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70 articles, 2016-06-07 06:05 1 olafur eliasson takes over the palace of versailles olafur eliasson brings a sequence of spatial interventions to the palace of versailles and its landscaped gardens. 2016-06-06 18:46 (1.02/2) 4KB www.designboom.com 2 Editors' Picks: 10 Art Events This Week See what art events this week that artnet News's editors recommend, from a film about Ida Applebroog, to a TV party with (1.02/2) Derrick Adams. 2016-06-06 16:49 6KB news.artnet.com

3 Former Director of Moscow's NCCA Questioned in Corruption Probe, Lehmann Maupin to Open 2nd Gallery Space in Chelsea, (1.02/2) and More A daily round-up of must-read news from the art world and beyond. 2016-06-06 10:49 761Bytes www.blouinartinfo.com 4 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe.

(0.01/2) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth... 2016-06-07 00:42 2KB contemporaryartprojectsusa.com 5 In Ghana, a Painter Tackles Water and Chaos Jeremiah Quarshi's studio is filled with portraits of women, from his series “Yellow Is the Colour of Water,” to be shown in his (0.01/2) first-ever solo show this August at Gallery 1957. 2016-06-06 10:59 4KB www.blouinartinfo.com 6 row studio use a golden reflective ceiling for barberia royal shop in mexico city row studio design the 'barberia royal' in mexico city using motifs and colors used in traditional barber shops. 2016-06-07 04:05 2KB www.designboom.com 7 jean bocabeille architecte's monts et merveilles development composed of social housing, residences, a ground level religious center, and retail frontage -- the project(s) seamlessly combine with the earlier ehpad senior housing by atelier du pont. 2016-06-07 02:15 1KB www.designboom.com

8 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume,... 2016-06-07 03:32 6KB designawards.core77.com 9 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker's rooftop terrace, the first of 17 new outdoor works that will be joining the newly-renovated Walker campus. The piece—Arcs fr... 2016-06-07 01:40 875Bytes blogs.walkerart.org 10 barco's kortrijk, belgium HQ by jaspers- eyers architects barco opens kortrijk, belgium HQ designed by jaspers-eyers architectsall images courtesy of jaspers-eyers architects barco, global tec 2016-06-07 01:10 2KB www.designboom.com 11 ron arad: armadillo tea pavilion at design miami/ basel as part of the design at large program at design miami/ basel, revolution precrafted properties presents the 'armadillo tea pavilion' by ron arad. 2016-06-07 00:15 2KB www.designboom.com 12 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than... 2016-06-07 02:27 2KB contemporaryartprojectsusa.com 13 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to... 2016-06-07 02:27 843Bytes contemporaryartprojectsusa.com 14 COS to Sponsor the Guggenheim’s Retrospective This Fall The first major retrospective of the Canadian-American artist Agnes Martin’s work in 12 years will be sponsored by COS at the Guggenheim in . 2016-06-06 22:35 2KB wwd.com 15 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneap... 2016-06-06 21:29 867Bytes blogs.walkerart.org

16 rhike park music theater and exhibition hall in tbilisi by fuksas italian architecture studio fuksas has revealed more images of a new cultural complex it is working on in the georgian capital of tbilisi. 2016-06-06 21:01 2KB www.designboom.com 17 Future Forward NYC Presented a Glimpse into Tomorrow A living wall, a heat-responsive chandelier, and an infinity room came alive at our New York event. 2016-06-06 21:00 2KB thecreatorsproject.vice.com 18 Sheree Hovsepian's Decisive Moment | Studio Visits The art of photography finds its edge in the drawings, sculptures, and assemblages of the Iranian-American artist. 2016-06-06 20:15 5KB thecreatorsproject.vice.com 19 Ralph Lauren Corp. Seen Making Job Cuts Stefan Larsson, chief executive officer, will outline his strategic plan at an Investor Day on Tuesday. 2016-06-06 20:01 3KB wwd.com 20 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions... 2016-06-06 20:25 1KB contemporaryartprojectsusa.com 21 kadawittfeldarchitektur's lausward power plant in düsseldorf contains a structural facade the lausward power plant in düsseldorf germany by kadawittfeldarchitektur is an important milestone on the way to a carbon-neutral city. 2016-06-06 19:35 3KB www.designboom.com 22 Facebook to Beauty Marketers: The Moment for Mobile Is Now At Facebook’s first beauty summit, executives stressed commerce is shifting to mobile, and beauty brands better be on board with that shift to nab sales. 2016-06-06 19:35 8KB wwd.com 23 American Apparel Celebrates Pride With New Campaign The Los Angeles firm today began selling limited-edition tops and other merchandise, with a portion of the proceeds going to support the Equality Act. 2016-06-06 19:30 1KB wwd.com

24 The Real Partners With NBA Player John Wall for Online Sale The Washington Wizards player is teaming up with The Real to sell pieces from his closet. 2016-06-06 18:59 1KB wwd.com 25 Condé Nast Partners With Gucci on Branded Content Film Series Condé Nast’s native unit, 23 Stories, partnered with Gucci for a four- part campaign inspired by the fashion brand’s pre-fall collection. 2016-06-06 18:22 3KB wwd.com 26 Founder Alexis Hubshman on What's New at SCOPE Basel 2016 What’s New at SCOPE Basel for 2016: Founder Alexis Hubshman Interviewed by Mark Beech 2016-06-06 18:05 5KB www.blouinartinfo.com 27 Vivaldi’s "The Four Seasons" Meets Electropop and Painted Visuals British composer Anna Meredith recontextualizes Everybody knows the mega-famous concerto. But not like this. 2016-06-06 18:05 4KB thecreatorsproject.vice.com 28 Jude Law Talks Thomas Wolfe at ‘Genius’ Premiere: ‘He was Famously Raucous’ The biopic stars Jude Law, Colin Firth, and Nicole Kidman. 2016-06-06 17:38 2KB wwd.com 29 Antonio Marras Designs Haute Couture Capsule for Bosco di Ciliegi The collection will be unveiled on Monday night at Moscow’s Pushkin State Museum of Fine Arts. 2016-06-06 17:30 1KB wwd.com 30 The 72 New Emojis Are All About Throwing Shade The internet is about to get a lot more passive-aggressive. 2016-06-06 17:30 2KB thecreatorsproject.vice.com 31 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood a... 2016-06-06 20:24 832Bytes blogs.walkerart.org 32 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power... 2016-06-06 20:24 22KB www.walkerart.org 33 Banksy Bombed the Bristol Elementary School Building Named After Him Banksy has a soft spot for his hometown. 2016-06-06 17:25 1KB thecreatorsproject.vice.com 34 carlo ratti outfits open-office with individualized climate and lighting system the system by carlo ratti, which is part of the agnelli foundation headquaters in torino, adapts the workplace to learn and synchronized to its users’ needs, optimizing space usage and limiting energy waste. 2016-06-06 17:10 2KB www.designboom.com 35 latvian museum of contemporary art designs unveiled located in riga, one of the seven dynamic proposals will become a cultural and arts center as well as a beacon of national significance in latvia. 2016-06-06 16:43 6KB www.designboom.com 36 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-06-06 20:24 985Bytes blogs.walkerart.org 37 Zurich Gallery to Unveil Zaha Hadid’s Final Art Installation The late architect reimagined Kurt Schwitters’ Merzbau for Galerie Gmurzynska. 2016-06-06 16:37 1KB wwd.com 38 Samsung 837 and CFDA Link Up for Yearlong Partnership To launch the yearlong partnership, the CFDA Fashion Awards will be live-streamed for 150 guests at Samsung 837, and then a few hundred more will join the after party. 2016-06-06 16:30 2KB wwd.com 39 'Fallout 4' Is Better with Rick and Morty If interdimensional cable met Bethesda's gaming engine... 2016-06-06 16:25 1KB thecreatorsproject.vice.com 40 Martos Gallery Announces Move To Chinatown, Names Ebony L. Haynes Director Installation view of Jess Fuller's "Planet without a body," 2015. COURTESY MARTOS GALLERY Martos Gallery has announced that it will be moving from its Chelsea 2016-06-06 16:21 2KB www.artnews.com 41 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nat... 2016-06-06 20:24 885Bytes blogs.walkerart.org 42 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your... 2016-06-06 20:24 837Bytes blogs.walkerart.org 43 Explosive Field Paintings Capture the Sun's Brilliance Nature and the sun inspire the energy-filled paintings of Karen Arm. 2016-06-06 15:45 3KB thecreatorsproject.vice.com 44 ‘The Revenant’ Official Music Video Is All- Natural [Premiere] Electronic artist Alva Noto explodes the film's “Main Title Theme,” with a gorgeous montage of B-roll scenery. 2016-06-06 15:40 2KB thecreatorsproject.vice.com 45 Think Tank: Strategies to Better Engage Shoppers, Online and In Stores Lynne Coté, chief executive officer of fashion apparel and personal stylist company Cabi, also discusses the importance of connecting to consumers. 2016-06-06 15:23 8KB wwd.com

46 When Muhammad Ali Made His Musical Debut The former heavyweight champion, who passed away on June 3, starred in “Buck White,” a musical by Oscar Brown, Jr. in 1969 2016-06-06 15:17 6KB www.blouinartinfo.com 47 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins's free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27–October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 pho... 2016-06-06 12:21 874Bytes blogs.walkerart.org 48 Lose Yourself in Crowds of Colorful Animals | Monday Insta Illustrator Jakartan artist Sanchia Tryphosa Hamidjaja turns groups of things into extremely satisfying patterns. 2016-06-06 14:55 1KB thecreatorsproject.vice.com 49 Stalco Wraps Up Construction of Liebeskind Berlin Store at Tanger Outlets This is the second Liebeskind Berlin in the U. S 2016-06-06 14:41 2KB wwd.com 50 Bruno Pieters Sets Antwerp Exhibit on Sustainability The showcase include slogan T-shirts in tribute to Katharine Hamnett, and portraits of local fashion figures. 2016-06-06 14:41 1KB wwd.com 51 New York Academy of Art Names Four New Trustees, Including Brooke Shields and Naomi Watts New York Academy of Art. COURTESY NYAA The New York Academy of Art has announced the appointment of four new trustees: Christina DiDonna, Alexander Gilkes, 2016-06-06 13:40 1KB www.artnews.com 52 Real Art Welcomes Bryan Wilson Real Art welcomes Bryan Wilson as the newest addition to our team. He is a Quality Assurance Analyst working out of Real Art’s Dayton headquarters. Bryan brings a mix of experience in designing, developing and implementing system and application automation processes. Bryan graduated from Wright State... 2016-06-06 13:27 1KB realart.com

53 There's Something Refreshing About This Analog Short Film This phenakistoscope illusion harks back to the days before traditional filmmaking. 2016-06-06 13:25 1KB thecreatorsproject.vice.com 54 woolloongabba gardenhouse in queensland by refresh design in a brisbane suburb, architecture studio refresh design has developed a model of infill-development, designed to increase the density of urban areas. 2016-06-06 13:10 2KB www.designboom.com 55 Conspiracy Theories Inspire Cartoonish Greyscale Art In 'Safeworld,' L. A. artist Rachel Lord uses occult symbols and conspiracy theories to create cartoon portraits of reality. 2016-06-06 13:10 4KB thecreatorsproject.vice.com 56 MoMA PS1 Communications Director Allison Rodman Departs Institution Allison Rodman with Judith Shea's Easy Does It, 2014, at PS1's 'Greater New York' exhibition in 2015. COURTESY INSTAGRAM Allison Rodman, who has served as 2016-06-06 12:56 2KB www.artnews.com 57 How Brexit Could Affect Britain's Artists: Last Week in Art Also, the Louvre Museum prepares for floods sweeping Paris and a gold-encrusted gold eagle is stolen. 2016-06-06 12:55 4KB thecreatorsproject.vice.com 58 italian pavilion venice architecture biennale presented at the italian pavilion at the venice architecture biennale, ‘campo libero’ was designed as an off-grid rural mobile pavilion that promotes five common goods: health, legality, sports, education, and environment. 2016-06-06 12:30 2KB www.designboom.com 59 Joseph Nahmad on Nahmad Projects Opening The latest member of the Nahmad clan to enter the art business and his partner, Tommaso Calabro, speak with artnet News on the new Nahmad Projects. 2016-06-06 12:25 5KB news.artnet.com 60 The Berlin Art Scene Explained by Its Tastemakers With the opening of the ninth Berlin Biennale, Gabriele Horn, Christian Boros and other prominent members of the city's art scene revealed its essence. 2016-06-06 11:59 6KB news.artnet.com

