used independently; its vaulted form provides an expressive structure designed for events and pop-up spaces. the installation saw the incorporation of projections by photographer and light artist laurenz theinert standing at a height of nearly 4 meters and each weighing under 30 kg, the combination of innovative tensile design, lightweight fabrics and cables, makes the product easy to make up. drainage takes place via a series of central supporting columns and each canopy piece is connected with a watertight capping to produce a weather-protective system. the canopies can be annexed to buildings or marquees to deal with changes in crowd size drainage takes place via a series of central supporting columns and is connected with a watertight capping each canopy unit is structurally connected to its neighbors, creating a unified form strengthened by its components the collaboration was for frankfurt’s light + building festival and trade fair its vaulted form provides an expressive structure designed for events and pop-up spaces 2016-03-25 01:05 Natasha Kwok
34 David Korty - Reviews - Art in America David Korty: Figure Construction #2 , 2015, Flashe paint, paper, ink and silkscreen on canvas, 84 by 58 inches; at Night. Advertisement David Korty first received critical attention in the aughts for portraits and landscapes indebted to artists including Alex Katz, David Hockney and the painters of the Bay Area figurative school. With each proceeding body of work, however, the elements in his compositions have become flatter and more compressed, as if he were illustrating principles of Cubism that Clement Greenberg outlined in his essay “Towards a Newer Laocoön” (1940). “Where the painter still tries to indicate real objects,” Greenberg wrote, “their shapes flatten and spread in the dense, two-dimensional atmosphere. A vibrating tension is set up as the objects struggle to maintain their volume against the tendency of the real picture plane to re-assert its material flatness and crush them to silhouettes.” Korty’s weariness with figuration, like that of the historical avant- garde, arises from his distrust of the fictions inherent to the illusionistic painted surface, as he told me in a conversation about his exhibition of new works (all 2015) at Night gallery. The central pieces were seven abstract canvases that measure approximately 7 feet tall—slightly larger than the human frame— and feature sections of silkscreen, ink drawings and painted paper seamlessly collaged onto deep indigo backgrounds. Also on view were five paintings related to the canvases but made on panel in a black-and-white palette. Lastly, the show included two tables of ceramic vessels and sculptures, which the artist began in 2005. These pieces—hand-built constructions of geometric, vaguely architectural forms—served to reinforce the physical work that went into the paintings: the kind of labor that illusionistic works are, by definition, meant to conceal. Korty has completely conceded to the flat surface in the new paintings, where his primary concerns are formal. The structural underpinning of the compositions originated with a mundane experience the artist had at a friend’s house: looking at some sheet music, he noticed a graphic motif of a wind-up marching tin soldier adorning the page. The paintings extrapolate upon this tin soldier. The ones made on panel, titled “Paper Frames,” render snippets of the soldier’s body amid textual fragments and areas of patterned designs. The canvas-based ones, meanwhile, distill the soldier to assorted straight and curved lines, using it as a visual device for formal experimentation; these latter works are titled “Figure Constructions,” the artist implying that the abstractions are somewhat representational. Angular shapes resembling the letters “K” and “R”—suggesting the lockstep of the tin soldier— govern the composition of each Figure Construction. Other body parts appear here and there. Hands, variously represented in paper cutouts and ink, appear in a central band in Figure Construction #1. Two connected semi-ellipses in Figure Construction #3 imply breasts. A silkscreened image of Isabella Rosselini, whom Korty unabashedly and earnestly admires as a symbol of female strength and womanhood, provides the face for Figure Construction #8 , while thickly impastoed brushstrokes in Figure Construction #2 delineate a visage not unlike a lucha libre mask. Pairs of circles that read as Mickey Mouse or teddy bear ears counter the severity and angularity of Korty’s Frankensteinian forms. The cultural references in the various works— whether purposeful or inadvertent—remind us of the limitations of formalism proper, particularly its refusal of symbolic and associative contexts. In the end, Korty’s new work, while largely abandoning illusion, is enriched by allusion. 2016-03-25 00:00 by A