61 Harvey Quaytman Estate Now Represented by Van Doren Waxter The estate of Harvey Quaytman, the late-20th-century American abstract artist, is now represented by Van Doren Waxter, the Upper East Side gallery announced 2016-06-06 11:29 1KB www.artnews.com 62 Banksy Creates Burning Tire Mural for Kids The elusive British street artist painted a curious mural on a playground wall at an elementary school in his hometown in the West of England. 2016-06-06 11:13 2KB news.artnet.com 63 Then and Now: The Transforming Tate Southern exterior view of the newly completed expansion to Tate Modern. ©HAYES DAVIDSON AND HERZOG & DE MEURON From its beginnings in 1897, when it had 2016-06-06 11:01 7KB www.artnews.com 64 Sotheby's Tragic $40 Million Modigliani Painting Sotheby's London will offer an Amedeo Modigliani portrait of the artist's lover, Jeanne Hébuterne, that could fetch $40 million at its upcoming sale. 2016-06-06 10:54 3KB news.artnet.com 65 Amrita Sher-Gil, Souza, Subodh Gupta Top Draws at Saffronart’s June 8 -9 Auction Amrita Sher-Gil Headlines Saffronart’s Summer Auction 2016-06-06 10:23 4KB www.blouinartinfo.com 66 Mélanie Matranga at Karma International, Los Angeles Pictures at an Exhibition presents images of one notable show every weekday 2016-06-06 10:22 1KB www.artnews.com 67 Vandals Damage Ugo Rondinone's Las Vegas Art Ugo Rondinone's popular Las Vegas installation "Seven Magic Mountains" has been defaced with obscene imagery and phrases. 2016-06-06 10:19 1KB news.artnet.com 68 10 Millennial Artists to Watch in 2016 Christie Chu tracks her favorite millennial artists for 2016 who are shaking things up. 2016-06-06 10:04 6KB news.artnet.com 69 Jordan Wolfson David Zwirner / New York Nightmares are just as distressing for their familiarity as they are for feeding obscure terrors. More common in children than adults, the feverish horror of repeatedly witnessing, or experiencing, a... 2016-06-06 07:57 2KB www.flashartonline.com

70 Curator Frank Wagner Is Dead at 58 Frank Wagner was a tireless supporter of young artists, and one of the first curators to stage an exhibition around the AIDS epidemic in the 1980s. 2016-06-06 07:43 2KB news.artnet.com Articles

70 articles, 2016-06-07 06:05

1 olafur eliasson takes over the palace of versailles (1.02/2) olafur eliasson stages spatial installations throughout the palace of versailles (above) waterfall, 2016 | crane, water, stainless steel, pump system, hose, ballast all photos by anders sune berg all images courtesy of the artist, neugerriemschneider, berlin; tanya bonakdar gallery, new york © olafur eliasson for the last eight years, the palace of versailles has hosted a series of exhibitions that see internationally- acclaimed artists form a dialogue between their own work and the architecture of the french landmark. this summer, olafur eliasson brings a sequence of spatial interventions to versailles, situating, fog, mirrors, and light landscapes around the gardens and palace interior. ‘the versailles that I have been dreaming up is a place that empowers everyone,’ eliasson says. ‘it invites visitors to take control of the authorship of their experience instead of simply consuming and being dazzled by the grandeur. it asks them to exercise their senses, to embrace the unexpected, to drift through the gardens, and to feel the landscape take shape through their movement.’ view of ‘waterfall’ at the palace of versailles the exhibition is organized in two parts: a series of outdoor works situated around the picturesque grounds, and pieces placed within the ornately- decorated palace. in the gardens, three monumental installations deal with various states of water — fluid, fog, and absence, as materialized by glacial rock flour. eliasson continues one of the most significant projects of his oeuvre with a new ‘waterfall’ erected in the grand canal. positioned on the central axis of the garden, this latest iteration sees a surge of water rush down from a soaring crane above the landscape. the installation subtly pays homage to louis XIV’s landscape architect andre le notre, and his unrealized vision of creating a waterfall in the palace’s gardens. expanding upon the theme of water, eliasson’s ‘fog assembly’ surrounds visitors in a hazy landscape, enveloping them within a circular veil of fine mist. at the colonnade, a carpet of glacial residue has been placed within a circular opening on the floor, surrounded by the site’s magnificent thirty-two arches with twenty-eight fountains. ‘I use fog and water to amplify the feelings of impermanence and transformation,’ eliasson says. ‘the artworks liquefy the formal design of the gardens while reviving one of landscape architect andré le notre’s original, unrealized visions: the placement of a waterfall in the grand canal. this waterfall reinvigorates the engineering ingenuity of the past. it is as constructed as the court was, and I’ve left the construction open for all to see – a seemingly foreign element that expands the scope of human imagination. ‘ installation view of ‘fog assembly’ at the palace of versailles inside the château, eliasson has deployed a series of installations that use mirrors and light to active the space. while the furnishings of the rooms remain unchanged, the interiors are enhanced through a multiplication of perspectives created by a sequence of mirrors. visitors discover their own reflection in unexpected locations, modifying the perception of the rooms, and inviting them to become active participants in the reality that surrounds them. fog and water amplifies the feeling of impermanence and transition from within the palace, ‘waterfall’ can be viewed along the axis of the grand canal the spatial interventions inside the palace are activated by mirrors and light installation view of ‘your sense of unity’ at the palace of versailles installation view of ‘deep mirror (yellow)’ within the palace ‘the curious museum’ reflects the interior of the palace onto itself 2016-06-06 18:46 Nina Azzarello

2 Editors' Picks: 10 Art Events This Week (1.02/2) Tuesday, June 7 1. " Mal Maison " at Maccarone Keltie Ferris , Harmony Hammond , Shinique Smith , and six other artists "whose works grapple with the portrayal of the female form by complicating, interceding in, and meddling with representations of the body," as the press release states, share the stage in this exhibition organized by Ashton Cooper. Location: Maccarone, 98 Morton Street Price: Free Time: Opening reception June 7, 6:00 p.m.–8:00 p.m. —Rozalia Jovanovic Wednesday, June 8 2. and Eva Respini in Conversation at the New York Public Library With the publication of her new book , photographer and sculptor Liz Deschenes will talk to Eva Respini, the curator behind her upcoming show at the Institute of Contemporary Art , opening June 29. Writer and critic Lynne Tillman will also read a fiction piece written for the monograph, and the evening will conclude with a book signing. Location: New York Public Library Stephen A. Schwarzman Building, Celeste Auditorium, Fifth Avenue at 42nd Street Price: Free Time: 6:00 p.m.–8:00 p.m. —Sarah Cascone Thursday, June 9 3. Gallery Talk: Alexandra Schwartz on Ed Ruscha at Edward Tyler Nahem Gallery Alexandra Schwartz, the founding curator of contemporary art at the Montclair Art Museum and author of Ed Ruscha 's Los Angeles (2010) delivers a lecture on the artist, titled “Pop Life: Ruscha's Ribbon Words" to complement the current show “ Ed Ruscha: Ribbon Words ," curated by Dieter Buchhart, on view at the gallery through July 1. Location: 37 West 57th Street Price: Free Time: 6:00 p.m.–8:00 p.m. —Eileen Kinsella 4. Gallery Talk: Eric Fischl at Skarstedt Gallery To complement the current Eric Fischl solo show, "Rift Raft," at the gallery (through June 25), the artist will engage in conversation with Modern Painters executive editor Rachel Corbett. Location: 20 East 79 th Street Price: Free; RSVP to [email protected] . Time: 6:30 p.m. —Eileen Kinsella 5. " Patricia Cronin: Shrine for Girls, New York " at the FLAG Art Foundation The FLAG Art Foundation presents an important and thought-provoking exhibition by Patricia Cronin highlighting the global exploitation of girls and women, based on recent events such as the Boko Haram kidnapping of 276 schoolgirls in Nigeria, to forced labor in Ireland's Magdalene asylums. Following its presentation in New York, the exhibition will travel to India, Ireland, and Nigeria—the three locations of horrific events involving young women that inspired Cronin's work. Location: 545 Wes 25th Street Price: Free Time: Opening reception June 9, 6:00 p.m.–8:00 p.m. —Henri Neuendorf Friday, June 10 6. The City Reliquary 's Collector's Night 2016 Are you a fan of quirky museums? For one night only, the City Reliquary is bringing together all sorts of out there collectors. Enjoy everything from artifacts the infamous Nancy Kerrigan/Tonya Harding Museum and taxidermy from 's Morbid Anatomy Museum to vintage New York maps from Dan Lenchner and Phil Buehler 's artifacts from the old Conmar Zipper facilities. Location: Fire Museum , 278 Spring St Price: $10 general admission/$5 members Time: 6:30 p.m. —Sarah Cascone 7. Trace the Future at the Japan Society Catch the US premiere of Yohei Hatakeyama's documentary about Naoya Hatakeyama photographing his hometown during the fallout from Japan's 3/11 disaster. The evening will include a Q&A with Yohei, and Naoya's photographs are on view at the Japan Society's current exhibition " In the Wake ," on view through June 12. Location: Japan Society, 333 East 47th Street Price: $12 general admission/$9 students and seniors Time: 7:00 p.m. —Sarah Cascone Friday, June 10–Thursday, June 16 8. Beth B, Call Her Applebroog at Metrograph "I learned very early on how power works," the artist Ida Applebroog says in the first few moments of Call Her Applebroog , the latest contribution from No Wave filmmaker Beth B, who is the artist's daughter. The film is an odd and intense investigation of the 86-year-old artist's life and legacy, and contains singsong interludes, as well as revealing moments about the artist's struggle with depression, which ultimately contributed to the creation of works involving "representing the woman's body as an object of desire," as she states in the film. The result? " MONALISA ," a collection of vaginal drawings that appeared at New York's Hauser & Wirth in 2010, as well as a slew of other works over the past few decades that have contributed to the feminist canon. Location: 7 Ludlow Street Price: $15 Time: showtimes vary —Kathleen Massara Friday, June 10–Sunday, July 10 9. Derrick Adams, "On" at Pioneer Works Hot on the heels of his success curating emerging artists at Volta, Derrick Adams's solo exhibition at Pioneer Works features a handful of ambitiously large wall hangings "that function as both sculptural objects and backdrops for live performance," the press release notes. The artist will be remixing television programs and "late-night infomercials" from the '80s and '90s during the opening, so get ready for a resurrection of much-memed TV psychic Miss Cleo. Location: 159 Pioneer St, Brooklyn Price: Free Time: Opening performance at 7:oo p.m.; Wednesday–Sunday from 12:00 p.m.–6:00 p.m —Kathleen Massara Friday, June 10–Sunday, July 17 10. Damien Davis "Object | Affection" at Black Ball Projects Artist Damien Davis gets his first solo exhibition in New York, featuring a colorful blend of mixed media works and textile-inspired sculptures informed by "cross-cultural encounters" and "visual ideograms" of the African diaspora. Location: 374 , Brooklyn Price: Free Time: 6:00 p.m.–9:00 p.m. —Kathleen Massara 2016-06-06 16:49 artnet News

3 Former Director of Moscow's NCCA Questioned in Corruption Probe, Lehmann Maupin to Open 2nd Gallery Space in Chelsea, and More (1.02/2) Related Venues National Centre for Contemporary Arts (NCCA) Lehmann Maupin Galerie Perrotin National Centre for Contemporary Arts Artists Spencer Tunick Amedeo Modigliani 2016-06-06 10:49 Taylor Dafoe

4 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe. (0.01/2) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth #405; as the fair celebrates its sixteen successful year this summer July 7th to 10th, 2016, when galleries from around the world will once again offer an outstanding overview of modern and contemporary art. Designated as one of UNESCO’s Creative Cities, Santa Fe is a globally familiar art destination. The city claims the second largest art market in the , and draws scores of national and international visitors. The Wall StreetJournal’s Smart Money magazine recently noted: “Santa Fe is dotted with 240 art galleries, and is the home of ART Santa Fe, an international art fair that attracts buyers and tourists from around the world. The Santa Fe art scene is one of the best you will find anywhere.” The Gallery will be showcasing a selected group of contemporary artists curated by Silvia Medina, Chief Curator, that includes as Invited Artist Kelly Fischer, Switzerland, with her master piece, “Horizon”, honoring the theme of the Fair; Robin Apple, USA; Rosario AESTUS Vigorito/Italy; Rajvi Dedhia Unadkat/India; Eliel Perez/Puerto Rico; Miquel Salom/Spain; Ileana Collazo/USA; and the unique Kinetic Sculptures of Gary Traczyk/USA- among others. Well-established artist, Jorge Cavelier/Colombia, will present a curated project by Ms. Medina and Linda Mariano member of the curatorial team of Art Santa Fe titled, “Horizon”, for which he will create an imaginary forest with his murals. The media sponsors for Contemporary Art Projects USA are: Smiley Stones, Conexiones Publications, Art and Beyond Magazine, Art Daily News International Magazine, Art Miami Today, and Avior Magazine. So, join us this summer for Art Santa Fe 2016 alongside an illustrious line- up of art lovers and high-net-worth collectors with average household incomes of $200,000+! For More Information, please contact: Contemporary Art Projects USA Tata Fernandez, Director 786-262-5886 [email protected] www.contemporaryartprojectsusa.com 2016-06-07 00:42 Leticia Del

5 In Ghana, a Painter Tackles Water and Chaos (0.01/2) Related Venues Venice Biennale An untitled work by Jeremiah Quarshi / Courtesy Gallery1957 On the outskirts of Accra, Ghanaian artist Jeremiah Quarshi lives and works in a family compound that houses several generations, including his 95-year old grandmother. Visiting requires traversing one of the country’s distinctively rugged red-clay roads. The hustle and bustle of the surrounding rural community fades away inside the compound’s perimeter, where Quarshi paints in a small studio loaded with canvases in various stages of completion. Most of them, conspicuously, are portraits of women, belonging to the series “Yellow Is the Colour of Water,” which will be shown in his first- ever solo show this August at Gallery 1957, a relatively new commercial initiative in the city that is housed in the Kempinski Gold Coast Hotel. (Both gallery and hotel are owned by Lebanese construction magnate and art collector Marwan Zakhem . ) Clottey, for instance, creates intricate hanging sculptures composed of the yellow plastic containers Ghanaians use to carry water; he cuts them into squares and hires assistants to sew them into quilt-like assemblages. His practice also includes a heavy performative element, working alongside the 50-strong group of collaborators he dubs GoLokal. Mahama, whose most high-profile outing thus far was at the last Venice Biennale , covers entire buildings in draperies of stitched-together jute sacks. (Gossipmongers will recognize his name from a just-settled legal spat with the widely loathed Stefan Simchowitz.) In this company, Quarshi’s realist portraiture is bold in its adherence to conventional draftsmanship — early on, he was catalyzed by a love for Chuck Close’s paintings — which is not to say that his work isn’t as finely attuned to the sociopolitical context as that of his peers. “Yellow Is the Colour of Water,” for instance, takes its name from the same small containers that Clottey uses in his sculptures. They’re everywhere in Ghana, thanks to the booming importation of vegetable oil. In Accra, Quarshi explains, water is available only intermittently — maybe three days a week — forcing residents to stockpile supplies when the taps are running (Quarshi’s family compound, thanks to a large storage drum, has often acted as a local depot for the purchase of water). At first, the containers that were conscripted for this purpose were much larger and white in color, unwieldy plastic barrels originally used to store pigs feet shipped in from Europe. The yellow vegetable oil containers — colloquially known as Kufuor Gallons, after the president who ruled Ghana during their introduction, in the 1990s — are much easier to handle. There’s never anything to celebrate about shortages of essentials, of course, but Quarshi has found something of a perverse silver lining in its effects. “Whether you’re rich or poor, white or black, a nurse, a centenarian, whatever,” he said, “you still have this in common. The gallons become a symbol, both for failure and also for hope: The more gallons you have, then you’re sure that you’re OK, you’re safe.” Paintings from other series are also scattered around the studio. There’s one from a set in which Quarshi laid snippets of biographical text over representations of complex public figures, ranging from soccer star Maradona to Nelson Mandela and Oprah Winfrey. And there’s an epic, mostly completed canvas depicting an imaginary African court, with friends and peers playing the major roles: a bare-chested Clottey, a spoken-word poet, and political caricaturist Bright Ackwerh , as well as the model Quarshi used in the gym-culture portrait, appearing here as the queen. “There’s no real artistic documentation of African monarchs,” he explained. “I wanted to take myself back to the 14th century as the court artist.” 2016-06-06 10:59 Scott Indrisek

6 row studio use a golden reflective ceiling for barberia royal shop in mexico city row studio use a golden reflective ceiling for barberia royal shop in mexico city (above) the mirrored gold ceiling reflects the interior all images courtesy of row studio the ‘barberia royal’ faces the famous ‘paseo de la reforma’ ceremonial boulevard which runs diagonally across the heart of mexico city. the decadent barber shop designed by row studio, features a faceted ceiling which uses a laser-cut golden anodized aluminium reflective surface that mirrors the interior of the space. the upholstered mustard yellow chairs were originally used in the 1950’s the store plan is distributed into two parts. the first features a waiting area with a fully stocked courtesy bar, comfortable leathered stools and sofas and a small display cabinet selling the best grooming products. decorative highlights include a real life bison head that overlooks the bar, and a restored vintage triumph motorcycle that stands at the corner of the room. the service area is furnished with upholstered mustard yellow chairs that were originally used in the 1950’s. customers face a rounded beveled mirror which includes the golden head of either a lion, wolf, stag, zebra, elephant or moose upon its surface. the lower half of the space references colors and materials which are used in traditional barbershops including black and white hexagonal tiles and the ‘royal’ name greeting printed on the floor of the entrance. the branding for the project was realised by andy butler who devised a flexible communication system that incorporates symbols associated to the royal houses. view of the waiting area and service room entrance with the royal name laid in hexagonal tiles 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. 2016-06-07 04:05 Alfonso Maldonado

7 jean bocabeille architecte's monts et merveilles development jean bocabeille architecte’s monts et merveilles development in paris images courtesy of frédéric delangle, sergio grazia paris’ clichy-batignolles ecodistrict has taken point in the french city’s envisioning for a timeless, mixed-use future. adding to the zone (17th arrondissement) is the ‘monts et merveilles’ development by jean bocabeille architecte. composed of social housing, residences, a ground level religious center, and retail frontage — the project(s) seamlessly combine with the earlier ‘ehpad senior housing’ by atelier du pont. on the site’s eastern end, facing rue cardinet, are social housing units. the compact building shares a patio with above mentioned ehpad senior housing, which together overlook a park. opposite, is the private residence block and ozanam house — the latter consisting of a chapel and congregation area. characterized by complex forms of orange and red, the building includes 86 apartments. each has a terrace, and provides unrestricted views of the development’s park and the saussure block beyond. 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. 2016-06-07 02:15 www.designboom

8 8 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and ; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and theFoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co- opting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed. 2016-06-07 03:32 Sujung Tak

9 9 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker’s rooftop terrace, the first of 17 new outdoor works that will be joining the newly- renovated Walker campus. The piece—Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black […] 2016-06-07 01:40 By

10 barco's kortrijk, belgium HQ by jaspers-eyers architects barco, global technology giant, has officially opened doors at its kortrijk, belgium campus, designed by jaspers-eyers architects. responding to concerns of excessive employee commuting, the complex is located adjacent to existing corporate buildings in the city, itself close to route E17. the project, consisting of architectural and interior design, includes a centralized structure — the ‘circle’ — with linking corridors to three additional buildings: the ‘lab’ (research), the ‘pulse’ (offices), and the ‘engine’ (production facility expansion). leading the pack is the ‘circle’, a multi-purpose facility that provides office space and R&D, along with dedicated presentation rooms, auditorium, and company restaurant. its form measures 75 meters in diameter, and acts as a crucial component in regards to employee/visitor interactions and visual focus from the surroundings. beyond the form’s swirling, glass dominated façade, is a light-filled interior specifically designed to increase social meetings. this is accomplished in several ways, the most obvious manifest as oval-shaped ‘meeting decks’ that seem to float freely in the atrium. an inset ramp circles the space, its purpose to provide depth to the façade. three horizontal rows of coffering block excessive sun, further aided by an extensive cooling system within. also of note, are inner volumes finished with taut bannering. sleek and uniform, barco plans to use these surfaces to project images representing the company and its wares. jaspers-eyers’ work is functional and stylish, providing their clients an ideal location to continue its goal of being standard-bearers for their own high-tech products. steel, concrete and glass meet in the building’s outer ramp 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. 2016-06-07 01:10 Lo K

11 ron arad: armadillo tea pavilion at design miami/ basel the design at large program at design miami/ basel comprises a curated collection of large-scale works and ambitious architectural installations, both from historical and contemporary contexts. the 2016 theme focuses on ‘landscape’, exploring the relationship between the built and natural worlds from a literal, conceptual, and technological perspective. as part of design miami/ basel 2016, held from june 14-19, revolution precrafted properties — a collection of limited edition dwellings, ranging from functional pavilions to modular homes — presents the ‘armadillo tea pavilion’ by israeli designer ron arad. the shelter is conceived as an independent shell structure, providing an intimate place of refuge and reflection within a garden, landscape, or large internal space. comprising a series of five molded shells, the pavilion is made of mechanically-fixed modular components with exposed fixings and stiffening brackets. the flexibility of these elements allows the tea canopy to be configured in a variety of arrangements, and can be expanded when using additional shells. adaptable for indoor and outdoor use, ‘armadillo tea pavilion’ is designed to be structurally independent and installed as a free-standing element, with the possibility of additional anchoring if desired. each of the shells are made in range of finishes — depending on their intended purpose — from durable PVDF-coated timber composite for outdoors, to oiled hardwood- veneered plywood for indoor use. all of the shell fixings, foot brackets, and structural stiffeners are made in hand-patinated brass and bronze. ‘ it’s not an airtight structure — it’s not for typhoons, or storms — but it gives you a very loose shelter from sun, wind, noise, because you define your own enclosure,’ arad describes. see more revolution precrafted properties on designboom here, and our interview with its producer and real estate developer robbie antonio here. the shelter is conceived as an independent shell structure the pavilion provides an intimate place of refuge and reflection within a garden the design is structurally independent and can be installed as a free- standing element the pavilion is conceived for both indoor and outdoor use 2016-06-07 00:15 Nina Azzarello