35 lagranja design develops versatile tablewares for toshiba working on a research and design project for toshiba, international studio lagranja was tasked to reassess the roles of industrial products within the constantly shrinking size of residences around the world. looking at areas in overcrowded cities like hong kong, tokyo, singapore and more; the team created a concept revolving around the question, ”what happens when small appliances are turned off?” lagranja came to realize that storing appliances was quickly becoming impossible. smaller kitchens equate to less space, and with boundaries between rooms becoming ambiguous areas that were previously allocated are non-existent. so why not integrate them into the living environment? there’s no reason why items typically relegated to the kitchen counter top or cabinets couldn’t flow elegantly into the domestic landscape. recognizing this led to the creation of a small appliance consisting of a kettle and pot made of ceramic, as well as a wireless induction dock. both pieces are completed with a lid and a handle made of wood. versatile and minimal, the table wares exceed mere functionalism and are equally comfortable in the kitchen or on the coffee table. 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. 2016-03-24 22:55 Lagranja Lagranja
36 Dow Jones, The Wall Street Journal Vow to Close Gender and Minority Pay Gap More Articles By Dow Jones has pledged to close the wage gap among its employees. The well-intentioned gesture was made after the Independent Association of Publishers’ Employees, aka, the union that represents Dow Jones and The Wall Street Journal staff, published a report detailing the wage disparities between male and female journalists across the company. It also detailed salaries of minority employees. In a memo to staff, Dow Jones chief executive officer William Lewis said: “Any disparity to an employee’s race or gender is troubling and inconsistent with the standards I strive to maintain at Dow Jones. We must, as a matter of urgency, address these issues head on.” According to the union’s report , women at Dow Jones, which owns its namesake newswire and The Journal, earn 86.8 percent as much as their male counterparts, even though they make up 47 percent of the union workforce. White men make the most per week ($1,773.05) with Asian men not too far behind ($1,748.52). Asian women rank third highest paid at $1,617.70, ahead of white women at $1,497.34. At the bottom of the list were Hispanic/Latino males ($1,320.68) and Black/African-American males at $1,227.88 a week, trailed by Hispanic/Latino females ($1,176.51) and Black/African- American females at $1,141.31 a week. Journal editor in chief Gerard Baker added his two cents via an e-mail to staff Thursday. “I have asked the Executive Leadership Team to do a thorough review of our current hiring, development and compensation programs to ensure diversity and equality are prioritized,” he said. “This will include a deep analysis of recruitment and remuneration practices across all segments, roles and regions of our organization.” Vowing “transparency” about the efforts and results of his findings, Baker concluded: “We have the finest journalists in the world and I am anxious to ensure that we reward them properly and equitably.” 2016-03-24 22:54 Alexandra Steigrad
37 37 microclimat builds la taule training center in waterloo, canada canadian architectural firm microclimat has completed the design of a sports center in the eastern townships of waterloo. called ‘la taule’, the complex takes its name from an abandoned former prison that was converted into a fitness center in 2010. the scheme welcomes both elite and amateur athletes, providing the community with a designated training location. the chosen material palette of red cedar, cherry wood and steel helps create a warm and inviting space that lends itself to the members’ sense of belonging. ‘la taule’ takes its name from a former prison that was converted into a fitness center in 2010 spread across two levels, large open spaces offer services and facilities for body-builders, gymnasts, and fitness enthusiasts. each aspect of the project has been conceived for those who use the center: from the mezzanine’s structure that supports the horizontal bars, to the wide stairway that can also be used for training. furthermore, gymnast rings are suspended from the roof, allowing athletes to hang 25 feet in the air. gymnast rings are suspended from the roof, allowing athletes to hang in the air the compact form of the gabled structure reduces the size of the foundations and of the outside walls, freeing up a large part of the property and creating an outdoor training zone. in summer, large retractable glass doors connect the internal and external activities, and establish a relationship with the complex’s picturesque surroundings. ‘la taule’ was inaugurated in the spring of 2015, and currently plays an active role in the area’s ongoing regeneration. the wide stairway (right) can also be used for training each aspect of the project has been conceived for those who use the center ‘la taule’ plays an active role in the area’s ongoing regeneration the scheme provides the community with a designated training location 2016-03-24 20:44 Philip Stevens
38 Last Chance: Julie Zhu Explores Natural and Manmade Beauty at Utterly Art Related Events Affordable Art Fair Singapore 2015 Venues Utterly Art Chinese artist Julie Zhu presents a modern take on classical Chinese art in her first solo exhibition, “Love Is All Around,” now on view at Singapore gallery Utterly Art. At first glance, Zhu’s depiction of animals and plants seems historical, reminiscent of traditional Chinese art in subject and style, or of watercolors by 19th century-botanists like John James Audubon or illustrator turned doomed polar explorer Edward A. Wilson. Her approach, however, betrays a modern influence. Zhu’s work uses familiar materials like graphite and watercolor on paper, but these are combined with opulent touches of gold acrylic in intricate paintings of nature’s complexity or detailed renderings of carved stone and jade. The pieces are also less straightforward than they may first appear. Each painting shows a natural scene, but it also operates as a love letter in paint, subtitled with a musing about love, written to an unnamed “you” or stated generally. For example, “Brief Encounter,” 2016, featuring flowers alongside two crabs, is accompanied by the phrase “You are my existence, let me look up to have everything,” while “Lotus,” 2016, offers the aphorism “God-given perfection does not need man.” “Love Is All Around” is the second exhibition in Utterly’s series of first-time solo shows by female artists. Zhu’s exhibition follows her participation in group shows in China, Hong Kong, and Singapore. 2016-03-24 18:22 Samuel Spencer
39 20,000 Fractals Create a Hanging Rainbow Forest Images courtesy the artist A hanging rainbow garden dangles from the ceiling in a new Tokyo installation by French architect and designer Emmanuelle Moureaux. The piece is called Bunshi , based on the Japanese concept of ramificiation. Moureaux suspends 20,000 multicolored branches around a display at the Wood Furniture Japan Award 2016 Exhibition. Each branch seems to sprout or grow from the branches around it, diverging and multiplying in fractal-like patterns. The branches come in 100 different colors, aligned to create hidden three-dimensional grids. Carved through the center of the hanging branches is a tunnel that visitors can walk through, and where the furniture is displayed. Walking through is meant to simulate the meditative quality of a forest, but with a Lisa Frank color palette. Bunshi was on display at SPIRAL in Tokyo in early March. Check out images of the installation below. See more of Emmanuelle Moreaux's work on her website . Via Fubiz Related: A Rainbow Yarn Bridge Arches Over LA This Mirrored Rainbow Room Is a Playground for Light Step Inside A 5,000 Square Foot Rainbow A Rainbow of Light Takes Over the Amsterdam Central Station 2016-03-24 18:20 Beckett Mufson
40 5 Essential Japanese Artists Related Venues Mori Art Museum Palais de Tokyo Saatchi Gallery Watari Museum of Contemporary Art Minatomachi Art Table Artists Nagasawa Rosetsu Takashi Murakami Hiroshi Sugimoto Koki Tanaka Even as Chinese contemporary artists continue to fetch high prices at auction, the market has also recently seen resurgent interest in postwar Japanese avant-garde painters and sculptors from key art movements that originated in the decades following World War II, such as Gutai and Mono-ha, which received their first comprehensive reckoning at Alexandra Munroe’s ambitious 1994 survey “Japanese Art After 1945: Scream Against the Sky,” at the Guggenheim Museum in New York. More recently, important retrospectives of Gutai (“Gutai: Splendid Playground” at the Guggenheim, 2013) and postwar Japanese avant-garde art (“Tokyo 1955–1970: A New Avant-Garde” at New York’s Museum of Modern Art, 2012) have done much to boost the international profile and visibility of Japan’s most prominent postwar artists. But what about the younger generations of Japanese artists who are steadily winning international and critical acclaim? Here, we offer a short list of talents whose practices collectively demonstrate the diversity of approaches, aesthetic philosophies, and political stances embodied by the contemporary Japanese art scene today. According to Akiko Miki, curator for the Mori exhibition, Murakami has never prioritized his native country as a venue for showing his work. “For Murakami, no meaning could be found in staging a revolution from within the context of Japanese museums—or rather, contemporary art in a global sense, to his mind, did not exist in Japan, and as a result, these museums had no need for his art—and so having a solo exhibition at a Japanese museum was always a contradictory act,” Miki explains. Apparently, Murakami was only narrowly convinced to take up the Mori Art Museum’s offer “out of respect forthe late Minoru Mori (the former chairman and CEO of Mori Building), who possessed an intense, future-oriented vision to build a city out of nothing,” Miki notes. Mori, who idolized Le Corbusier’s tabula rasa visions of architectural modernity and pioneered a certain high-rise, mixed-use redevelopment model for real estate in Tokyo (Roppongi Hills, Toranomon Hills, Ark Hills), provides a good analogy for the way Murakami has always functioned in the global art world—with one eye firmly trained on Western standards that might otherwise be deemed too revolutionary or iconoclastic back home in Japan. Murakami’s “return” to Japan after a 14-year hiatus foregrounds a larger discussion about his love-hate relationship with the country’s art world and the system from which he originates. Critic Kyoko Nakano points out that Murakami’s unbridled success abroad has led uneasy pundits to label him something of a conniving, self-promoting climber who has made a career out of selling cheapened, sensational pictures of Japan to foreigners. “The image that people have of Murakami is not that of an artist, but a moneymaking entrepreneur. Even if these insults are the inevitable price that one pays for fame, this statement suggests, rather interestingly, that the status of an artist is higher than that of