12 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than all else are works of art; mysterious existences, the life of which, while ours passes away, endure … Rainer Maria Rilke, Letters to a Young Poet I am an Italian-American, a lesbian, a retired NY lawyer, a law librarian professor, and an ovarian cancer survivor; but my calling is that of an artist. After a long hibernation, I rediscovered my childhood passion for art; and once re-awakened to my innate passion – which I refer to as my second coming out – I studied with various accomplished figurative artists in New York City, and went on to formalize my training by receiving my MFA from the Graduate School of Figurative Arts of the New York Academy of Art in 2003. Following in the example of one of my inspirations, i.e., Picasso, with his perchance for re-invention and bold experimentation, my versatility extends to painting, drawing, sculpture, photography, and the focus of my more recent works: innovative digital mixed media collage – which incorporates the fusion of elements taken from different media, both digital and non- digital, and their manipulation in computer post-production. Regardless of the medium I employ, I subscribe to the philosophy that art serves as a bridge from our primal essence to our higher selves, to the divine. As such, my “aestus,” or passionate fire, and underlying motivation, is to produce works intended to stimulate the senses, provoke emotional responses, elevate the spirit, and address issues that are dear to me. Interview with the Artist by Fatima Canovas|Art Daily News International Magazine 2016-06-07 02:27 tatafedez

13 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to see the world as I do. My works inspiration is a combination of daily elements that are combined to form non-rigged and flexible images. I combine multiple materials of construction that allows me to free my ideas and create freely without material restrictions and in a freer flowing manner. 2016-06-07 02:27 tatafedez

14 COS to Sponsor the Guggenheim’s Agnes Martin Retrospective This Fall When it opens to the public Oct. 7, the retrospective will showcase 110 paintings, drawings, prints, sculptures and a screening of her seldom-seen 1976 film “Gabriel” from the Canadian-American artist, who died in 2004. Fifteen works will be unique to the New York show, including “White Flower (1960),” which was acquired by the Guggenheim in 1963 and was the first work by the preeminent painter of the twentieth century to become part of a museum collection. Identified by her and, to a lesser degree, abstract expressionism, Martin was one of the few female artists to emerge from these male-dominated art movements of the late Fifties and Sixties. Having welcomed nearly 1 million visitors last year, the Guggenheim connection will no doubt strengthen COS’ brand awareness. The alliance coincides with COS’ plans to open four more stores in the U. S., including its third in New York, in the Westfield World Trade Center. The H&M -owned COS, which waded into the American market in 2014, already had nine stores here. Three others are in the works: in Miami’s Design District, in downtown Los Angeles and in Chicago. The company did not respond to requests for comment about whether it will stage an installation or special event in the Frank Lloyd Wright-designed Fifth Avenue museum. Supporting various art projects around the world and featuring lengthy interviews with artists in its magazine are integral parts of COS’ strategy. In April, COS recruited the Tokyo-based Sou Fujimoto Architects to create the multisensory installation “Forest of Light” for Salone del Mobile in Milan. And for the Berlin Gallery Weekend in March, the chain partnered with artist Michael Sailstorfer to create “Silver Cloud,” a specially commissioned outdoor installation. Last fall, COS supported the “Donald Judd: Prints” installation at the Judd Foundation in New York, a short walk from its Spring Street store. Martin first came to the U. S. in 1932 and became an American citizen in 1950. In the Forties and early Fifties, she lived, off and on, in the northwestern part of the country, as well as in New Mexico and New York City, where she earned a degree from Teachers College, Columbia University. In 1957, she put down stakes in lower Manhattan’s Coenties Slip with neighboring artists , , James Rosenquist, and Jack Youngerman. The following year she secured her first solo show at the Gallery. 2016-06-06 22:35 Rosemary Feitelberg

15 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artist- centric values. Following up […] 2016-06-06 21:29 By

16 rhike park music theater and exhibition hall in tbilisi by fuksas fuksas reveals images of its music theater and exhibition hall in tbilisi's rhike park fuksas reveals images of its music theater and exhibition hall in tbilisi’s rhike park image by joel rookwood italian architecture studio fuksas has revealed images of a new cultural complex it is working on in the georgian capital of tbilisi. located within the city’s rhike park, the building is composed of two sculptural tubular elements that both open up onto the adjacent green space. connected via a shared retaining wall, the two volumes house a musical theater and an exhibition hall respectively. the former is a 566-seat auditorium that also contains a cafeteria, storage areas, and technical facilities. its funneled form has been conceived as ‘a periscope to the city’ — framing views of the river, and the historic town beyond. positioned to the south, the exhibition hall presents an open staircase to the public realm, welcoming visitors inside. the complex is located in close proximity to a public service hall, which fuksas completed in 2012. the building is topped with 11 sculptural petals that rise to a total height of 35 meters. see more of the project on designboom here. the complex is located within tbilisi’s rhike park image by nikolay kaloshin the exhibition hall presents an open staircase to the public realm image by sophia arabidze the tubular elements open up onto the adjacent green space image courtesy of fuksas the two volumes house a musical theater and and an exhibition hall image by nikolay kaloshin both structures are clad with stainless steel panels image by nikolay kaloshin inside the concrete and steel structure image by nikolay kaloshin the project is located on the banks if the kura river image courtesy of fuksas the complex is located close to a public service hall, (top left), which fuksas completed in 2012 image courtesy of fuksas 2016-06-06 21:01 Philip Stevens

17 Future Forward NYC Presented a Glimpse into Tomorrow Moss-covered tiles react to viewers' movements in Reach by VT Pro Design. Image by Alex Welsh We’ll be rolling out exclusive interviews with the participating artists in the lead up to the next stop of our tour in Chicago on Saturday, June 18. Check out the some of best photos from the New York event, below. 1,100 heat-reactive metal alloy pieces compose Doris Sung's stunning Drift chandelier. Photo by Alex Welsh Students from the Urban Arts Partnership make the tiles move in Reach, a living wall made up of lasers that respond to movements. Photo by Charlie Rubin. Takami Nakamoto and Noemi Schipfer, the dynamic duo known as Nonotak, discuss past, present, and future work in a Q&A with The Creators Project's editor-in-chief, Marina Garcia-Vasquez. Photo by Alex Welsh The body of the all-new Prius lights up with music as audiences fiddle with the Prius Piano installation. Photo by Charlie Rubin Any tune can be played on the Prius Piano—but it's the illuminated colors that really bring it to life. Photo by Alex Welsh Partygoers enjoy the sights and sounds at Industria Superstudios in New York City. Photo by Alex Welsh. An audience member captures the slow motion of Drift as it gets heated by theater lights. See it on Instagram using the hashtag #FutureForward. Photo by Alex Welsh. Learn more about the Future Forward event series with the all-new Prius here . Related: The Making-of an Infinite Space, a Living Wall, and a Heat-Responsive Chandelier Nonotak Studio Experiments with Illusions of Light and Infinity A Look at the Making of a Hybrid Living Wall Sculpting with Architecture’s Third Skin 2016-06-06 21:00 The Creators

18 Sheree Hovsepian's Decisive Moment | Studio Visits All photos by Charlie Rubin On the second floor of an ancient Bushwick factory, a couple blocks from the Jefferson L train station, chemical reactions are taking place. Found materials, draped in patinas, collide face-first with moments as mediums frozen by flashes of light. Time refracts like a prism in Sheree Hovsepian 's studio, becoming drawings, sculptures, and assemblages. But, rather than products, Hovsepian's pieces come to life as she discovers them, experimenting and finding truth in the fast fires of physical work. Hovsepian, with a master's degree in photography from the School of the Art Institute of Chicago, spends long hours here, dialing in on the applied science of capturing decisive moments. Her early works, a series known as Sleight of Hand , involved pushing multiple-exposure photography to its limits: Hovsepian temporarily affixed sheets of paper on a wall, stacking single negatives with different arrangements. The results depict both Hovsepian's physical interactions with material, and document the existence of colorful geometric forms that were never actually there. Next, she found Haptic Wonders , the results of blasts of light hitting photosensitive paper through arrangements of opaque materials. These camera-less photographs walk the line between abstraction and figuration, Hovsepian often cutting her filters open with a razor to allow slivers of light through, or fixing developer chemicals unevenly, creating what looks like bladework, and its bloody results, in black-and-white. Her photograms compose assemblages, combinations of sculptures, stands, string, and chemical reactions on surfaces. Everything here is one of a kind; nothing can be recreated perfectly. "I love the slippage that happens when you can’t tell if it’s a photograph or a drawing, you know? That there’s no copy, because in this method of working, you can only have one original," Hovsepian explains. The same can be said of her bronze columns, which are created using lost-wax casting, and her printer ink and walnut oil dispersion drawings. "You can’t remake them. " "When I moved to New York, I wanted to figure out a way to work in photography that would allow me to work in the studio in the way that I’d envisioned New York artists having worked in their studios beforehand. This kind of hyper-masculine idea of working with your hands, putting things on the floor, stuff like that. But that was not the way I understood how I worked in photography or how I did [it]. I’d used the studio before as a place to shoot models, but not as a place to actually physically touch, handle, and make work. I wanted a place where I could touch things and make things with my hands," Hovsepian says. Her studio today is much like she created Raku pottery within, equal parts destructive and gestational furnaces. It draws as much from the surgeon artist, Lucio Fontana, as it does feminist forebears, Marisa Merz, Louise Bourgeois, and Ana Mendieta. "I have this idea of repurposing and taking from what’s around me," Hovsepian says. "I think it’s this very feminine sort of thing. It also helps me make decisions. It’s like, okay I’ve gotta make something. Everything I need is in my studio. Now, go. " Fittingly, found objects have always been important to her work, both for their physical presence and their forms. In the past, she used to find items to shoot in hallways and alleys, photograph them in studio, and return them back to their original locations. Now, she'll source marble columns from eBay, crochet around aged wooden staffs, and arrange her assemblages with such exactitude that she can re-stage stretched mixed-media wall sculptures as if they were in situ. "I’m doing a residency at the Drawing Center right now. [The piece I'm working on] is a photogram, a large one that I had in here, and some drawing paper, and some fabric. I’ve used fabric in my work before, and I had this and was just playing around with it. I love this in the context of drawing, and photography also. I think it has a lot of things to do with veiling, covering and uncovering what I’m making," she says. Ultimately, what's most striking about Sheree Hovsepian's work is just how organic it feels, how honest, hard- and handworked each and every individual piece is. The painter Haley Mellin, who had dinner with Sheree and her husband, Rashid Johnson, a couple nights earlier, remarks, "To be able to push this platform forward and be persistent with it, and give this language a space, is hugely admirable.” With Johnson, Hovsepian has a child, Julius, who she calls her "greatest collaboration. " Otherwise, a collaborator she is not. Her works are singular; process-honored artifacts of a time, a place, and a gesture. For these kinds of photographs, things-in-themselves reborn, there has never been a better moment. Click here to visit Sheree Hovsepian's website. Related: Dan Colen Exposes Himself | Studio Visits The Inflatable World of Tamar Ettun | Studio Visits Ryan McGinness Thinks You're Looking at Art Wrong | Studio Visits 2016-06-06 20:15 Emerson Rosenthal

19 Ralph Lauren Corp. Seen Making Job Cuts More Articles By Significant layoffs could be coming at Ralph Lauren Corp., according to industry sources. Although the exact number couldn’t be learned, sources indicated the cuts would occur throughout the organization and some stores would be shuttered. The cuts could impact up to 10 percent of the workforce, said sources. Several longtime company executives are said to be affected. Stefan Larsson , chief executive officer and president of Ralph Lauren , plans to outline his multi-year strategic plan on Tuesday at an Investor Day for analysts. A spokesman for Ralph Lauren declined comment. It is believed that the job cuts are one part of a bigger restructuring plan that Larsson will divulge to modernize the company and make it leaner and more nimble. This latest anticipated round of cost-cutting would come after last year’s 5 percent reduction in head count, or about 750 jobs, due to the company’s shift to a different operating model. Those cuts were expected to reduce annual operating expenses by $125 million, and the company took total charges of $142 million during fiscal 2016 and planned to incur additional charges of about $5 million during fiscal 2017. During an earnings call last month, Larsson, who joined in November, said that the company needed to return to its core business. He said that, following a comprehensive review, “we have gained a very clear understanding of the underlying drivers of the current performance and we now have a detailed view of what’s driving the downward trend. In short, we have not focused enough on the core of what made us great in product, marketing and the shopping experience.” He added that the company has an “inefficient cost structure and organization that’s not nimble enough in the marketplace. What made us great was a crystal-clear focus on owning classic, iconic styles and putting an effortless twist to it to make it current and desirable.” For the year ended April 2, Lauren’s net income declined 43.6 percent to $396 million on a 2.8 percent decrease in total revenues to $7.41 billion. At the end of March, 2015, the company said it had 25,000 employees, consisting of 15,000 full-time staffers and 10,000 part-time workers. About 15,000 are located in the U. S., with 10,000 located overseas. At present, the company has 493 directly operated stores, which includes 144 Ralph Lauren stores, 77 Club Monaco stores and 272 Polo factory stores. It also operates 583 concession shop locations worldwide. International licensing partners operate 93 Ralph Lauren stores and 42 dedicated shops, as well as 133 Club Monaco stores and shops. 2016-06-06 20:01 Lisa Lockwood

20 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions to kick off the New Year. FUSION: Maria Fernanda Lairet at MDC- West, inaugurates the 2016 winter season with a student reception at Noon on Jan. 20. The exhibition runs through April 17, 2016. Born in Caracas, Venezuela. Lairet acquired a degree in Graphic Design at the Design Institute of Caracas in 1987. Throughout her career, Lairet has experimented and combined elements of graphic design, drawing, photography and painting to create exciting mixed media works. Currently the artist works in a more reflective and conceptual way through the redesign of paper money for countries globally and in different denominations and her works touch on the political, economic and social issues of each country. She has participated in solo and group exhibitions in universities, galleries, biennials, fairs and exhibitions, both in Venezuela and abroad. Lately, she has participated in Art Palm Beach and Art Santa Fe along with a solo show at Photo Lima. She received second place, Best Artwork during the “Cosmic Connections” fair in Miami in December 2014. The exhibition created in collaboration with Tata Fernandez of Contemporary Art Projects. This exhibition was created in collaboration with Contemporary Art Projects under the direction of Tata Fernandez. 2016-06-06 20:25 Leticia Del

21 kadawittfeldarchitektur's lausward power plant in düsseldorf contains a structural facade kadawittfeldarchitektur’s lausward power plant in düsseldorf contains a structural facade (above) the outer exterior of the lausward power plant all images courtesy of jens kirchner the lausward power plant situated in düsseldorf’s harbour, has been supplying the city with climate-friendly electricity and district heat since the beginning of 2016. the natural gas station is an important milestone on the way to a carbon- neutral city, which the state capital is striving to achieve by 2050. the ambitious project which was first initiated as a european-wide competition – was won by architecture practice kadawittfeldarchitektur, who proposed a structural silhouette that would be visible from afar. the natural gas station is an important milestone on the way to a carbon- neutral city the new build is located on lausward – an area just south of the city at the bend of the river rhine, in immediate vicinity of the harbour. the largest frame element completing the building in the northeast, incorporates the power plant’s main stack – at approximately 63m, the highest peak within the grounds. visitors taking part in a guided tour can use a lift to reach an observation deck 45 metres above the ground. it is from here, through a glazed facade, that they can enjoy panoramic views south as far as cologne and north across the river to düsseldorf’s centre. visitors taking can use a lift to reach an observation deck 45 metres above the ground the concept for the primary structure and the panels was adopted from standard power station constructions. the conventional appearance of the outer facade elements however, has been modified to enhance the protruding steel sheets that create a strong graphical impression upon the building. the structure of the large window includes a separate framework construction which is independent from the boiler house and the tower. the underside of the window’s roof and the side walls are clad with folded aluminium sheet lamellae which are designed to reflect the light at night and provide sufficient depth for the accommodation of smoke exhaust and ventilation ducts. the concept for the primary structure and the panels was adopted from standard power station constructions the rhythm of the exterior frames and the intermediate joints characterise the silhouette of the station, and in an abstract way convey the meaning of energy to the outside world. during the day, the interplay of frames and brackets ties the heterogeneous elements together creating a uniform appearance. visitors can enjoy panoramic views south as far as cologne and north across the river to düsseldorf’s centre the concept for the primary structure and the panels was adopted from standard power station constructions the interplay of frames and brackets ties the heterogeneous elements together the underside of the window’s roof are designed to reflect the light at night the new build is located on lausward – an area just south of the city at the bend of the river rhine 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. 2016-06-06 19:35 Nicole Richter

22 Facebook to Beauty Marketers: The Moment for Mobile Is Now More Articles By The future is not still. Whether in the form of scrolling carousel ads, live video feeds, conversational bots or layered virtual-reality universes, Facebook executives Thursday — in Los Angeles’ Hotel Bel-Air, at the company’s first beauty summit — explored the smartphone not as a static device but as an increasingly active one that responds to and compels shopping habits. For beauty brands, they underscored the bottom line: Commerce is shifting to mobile — and they better be on board with that shift to nab sales. “Consumers are comfortable buying key products in their regimen online, where I see the opportunity, especially for social commerce, is in impulse- driven categories such as lip, eye and color, where mobile plays a critical role in terms of discovery and where all of the innovation and trends happen so quickly,” said Karin Tracy, Facebook ’s U. S. industry lead for beauty and luxury, speaking to WWD before the intimate event that drew 75 attendees, from brands such as L’Oréal, Smashbox and NYX. “As the consumer behavior evolves, we are going to be seeing more conversions.” Facebook is already detecting strong mobile momentum in beauty. Released at the summit, a report by Facebook IQ entitled “Beauty Beyond: The Thumb is in Charge” revealed internal data showing more than three in ten beauty and personal-care purchases by people 18 years old and above occurred on mobile from September to December. Millennials, moms and multicultural customers accounted for 81 percent of beauty transactions last holiday season. In five to ten years, the report predicted, everyone will be a mobile shopper, an assertion supported by a finding that 64 percent of omnichannel Millennial beauty buyers obtain products on smartphones compared to 54 percent of Gen Xers and a quarter of Boomers. The trick to enticing mobile-savvy beauty buyers is offering captivating social media content that will build brand equity as well as revenues. That content is taking shape in a growing variety of formats, and video is playing a larger role for beauty brands. “What they need to figure out now is how to translate their storytelling for mobile, where our users are watching 100 million hours of video daily on Facebook and the time people watched video increased more than 40 percent on Instagram,” said Tracy. Thomas Puckett, creative strategist for beauty and luxury at Facebook, gave suggestions for advertising success based on recent campaigns using video and research. Citing Nielsen Digital Brand Effect metrics, he detailed that 3 seconds into a video, 47 percent of the value is delivered, and 10 seconds in, 74 percent is delivered. “You need to capture the attention quickly, so people won’t just scroll right by you,” said Puckett. Immediacy was at the heart of a campaign by L’Oréal to promote Root Cover Up, which displayed the product concealing gray roots in a seconds- long video that segued into carousel ads featuring several images exhibiting shades and directing consumers to buy them. “That’s a high need state and that’s an incredibly dramatic presentation that answers that high need,” said Puckett. According to Facebook, the campaign resulted in a 30-point lift in ad recall and a 12-point lift in product awareness. For its fall collection, Puckett pointed out, nail polish brand OPI produced a mixed-media carousel program that was “a well-thought out campaign that [generated] fantastic results.” Working with Instagram to develop the campaign, OPI showcased four nail trends for the season, such as venetian lace and ombré, and presented their polishes with objects and in surroundings that hammered home the trends. Facebook disclosed the campaign reached 5.4 million people and caused an 11-point lift in ad recall and a three-point lift in top-of-mind awareness. Aurelien Jehan, senior vice president of marketing and creative at OPI, credited a lifestyle-oriented approach for the campaign’s effectiveness. “Think about the content that we used to put out there — which was a bottle of OPI and that was basically about it. We wanted to give more context to our story,” he said, adding, for example, that a bottle of the minty blue shade Gelato On My Mind was paired with real gelato in a visual. Of OPI’s goal for the campaign, Jehan elaborated, “Where we really need the help of Instagram and Facebook is to target the unfamiliar customer. When we do that and they engage with these posts, we manage to drive them to our Web site, which is the ultimate goal.” Targeting is a key element of Facebook’s value proposition to beauty brands. In another OPI campaign for polishes it partnered on with Hello Kitty, Jehan noted the brand pursued consumers interested in Hello Kitty, OPI and nail art. “That super-refined targeting cannot really happen on any other place,” he said. With Facebook’s targeting capabilities, Tracy emphasized beauty marketers can “reach personalized marketing at scale. They can target an audience of beauty-obsessed consumers, and we have millions of them that we can reach. It’s that at-scale piece that’s going to move product for them.” Facebook is flexing the muscle of its reach with Facebook Live. Although Twitter-owned Periscope was earlier to live video broadcasts, beauty brands appear to be adopting Facebook Live at a rapid pace. Every Thursday, the brand Benefit stages “Tipsy Tricks with Benefit!” on the platform, with a guest and a host who choose a beauty topic, dish out advice, sip wine and field questions. Two initial streams pulled in 42,000 and 59,000 viewers, with an average of 2,000 people watching at any given time. In general, Facebook mentioned people spend three times longer watching a live video than a video that’s not live, and comment a minimum of ten times more on Facebook Live videos than on videos elsewhere. Illustrating how Facebook Live can be skillfully tapped, Puckett highlighted live videos of Oscar-winning makeup artist Mark Coulier doing zombie special-effects makeup and Asian singer-songwriter Yuna, an ambassador for SK-II, announcing her world tour. Tracy said, “It’s the power of TV — in your pocket. It’s a massive opportunity for marketers in the beauty space.” Jehan believes Facebook Live could be a powerful tool for live nail tutorials. “That would be a great way to connect. It’s very true to us, and it could also be leveraged worldwide,” he said. Going forward, Facebook will provide beauty marketers with an even fuller cabinet of tools to consider. Puckett expects virtual reality to become a promising avenue for beauty brands, envisioning a virtual experience on a device from Oculus, which is owned by Facebook, that transports people to the sea for a close-up look at the ingredients in La Mer products. He continued, “What about designing a building and being able to walk through it before it is even built.” Puckett stressed brand participation in virtual reality, now primarily the province of gamers, remains a year to a year-and- a-half out. “It’s too nascent,” he said. Facebook Messenger bots that rely on artificial intelligence to handle customer service may be closer to actual applications in the beauty industry. Facebook estimates at least 900 million people use Messenger monthly, and the number of messages between people and businesses on Messenger more than doubled in the past year. The company is testing initiatives around ride-sharing, order receipts and live chat on Messenger. Tracy counseled brands to focus today on Facebook Messenger’s customer-service functions with the employees they have, not with automated bots. “We have yet to understand what the real potential is for businesses on Messenger. We think it is going to be great, especially in the beauty space, where people have lots of questions,” she said. “What beauty brands are doing in the short term is having Messenger set up on their pages, and making sure they are answering questions in a timely manner. Then, as the developers figure out the right technology around bots, they will be ready, because they will have understood the patterns of questions being asked, to inform the artificial intelligence.” 2016-06-06 19:35 Rachel Brown