an entrepreneur,” writes Nakano. “Leaving this aside, it is a fact that Murakami is an entrepreneur. He employs legions of people to help him, producing a self-image and artworks that he sells to make a profit.” The scale of production found at Murakami’s studio has often prompted comparisons with Andy Warhol’s Factory. In truth, however, anyone who has visited his studio in Miyoshi, Saitama Prefecture, would have to admit that the comparison is far-fetched. This is no glittering social hub, but a staunchly industrious “small-town workshop” (kojo) made up of three banal buildings covering nearly 100,000 square feet, which operates 24 hours a day, staffed by young art- college graduates who have survived the “cram-style system” of Japan’s educational institutions. Obsessively regulated for maximum work efficiency, Murakami’s studio is a workaholic Japanese corporation at heart, adopting many standard corporate protocols like morning assembly, mass exercise sessions, daily productivity reports, and a profusion of manuals laying down, to the letter, every detail of the artwork production process. His most extensive showcase in Europe to date, “Lost Human Genetic Archive,” which opened at the Palais de Tokyo in Paris in April 2014 after another large-scale solo outing titled “Past Tense,” at the Getty Center in Los Angeles earlier in the year, displayed his unique, historiographical approach to exhibition-making. Here, Sugimoto juxtaposed his well-known photographic works with objects and artifacts sourced from a range of historical periods and geographical and cultural origins, offering viewers a series of enigmatic, anecdotal setups that seem to have been drawn from some fictional archive of world culture—a provocativeyet measured rumination on the fragile fate of the human race. Written by Chikamatsu Monzaemon in 1703, the play tells the story of a young clerk and his courtesan lover, who endup killing themselves after realizing that their relationship is doomed because of a debt the clerk incurs after refusing to go ahead with an arranged marriage to another woman. “The basic narrative of this play revolves around a sentiment or morality that Western audiences are probably not very familiar with,” explains Sugimoto. “In Shakespeare’s play, both Romeo and Juliet commit suicide, but that was more the result of a misunderstanding. In contrast, you might say that the Sonezaki tale is an exposition of the Japanese, or Buddhist, spirit of eros—the two lovers consummate their affair by committing a double suicide because they believe that their souls will thereby be ushered into a paradise in the afterlife.” In recent years, Sugimoto has also tackled an increasing number of projects that go beyond the realm of photography and visual art, moving into architecture and the painstaking design of various environments. To coincide with the Venice Biennale of Architecture in 2014, for instance, Sugimoto unveiled a newly commissioned temporary pavilion, the Glass Tea House Mondrian, on the island of San Giorgio Maggiore. Complementing the mission and purpose of Le Stanze del Vetro, a cultural facility dedicated to the art of glassmaking and located on the same island, Mondrian features an open-air courtyard that adjoins a walking path leading up to a luminous glass cube where a tea master may regale two guests with the tea ceremony. Venetian mosaics are deployed in the reflecting pool, while the fence that encircles the pavilion is fashioned out of cedarwood harvested from parts of the Tohoku region in Japan that were affected by the 2011 earthquake and tsunami. Slightly farther afield, in the Kiyoharu Art Village, a tranquil conglomeration of buildings designed by leading Japanese architects like Tadao Ando and Yoshio Taniguchi, nestling in a scenic mountainous area of Yamanashi Prefecture, is Stove, a top-tier French restaurant located in a newly refurbished wooden house designed by Sugimoto that opened in late 2013. Formerly located in the Kamakura residence of the editor, essayist, and painter Tosei Kobayashi, the restaurant was transplanted into an old, two-story wooden house dating from 1941 and comprehensively reworked by Sugimoto, featuring a luxurious cypress counter carved from a single piece of wood, and a custom-made iron stove taking pride of place in the center of the restaurant. The culmination of all these design efforts is now under way on a coastal plot of land southwest of Tokyo, where Sugimoto is currently building the Odawara Art Foundation, a museum of his own design with dramatic, overhanging cantilevered galleries, which is slated to open in 2017. Among the meticulously planned features are an underground tunnel from which visitors can watch the sunrise once a year, during the winter solstice; a Japanese teahouse; and a Noh theater equipped with a stage that seems to hover above the sea. An outspoken critic of overly fussy and convoluted museum designs, Sugimoto is perhaps a forward-thinking pioneer among artists whoare now directly reclaiming some artistic and creative license over the environment in which their works are displayed. Without resorting to direct political activism, Chim↑Pom’s project has successfully driven consciousness toward this massive no-go zone that opened up in Japan. “You don’t experience the works or exhibition visually, let alone in person, but through your imagination,” Ushiro notes. “So