23 23 American Apparel Celebrates Pride With New Campaign The company released limited-edition merchandise bearing the campaign name and other phrases such as “Make American LGBTQ Again” with 30 percent of the proceeds from those sales going toward supporting the Equality Act. The offering consists of four top styles, along with a tote and hat. Prices range from $24 for a tote or tank to $28 for a T-shirt, with the merchandise, all of it made in Los Angeles, being sold online at American Apparel or the Human Rights Campaign’s web sites and at select American Apparel stores. The company launched the campaign in conjunction with the Human Rights Campaign and Ally Coalition, which was founded by designer Rachel Antonoff and her brother Jack Antonoff of the bands Bleachers and Fun. The campaign also includes online video content and three events this month, some of which will be at American Apparel stores. The first of those events is slated for Wednesday at Junior High Gallery in Hollywood, presented by comedy video site Funny or Die. The latest campaign out of the Los Angeles firm follows the company’s calls for local business owners interested in partnering with the retailer and manufacturer in its Made In campaign. The company’s soliciting proposals from vendors in the leather and canvas goods, footwear, jewelry, paper goods fragrances and small home décor spaces as it seeks to boost and diversify its product mix. The call for proposals from business owners ends June 17. 2016-06-06 19:30 Kari Hamanaka

24 The Real Partners With NBA Player John Wall for Online Sale More Articles By The Washington Wizards point guard has collaborated with The Real Real on an online flash sale , which runs through June 14. Wall is selling two pairs of Kanye West for Louis Vuitton limited-edition sneakers, pieces from Adidas Y-3, limited-edition Nike hoodies, pieces from Christian Louboutin, Givenchy and more. All of Wall’s proceeds from the sale will go to the John Wall Family Foundation, which helps disadvantaged families. Wall recently won the 2015-16 Seasonlong NBA Cares Community Assist Award for all of his charitable service. Wall, who is a finalist for the 2016 U. S. Olympic Men’s Basketball Team, follows in the footsteps of Miami Heat player Dwyane Wade, who has also sold his wares on the luxury consignment site, which is in growth mode. It recently opened its third fine jewelry and watch valuation office at 980 North Michigan Avenue in Chicago. This followed the unveiling of a valuation office in Los Angeles. Before that, the concept was successfully tested in Manhattan last year. In April, The Real Real raised $40 million in Series E funding. The round, which was led by Greenspring Associates with other new investors including Broadway Angels, Next Equity and Springboard Fund, brought the company’s total funding to $123 million. 2016-06-06 18:59 Aria Hughes

25 Condé Nast Partners With Gucci on Branded Content Film Series Condé Nast’s native advertising unit 23 Stories has debuted a four-part series for Gucci inspired by the brand’s pre-fall collection. Directed by Gia Coppola , the series represents the first branded content program for both Gucci and Condé Nast , the New York-based publisher said. The series features Lou Doillon and is styled by Arianne Phillips. Each video, which lasts just over two minutes, depicts a modern interpretation of the classic Greek romance set in present-day New York City. Called “The Legend of Orpheus and Eurydice,” the full series made its debut on Vogue.com, VanityFair.com, GQ.com, NewYorker.com, WMagazine.com, Pitchfork.com and Gucci .com. Condé Nast said the videos will be marketed across its other digital sites, as well. For the most part, the videos are labeled as “produced by Gucci” under the video module of each site, but not when they appear in the regular flow of posted videos. The sponsorship element becomes more apparent once the user watches the first few moments of video in the opening credits. According to Condé Nast president and chief executive officer Bob Sauerberg , the collaboration is the “most creatively ambitious branded project ” the company has embarked on to date. He added that “23 Stories worked closely with our brands, from development through production, to ensure that we assembled the right talent and concepts to create a series with true cinematic quality. The project truly combines Condé Nast’s powerful storytelling capabilities with Gucci’s renowned brand ethos, on a grand scale.” Gucci creative director Alessandro Michele was involved in all aspects of the project, including creating a custom 10-foot wedding veil for the series’ female lead, played by Doillon. Shot in five different locations in New York, the film includes a score composed by Devonté Hynes. “Through the authority and reach of the six Condé Nast brands that are part of this pioneering initiative, we are able to take advantage of highly original and qualitative content to engage with a broad but targeted audience across geographic regions and platforms in an authentic way,” offered Gucci president and ceo Marco Bizzarri . “Digital narrative — whether through film, social media or native journalism — is the way that Millennials in particular like to be engaged today. Consequently, this type of innovative approach to digital marketing will certainly play an increasingly important part of our strategy going forward.” Condé Nast confirmed that the collaboration is not part of a larger buy from Gucci, but instead is considered a stand-alone project. 2016-06-06 18:22 Alexandra Steigrad

26 Founder Alexis Hubshman on What's New at SCOPE Basel 2016 Related Events SCOPE Basel 2016 Venues SCOPE SCOPE Basel is preparing for its 10 th edition – with a new venue and confidence from founder Alexis Hubshman that it will be showing the best of emerging talents and international galleries. SCOPE is now only a few blocks from the main Art Basel fair and encompasses more than 70 exhibitors, alongside 10 in the “Breeder Program,” he says. Hubshman, who is also SCOPE president, explains more in an interview. It’s a beautiful building called Clara Haus. The location is certainly extraordinary. Yes, there is no doubt that proximity is a great thing, but the space itself is wonderful, with windows overlooking the city. We’ve really tried to create this sense of a “Castle in the Sky” - you come off this elevator on the fifth floor and we have built the aisles so that you are walking along windows so you can see all of Basel. It is so close that it is ridiculous: you can see the Messe clearly. The building has been lying fallow for about seven years and is owned by Credit Suisse, and we are working with them to culturally engineer this space. Basel is our jewel in the crown, it is much more a black-tie affair, whereas of course Miami is a celebratory almost end of the year-type project and New York has always been our hometown and a little more rugged. Over the last three or four years, SCOPE has been very focused on getting back to its roots, where we started which was 16, 17 years ago. We have a bunch of new as well as established galleries brought on board for this year. The Breeder program is the backbone of what we do, it is where we started. Of the new galleries this year, I’m really excited about Beta Galeria; Anna Zorina Gallery is exciting for us; Orlinda Lavergne; and my personal favorite, we saw an exhibition that knocked us out is Andrea Rehder Arte Contemporanea, I am super excited about them and hope to work with them on a new project in Miami as well. A lot of these galleries that I’m mentioning are not one- offs. They will be with us through a year cycle which means they get an opportunity to do these one-person focused shows and these three jewels in the crown which we like to think of Basel and Miami and New York. A very new gallery for us is Gallerie Katapult. Yes. One gallery that has graduated from a breeder program is Wunderkammern of Rome and they are doing an extraordinary one-person show (with Jacopo Ceccarelli, better known as 2501). We are topping off at about 75 galleries -- I would say that’s about the perfect size for this fair, enough to see, but not too much to see. I am hoping it will be the right fit. Miami is what it is, a huger incredible experience. I started this when I was my mid-20s. We began in a hotel - art was our core thing, finding emerging new contemporary art, also doing music and film and fashion, We were showing Scissor Sisters before anyone had heard of them, just doing intimate, insane, sexy things. There was, may I say, a drug- addled energy in these hotels but it bred this sort of camaraderie. If there’s one thing that kept it is the intimacy. When people come to the fair and the dealers are very approachable. We have stayed true to our mandate of finding emerging new artists who are often not emerging and new and young they may be midcareer or later career. There is a certain consistency and yet wild unexpectedness that has kept us in business. Yes, there are nice things we have done ,such as a substantial VIP lounge. We are working with Volkshaus, which is one of the top and best-known in Basel, and having an exhibitor lounge where there is free coffee and soup and it is a place to relax… not just fashionable, but kinetic, energized and with a kind of artistic think tank energy... We are presenting a new lighting system which we think is going to knock everybody out. We have always stayed on the forefront, using LEDs before others were - more expensive to buy but low energy usage and less heat in the building. That’s worth mentioning: we have air-conditioning this year! I’m finding that with the galleries we have in the fair this year, the work has a lot more gravity than there has been in the past. Right now the market is a little harder with some collectors asking for 30% off. As an unregulated commodity it is always going to be doing well there are moments when the blue chips go up or go down, it’s like any stock. Once upon a time, you had the auction houses with all power. The art fairs came along and evened things up and took a little away to their side. Then auction houses of powered back. Galleries have found that 60, 70 or even 80 percent of their revenue per year is based on doing these fairs. As an art fair organizer I can say we are seeing too many art fairs, but what has finally happened is that dealers cannot take it on the nose too many times in a row and there are a lot of fairs out there that forced galleries to do multiple events and they can’t do it. The dealer has a lot more choice and the artists are dictating which fairs they would like to be in, how much work they can put out - this sort of treadmill game seems to be slowing down now. Everybody needs to generate money but I think there is a more educated decision. 2016-06-06 18:05 Mark Beech

27 Vivaldi’s "The Four Seasons" Meets Electropop and Painted Visuals Anna Meredith. Courtesy of Scottish Ensemble. Whether they realize it or not, nearly everyone knows The Four Seasons , Antonio Vivaldi’s 1793 string concerto. From movie soundtracks and TV ads to that ubiquitous ringback tone of the late aughts, the piece pops up all over. Yet not everyone knows Anna Meredith , an immensely talented modern composer whose work spans classical and electronic music. Her debut album, Varmints , is an onslaught of sonic genius, featuring percussive guitar tangling with woodwinds and midi keyboard overlayed by strings. The antique opus meets modern avant-pop in Anno , Anna Meredith’s hourlong multisensory reinterpretation of The Four Seasons. When it debuts at the Spitalfields Music Summer Festival at London’s Oval Space , Anno will engulf its audience in the colors and sounds of a passing year, intertwining Vivaldi’s concerti with new electronic compositions. Musical greats like Philip Glass and Nigel Kennedy have tried their hand at reworking The Four Seasons , but Anno instead aims to recontextualize, rather than reconfigure, Vivaldi’s work. “When I met Jonathan Morton, the lead violinist and artistic director of Scottish Ensemble , a couple of years ago, he said, ‘I think Vivaldi would be a really good fit for your music.’ He had this idea of, not reworking the Vivaldi, but giving it a different context. It’s not a mashup or a mix. We’re not trying to make Vivaldi super ‘down with the kids’ or anything,” Anna Meredith tells The Creators Project. An Illustration for “Anno” by Eleanor Meredith. Courtesy of Scottish Ensemble. Rather, old and modern melodies intertwine and flow together in a sonic pas de deux, while projections by Anna Meredith’s sister, visual artist Eleanor Meredith , surround the audience. “There are nine massive screens, and the players move around you. The audience is seated in the middle, on little stools so they can swivel to where the players are standing, and everything, the musicians and animations, starts on the far left, representing spring, and move through the space, crossing the middle in summer and ending on the back right,” Anna Meredith says. Though it splices and even throws out whole movements from Vivaldi’s original score, Anno is faithful to the composer’s intent: to paint a picture in celebration of the changing seasons. An Illustration for “Anno” by Eleanor Meredith. Courtesy of Scottish Ensemble. The confluence of 18th century music, electronic arrangements, and visuals are paramount for both Anna and Eleanor Meredith. “I don’t do anything without really thinking about how the pieces are connected,” Anna Meredith says. “Doing it for the sake of it can be so awkward. You end up with something slapped together. I’ve seen visuals paired with my stuff before, and it’s like, ‘Oh, that’s not right!’” The sisters mapped out the entirety of Anno , charting the parallel paths of the Vivaldi score, Anna’s new compositions, and Eleanor’s accompanying visuals. The result is a beautiful and sapient journey through time. An Illustration for “Anno” by Eleanor Meredith. Courtesy of Scottish Ensemble. Reshaping a masterwork is a daunting task, but Anna Meredith now feels a sort of kinship to the Baroque Italian composer. “The original Vivaldi is essentially little loops of three to four minute pieces. Looking at the whole score, I see we’re connected in the way we use those little loops. He’s stubborn about repetition, and that’s actually how I like to write,” she says. “It’s quite a big responsibility in a way, this piece. For a while I was nervous about what people would think about tampering with it.” Critics have the chance to respond when the piece debuts this week, but defending The Four Seasons is wholly unnecessary. At its heart, Anno is a dialogue between two composers, albeit across a couple of centuries. Scottish Ensemble performs Anno on June 6 and 7 at 6:30 and 8:30 PM each night. You can purchase tickets here. For more information and future performances, visit Anna Meredith’s website. Related: Projection Mapping in a Concert Hall Brings Dvořák's Music to Life Lasers Transform Classical Music Into A Dynamic Forest Of Light 41 Strings by Nick Zinner 2016-06-06 18:05 Kara Weisenstein

28 Jude Law Talks Thomas Wolfe at ‘Genius’ Premiere: ‘He was Famously Raucous’ “Genius” was a long time in the making. The biopic, which stars Colin Firth and Jude Law, is based on A. Scott Berg’s 1978 biography about editor Maxwell Perkins, who shaped the work of F. Scott Fitzgerald, Ernest Hemingway and Thomas Wolfe. Prolific screenwriter John Logan originally read Berg’s biography in the mid-80s. “I was a wee lad,” Logan noted before the New York premiere of the film at the MoMA on Sunday night. “Fifteen years ago, I arranged to meet Scott, and we became friends. I convinced him to let me buy the rights to his book, and I’ve been carefully nurturing it along until this night.” Logan and Berg were joined on Sunday by the film’s director, Michael Grandage, and actors Law, Laura Linney, and Nicole Kidman — who walked hand in hand with husband Keith Urban. “Genius” focuses on Perkins’ working relationship with Wolfe, who penned “Look Homeward, Angel” and “Of Time and the River.” Law took on the large task of portraying the novelist, known for his massive word counts and equally large personality. “He’s also a very tall man,” Law added of Wolfe. “I thought I was going to walk around in heels, platforms. John Logan had put in such an extraordinary script that seemed to capture the volume of him — personality and in stature — that we really just used that as a signifier of his scale,” he continued. “At times I was just worried I was going too far, because [Wolfe] was famously raucous, loud, drunk, lecherous. Michael [Grandage] was very clear that he had to be, in order for the piece, for the journey, for the response of others to ring true.” While Grandage has made a name for himself in the theater world, where he’s directed Law, Linney and Kidman, “Genius” marks his first movie credit. “I found a parallel between the job I do and the job that Max Perkins does,” Grandage explained of taking on the script. “I thought, ‘Wow, nobody knows what directors do. How wonderful we can tell a story about an editor and put it on screen.’ “ 2016-06-06 17:38 Kristen Tauer

29 Antonio Marras Designs Haute Couture Capsule for Bosco di Ciliegi Antonio Marras is celebrating its partnership with Russian giant retailer Bosco di Ciliegi with a haute couture capsule collection. This will be unveiled on Monday night at Moscow’s Pushkin State Museum of Fine Arts, which is inaugurating an exhibition dedicated to Russian painter and illustrator Leon Bakst. The capsule includes 30 upscale dresses specifically designed for the occasion, with the brand’s signature artisanal approach and poetic aesthetic. This project is part of Bosco di Ciliegi’s annual Art Festival organized to promote art and various forms of creativity. 2016-06-06 17:30 Alessandra Turra

30 The 72 New Emojis Are All About Throwing Shade Watching the birth of a new litter of emojis is like solving a puzzle. Which of the phallic pictograms will become the new eggplant (cucumber and baguette are both in play)? Which will be the 100 of the bunch, beloved by all until it implodes from overuse? Which will a brand ruthlessly exploit until it's devoid of all other meaning? (Our vote is the wilted rose, which will be brutalized by Disney's gritty Beauty and the Beast remake.) And finally, which will be the quixotic slow-burn emoji that takes months to find a purpose for? On June 27, the Unicode Consortium will release 72 new emojis to the public, all of which you can peep in the elevator music-bedded video from Emojipedia above. One thing we noticed about Unicode 9, though, is that it seems like its express intention was to give mean teens a feast of new ways to throw shade. From the outset there's a nauseous face, a lying face, and a black heart, which are all guaranteed to sting. There's literally a backhand emoji in here, which there can't be a kind use for, as well as facepalm, and shrug emojis. All this is before you even get to the creative ones, like the clown face (perfect for combining with the donkey emoji), the shamefully-dressed man dancing emoji (inherently awful), and the aggressively lunging fencer emoji for unsubtle attacks ( en garde! ). There's even a third place bronze medal emoji, for when you've deemed someone pathetic enough to call them the second loser. Screencaps via There are a lot of nice emojis in Unicode 9, too. We'll be making excellent use of the kiwi, the adorable fox face, and the whiskey tumbler, but these joyful symbols are overshadowed by an anxious desire to prepare for comebacks for the shade to come. Tweet your best emoji comebacks to @CreatorsProject , because we need all the help we can get. Read all of the new emojis in list form here . Related: Finally, an Emoji Keyboard for Your Computer Yung Jake's Emoji Portraits of Celebrities Step Inside 'The Garden of Emoji Delights' 2016-06-06 17:30 Beckett Mufson

31 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood as a kind of technology unto itself. The 3rd Istanbul Design Biennial proposes that the ultimate aim of design is a redesign of the […] 2016-06-06 20:24 By