we’re targeting both a present audience and a future one. For the present, I think this is an experiment in whether audiencesactually make an imaginative attempt to engage with, or recall, the energy produced by the exhibition.” In addition to their own practice, Chim↑Pom are also fervently devoted to promoting the work of other artists whom they consider undervalued and neglected, most recently through their own gallery, called Garter, in Tokyo’s Koenji district. Housed in little more than a rickety shack that dates from before World War II, Garter opened in the summer of 2015 with an inaugural exhibition devoted to cult filmmaker Shion Sono. The short walk from Koenji station to the gallery is an eye-opening experience for anyone who knows only the high-rise, cyberpunk modernity of central Tokyo. This is a rather rough-and-tumble district of vintage and secondhand stores, live music venues, and small, quaint eateries and bars, and is home to an anarchist collective called Shiroto no Ran. “There aren’t any galleries or museums around. Everyone here respects each other, but my sense is that we can all coexist here and make extreme, radical things happen,” Ushiro muses. Although Chim↑Pom’s work tends to be pegged as political, the group seems far more nonchalant about the label. “Unlike activists who work to realize a particular political agenda or objective, we have more abstract ends,” Ushiro stresses. “Rather, I would say that our works are a record of how we try to make sport of society, to trifle with it—how individuals living in a particular society and political system stage all manner of pranks with rats, crows, living together with garbage. It’s just a reflection of living within society.” Shihoko Iida, an independent curator and associate professor at Tokyo University of the Arts who prepared a solo exhibition of Mohri’s work that opened in February at the newly inaugurated art space Minatomachi Art Table in Nagoya, notes that the artist’s sensibilities can be traced to musical elements rather than to a strictly visual, art historical context. “Mohri was particularly interested in sound art when she was a student and gradually became more influenced by experimental music and multidisciplinary practices that incorporate sound, visual, and sculptural elements,” says Iida. “Her interest in chance operations and randomness owes an artistic debt to Marcel Duchamp, John Cage, Jean Tinguely, and Fischli/Weiss, as well as to important historical movements like Dada, Arte Povera, Fluxus, and Jikken Kobo (Experimental Workshop).” Tanaka’s Venice presentation, curated by Mika Kuraya, chief curator at the National Museum of Modern Art, Tokyo, retained the roughly hewn wooden columns and other selected elements of the previous year’s Japan presentation at the architecture biennale, which was a direct response to the aftermath of the March 11, 2011, quake and tsunami that rocked northeastern Japan. While making subtly oblique references to the state of Japanese society and the national psyche two years after the disaster, Tanaka was more concerned about exploring the elusive prospect of communication and dialogue among increasingly heterogeneous societies. “About five or six years ago, I became fascinated with this idea that perhaps only one soul exists in this world, and that this soul travels through each one of us, through the past, present, and future—one soul permeating everything, connecting each of us to everyone else,” Tanaka muses. “In this sense, you might say I’m an optimist about the possibility of real communication between individuals who each carry a bit of this common soul within them, no matter how divided they might seem to be on the surface.” This month saw the opening of Tanaka’s first major solo show in Europe, at the Deutsche Bank Kunsthalle in Berlin, while last month a solo exhibition, on view through May 15, “ Koki Tanaka : Possibilities for being together. Their praxis” debuted at the Contemporary Art Center, Art Tower Mito, just outside Tokyo. Although many observers have noted that Tanaka’s recent work has spotlighted the difficulties of true collaboration, the artist counters that his more immediate interests have shifted slightly of late. “Actually, I’m more curious about how we can live together with others. We’re currently facing difficulties in living together with people whom we don’t know. We start to label them our enemies,” Tanaka explains. “Here, I am talking about the hate-speech incidents directed at Japanese-born ethnic Koreans in Japan, for example, or discrimination against Muslims after the Paris attacks. We are moving further and further away from true collaboration, and a documentation of democratic consensus.” At Art Tower Mito, Tanaka is showing some 220 minutes of video footage shot during a six-day workshop of “living together situations” conducted with six participants and a film crew in a dormitory-like setting. As the participants read, eat, make pottery, and have free discussions with one another, Tanaka captures that awkward sense of an obligatory, ambiguous social contract that inevitably unfolds among people meeting for the first time who are required to be together for reasons outside their control. In the artist’s words, the work is about “the possibility of being together, despite our differences.” 2016-03-24 18:16 Darryl Wee
Total 40 articles. Created at 2016-03-25 18:00