32 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power dynamics. Void of identifying features or specific characteristics, the animated silhouette within Chan’s restive vision invites and prompts us to project possible narratives onto reduced and impoverished images. Embracing what artist and theorist Hito Steyerl has termed the “poor image” of dubious genealogy within digital culture, Chan’s series The 7 Lights (2005–2007), works with “light and light that has been struck out” to depict a shadow cinema of the sacred and profane within contemporary culture. The tangible yet pared down outline of daily life gradually loses form in the series, with lampposts, cell phones, animals, circuitry, weapons, and people slowly breaking up into fragments that have no single point of gravity. As in 6 th Light , on view, the virtual is seen rising and falling in an animated cycle of dissolution. Score for 7 th Light , the final piece of the series, pushes toward total abstraction as a musical score of shadow fragments is laid out and contained within the strictures of the music staff across composition pages, offering near impossible instructions for the as-yet- unmade final projection in the cycle. It is in Sade for Sade’s sake (2009), however, that Chan deploys his poor cinema of the silhouette to truly epic effect, creating an immersive environment of nearly life-sized animated figures engaged in various encounters of sex and violence. Interspersed with floating rectangular forms that recall redacted imagery or censored sections of explicit texts, the mood of Chan’s work speaks to the American psyche at that time. Here, the artist has added a range of toy guns to what is a highly charged site-specific installation of the work. I recently sat down with Chan to discuss this most recent iteration of Sade for Sade’s sake , on view at the Walker, in the Lower East Side office of Badlands Unlimited , the publishing house Chan founded in 2010, devoted to e-books, paper books, and artist works in digital and print forms. Curating Less Than One I noticed a subtheme in the works I was selecting: what does it mean to become American, as opposed to being American? Thinking about your work, I immediately thought: Sade for Sade’s sake needs to be shown—right now. It just felt timely. You don’t over-explain your work, but I know that at the time you were making it there was heightened attention to the extralegal situations of US policy around Guantanamo and Abu Ghraib, and some of the redacted images that were coming out from Abu Ghraib in particular resonate, I think, for a viewer who’s paying attention to these connections. So, I wanted to first just ask you how you got into the whole Sadean project. The origins of the Sade project came from my reading and thinking about Henry Darger. I did a projection piece called Happiness (finally) after 35,000 years of civilization, after Charles Fourier and Henry Darger (2003), and Sade was a part of that mix. Why was he a part of the mix? Because he was an artist and a thinker who I believe was on the same wavelength as Darger, insofar as they were both interested in the look of infinitude. Darger’s landscapes looked infinite, like a world. But what you realized if you looked a little more closely is that this world was actually composed of a finite set of elements, that he only drew something like 24 kinds of flowers, but he varied them in such a way that his landscapes were completely populated with all different kinds of flowers. It’s a basic idea of theme and variation. But he had a theme. He had, say, four types of trees, and then he varied them to a point where you couldn’t tell what was happening. And Sade, in a very similar spirit, did that in his writing around ideas and acts of sex and violence. One of the other things that I thought connected them was the spirit of escape. Darger lived a terribly lonely and isolated life in Chicago, tragic in every meaningful sense. The Marquis de Sade also led a different kind of tragic life, but it’s important for me to remember that he wrote his greatest works while imprisoned, right? The 120 Days of Sodom was written while he was in the Bastille, and the intensity and the feel of infinitude, I think, come from the desire to escape. So, Sade is a part of the mix of that early animation, but I could never make Sade fit , so I took him out and put him in the back of my mind until after The 7 Lights , when I realized, “Oh, this is a thing I should do. I should follow up with that thinking around Sade.” That’s how it came out. After The 7 Lights , I re-remembered Sade, and thinking about Sodom , and rereading it, I realized that we don’t really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people—girls and boys—to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV. They profited from the war of Louis XIV. That really struck me, because at the time that we were living, we were going through a war, the Second Gulf War. We were going through the destruction of countries in the Middle East, and we were hearing stories about war profiteering. Of your use of the silhouette form, I think of Goya and the Caprichos and other artistic approaches to the grotesquery of the silhouette as a tool for speaking to situations of power and misuse of power. In Sade , the silhouette forms are so artificial. Then the animated jitter brings them to life in a way that is artificial, and yet its artificiality prompts a disturbing effect for viewers. Can you talk about why you chose the silhouette form? I’m a terrible drawer [Laughs]. I can’t draw to save my life! And a silhouette makes it much easier. I have less to deal with! [Laugh] Just one line, really, and nothing inside. I think that’s the simplest answer. A more complicated answer may be that I may not be interested in what it is at all. I may be interested more in its movement. I’ve told this story before, but I’m nearsighted. I’ve been nearsighted since I was, like, 12. But I’m so vain that I refuse to wear glasses, and I’ve learned to live that way because I realized when I was young that I don’t have to see with clarity to know what I’m looking at. I’ve adapted, based on my vanity, so that I can recognize people and things based on their movement. So, I may not be able to tell if that’s you from your face down the street, but I’d like to think that if we hang out just a little bit more, I would know how you’d move, and I would recognize you walking down the street from a block away. That’s how I can tell people in the street since I was 15. So, to me, movement becomes the essential way in which I see things, and it may be the case that the through line for the work that I’ve done, regardless of the medium, is movement. I loved drawing the Darger stuff, the Happiness pieces. I loved drawing them all, but what I was more invested in was how they move. And so with Sade , what was important was a particular spirit or style of moving, which I call “petrified unrest.” That jittering is completely artificial, but what’s interesting is that it feels very human to me, insofar as it represents the feeling that I get when I sit in front of a computer [laughs] or when I’m anxious. That movement is the baseline for the whole piece. If you can see it musically, that jittering is the baseline. Nothing stands still; everything is moving. And even if you’re still, you’re jittery. The counterpoint, in the musical sense, is the gliding—the geometry of the squares coming from left to right. I immediately think of visual redaction. But was that tension thought of as a musical counterpart? That’s very astute. I think it’s true. I didn’t necessary think of it as redaction, but I did think of it as a counterpoint to the movement theme of petrified unrest, as the geometric shapes move qualitatively differently. They’re slow, languid, calming. Mesmeric. And I needed that, because it was too painful to watch even artificial shadows of human beings in petrified unrest. Over time, as I was making it, I couldn’t bear looking at it. It needed a counterpart. It needed something to lessen the burden. Can you talk a bit about the mood when you made the piece? My sense in working with you on this installation is that the mood has to have an update each time you install the piece. The variation includes the space itself. Yeah, I think it’s a function of the illusion of it being a shadow; that the pleasure and the challenge of shadows is that they can go anywhere. In fact, the more unorthodox a surface, the more illusionary it looks. That shadow is a sort of story. I showed some of the Lights in Europe in this institution, and because they knew that the projection would be on the floor, they assumed that the floors must look like a screen, so they cleaned the floor and painted it white and glossed it so it was like a projection screen. And it looked terrible. I told them, “It’s not a projection. It’s a shadow, and it looks better as a shadow if it functions like a shadow.” That it falls on whatever it falls on. Right. It elongates, shrinks, and expands. Right, and I think that’s the spirit in which Sade was made. The spirit of The 7 Lights transfers over to Sade insofar as it needs an unorthodox surface for it to give it the mimetic sense of it being a shadow. For the Walker installation, being able to use the former installation walls and pallets and things that call to mind almost a non-space, or a space in between modes, is just so effective, in particular in counterpoint to the kind of mesmeric left-to-right of the geometric movement. Then there are the toy guns. Can you talk about adding the toy guns? Sure. When I found out you guys were installing Sade , I thought it was great, and I knew that we were in conversation about an unorthodox projection surface. At the time, news of guns was in the air—who has a right to own them, who does not—and I thought, “If we need an unorthodox projection surface, why not have the surface be guns?” That’s when I put in the request to just buy guns. [Laughs] It brings to mind a very particular American conundrum, which is the right to bear arms and the inevitability that every decade guns are more and more an issue in American culture. And in some ways, that extends to how guns are mixed with sex, violence, and celebrity, as well as economic inequality in American society, not to mention questions around what police presence and the consideration of what a “police state” might mean in this country. These things really intermingle in ways that are very powerful. To overlay that on the piece itself in Sade , was in some ways directly responding to this moment. I think so. It’s nice to know a work can do that, and I think I’m just taking advantage of how the works are made. Sade needs an unorthodox projection surface. I don’t say what that unorthodox projection surface is, so the opportunity is always there when people install Sade to interject, to intervene in that space, to give it a kind of presence that it may not have had otherwise. I think of that old Chinese adage that the strongest force in the world is water. I think part of the pleasure of the shadow works I’ve made is precisely that they sort of “bend” themselves. There is no ideal situation for how they’re shown. They actually need a less-than-ideal space. The Lights : they need a dirty floor. Sade : you need an uneven surface. It’s almost like a dare. It’s like, “I dare you.” I remember thinking this with Sade : “I dare you to do this. I dare you to project on a brick wall in Venice.” “I dare you to project on the wall that no one uses at Carol Greene’s gallery.” I think it’s pleasurable. Do you think that less-than-ideal aesthetic is perhaps also a way of prompting or working through philosophical ideas? That philosophical engagement, or political-philosophical mix of concerns, has to have, in some ways, a less-than-ideal aesthetic to be able to actually have something to it, rather than just be a declaration or a position? I love that explanation, and I will use that from now on, because what I’ve used is that I’m an asshole. [Laughs] That’s it. We are beholden to our temperament, I suppose. I am. Whether I want it or not, whether I like it or not, my temperament is: I would rather work in less-than-ideal situations. I need it, in fact, for me to think and to feel and to work at the highest level that I think I can. Because at the end of the day, I don’t think I’ve ever been in an ideal situation for anything. And I may not have the temperament to make it, so if that’s the case, I’d rather work with what I’m willing to take. So, there is real pleasure for me in seeing the Lights projected on a dirty, wet floor. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, “Oh, that’s right. Yeah, it can survive here.” Yeah, I think of it like a dare. I think of it like those weeds that you see in concrete. Like, it’ll grow anywhere. You know, you don’t have to give it much. It’ll grow anywhere. I like works that are resilient and tough. We just closed a show with German artist Andrea Büttner. Oh yeah, she’s great. I love her. She introduced a boulder as part of her exhibition and asked us to gather all these mosses that grow in Minnesota, and then we had to let it take hold for about four months before the show. For Andrea, she talks about mosses as being cryptogamous. Their sexuality is not clear, in biological or specialist terms, but also that they can survive all kinds of strange scenarios, resilient and tough. So, we had this really interesting moss garden in the gallery that made it all the way through the show. We brought in a grow light at night and things like that. I bring up the moss garden because of your Schaulager show, I sent Andrea a picture early on in the moss garden process, and I was like, “Man, check out Paul’s moss piece!” [Laughs] And she’s like, “Oh, my God. How did he do that?” “What an asshole.” Something like that. Actually, she was like, “It’s really beautiful.” I thought that was just really a powerful piece in your exhibition at Schaulager. That strikes me as something along the same lines as what you’re referring to: daring something to survive in a certain situation. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. I guess it’s no more different than whatever else we find pleasure in doing. The history of philosophy, for me, is a history of great comedy and drama. There’s nothing funnier and more tragic than reading men and women who think they can figure it out. Like, you read Augustine, and it’s like, “You really think you’re going to get it all, don’t you?” Or Plato. Spinoza. It’s moving to me to imagine someone out there thought once, and perhaps will think again, that they’re going to figure it out. I like that. I’m not going to do it, but I’m glad they are. [Laughs] And I like reading about it; to me it’s very pleasurable. Oddly enough, ironically enough, it’s also given me a kind of intellectual and aesthetic and maybe even emotional sustenance to deal with being on Earth, because it’s terrible here! [Laugh] Just the worst! And whatever sustenance we can find to give ourselves just a little bit more endurance and resiliency is necessary. Some people take steroids. Some people take HGH [human growth hormone]. I read Spinoza, and I think it works for me. I also think of [Giorigio] Agamben , as somebody who writes about religion and the transition from the 20th to the 21st century with an earnestness and not a kind of dismissiveness, though not necessarily as a believer. Your work has a kind of recurrent liturgical aspect to it. Can you talk about that? I think it connects a lot to philosophy. There is no history of philosophy without history of religion. Philosophy is an outgrowth of the history of religious thought in the West. So, you can’t have the one without the other. You may think that we can, but as Agamben shows, we really can’t, historically speaking, at least. He is definitely someone who understands that interrelationship between the history of religion and the history of philosophy and how they entangle each other over time, right up to now. And I think, you know, like we talked before about war. Our time involves seeing the emergence of a new religiosity in the US that, I think, has surprised everyone. Who knew in the 21st century we’d have to think about that again? I didn’t. And who would’ve thought that religion would continue to be such a mobilizing force, socially and politically? I didn’t think it was going to happen, but here we are. So, even just as a person curious about politics, I feel like it’s incumbent upon me to be open and to be curious about religion in all its aspects. I think a lot of it comes from my political work. When I was in Baghdad, religion played such a large part in social life there that it really changed my views. It was after my trip to Baghdad , my experience doing anti-war work in Iraq, that I realized I needed to learn much more, and just be familiar with it. Interesting. Roberto Calasso—you ever read him? He runs the Adelphi Publishing House in Italy, but he’s also a writer and specializes in Vedic traditions. He studied at the Warburg Institute at the same time as Agamben, so he has this kind of intermingling curiosity. And he also talks very much about how philosophy and literature cannot extract themselves from moving toward and away but also around the consideration of God or religion. What Agamben shows is the clarity with which we can look at certain aspects of contemporary culture if we allow ourselves a religious vantage point. That if the goal is to see things with a certain kind of clarity, then seeing it from an aspect that can be considered religious is an important component to that clarity. To me, you can’t understand Jeff Koons except through religion. It gives him a kind of clarity that no other outlook can give you. Same thing with the religious right, the Tea Party. If you look at it purely from a kind of secular, capitalist, class, or geographic standpoint, you can get some semblance of clarity, but not all of it. An outlook that allows religion in is, to me, a kind of greater clarity about certain aspects of contemporary life—which, again, is shocking to say because this is 2016. One of the really interesting responses to the Sade piece is— “Is he on drugs?” [Laughs] No rather a response to violence being mesmerizing in the piece. It’s disturbing in terms of a kind of artificial violence, but it also is incredibly mesmerizing. It really draws you in, and you kind of hang out with it. There’s actually a lot of engagement with portraying violence in your work. Is that just, again, a kind of gravitational pull? Maybe the simplest way of saying it is that I think violence is mesmerizing. And we have an example of this right now insofar as we hear Trump’s rhetoric. There’s a violence and aggression to it that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us. You see? I think part of the appeal of belonging to something that shows those kind of tendencies is the belief that if we belong to it, it will protect us—that that aggression and that violence will protect us because we have identified with it. And if we identify with it, it may identify with us and see us as being a part of it. So, I think part of the mesmerizing-ness of it may be this. I don’t know what it is, but I think that’s the dynamic of it. I think that’s part that is the aesthetics of violence. I recently read a journalistic piece tracing a certain kind of populist American demagoguery, from Huey Long to [George] Wallace, to Trump, where this kind of appeal, as you say, is made to a protectiveness through violence, or, a promise of protection through courting a violent aesthetic. It is really sort of shocking to see it be so unfettered in 2016. It’s true. And I think it shows how powerful and compelling that draw is, that pull of violence, and how it echoes with a kind of air of authority that people feel like they ought to belong to if they want to be protected because of the precarious nature of contemporary life—which we all know and feel. I mean, talk about petrified unrest. “I would rather work in less-than-ideal situations. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, ‘Oh, that’s right. Yeah, it can survive here.’” “There’s a violence and aggression to Trump’s rhetoric that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us.” Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016. Photo: Gene Pittman, Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel Collection Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan. Photo: Tom Bisig, Basel Courtesy of the artist and Greene Naftali, New York Photo: Gene Pittman, Walker Art Center Courtesy the Artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel © Paul Chan. Photo: Tom Bisig, Basel Photo: Gene Pittman, Walker Art Center 2016-06-06 20:24 By Fionn

33 33 Banksy Bombed the Bristol Elementary School Building Named After Him Image via @JonKay01 Banksy showed his sentimental side this morning when he left an original mural on the side of a building at Bridge Farm Primary School in Bristol. Childlike scribbles of little girl and a lone flower in a schoolyard border a flaming tire, which could represent anything from the environment to the corrupt global political systems the children of Bridge Farm Primary will inherit soon enough. Compared to the seriousness of Banksy's recent work dealing with climage change and the refugee crisis, the semi-anonymous artist's latest is refreshing. He also left an amazing note, filled with warm worlds and advice: Pest Control, the group responsible for authenticating Banksy's work, confirmed to The Guardian that both the note and the mural are legit, adding, that, “because many Banksy pieces are created in an advanced state of intoxication the authentication process can be lengthy and challenging.” Bristol's underground street art scene is where Banksy got his start, so it makes sense that he's got a soft spot for these kids. Check out the mural and the kids who earned it in the tweets from BBC reporter Jon Kay below. See more of Banksy's work on his website . Related: New Video Reveals Banksy in Gaza New Banksy Mural Features Steve Jobs as a Syrian Refugee Banksy DOXED?: Last Week in Art 2016-06-06 17:25 Beckett Mufson

34 carlo ratti outfits open-office with individualized climate and lighting system carlo ratti outfits open-office with individualized climate and lighting system all images courtesy of carlo ratti associati international design and innovation firm carlo ratti associati has developed a personalized heating, cooling and lighting system which follows occupants as they move around the building, like an tailored-made temperature bubble. the studio have explored many forms of climate control before with experimental projects such as ‘local warming’ and ‘cloud cast’. ‘today, a lot of energy is wasted heating or cooling empty buildings,’ says founder carlo ratti. ‘by synchronizing energy usage and human occupancy within buildings we can create a more sustainable and responsive architecture – theoretically slashing energy consumption by up to 40%.’ the system, which is part of the agnelli foundation headquaters in torino, adapts the workplace to learn and synchronized to its users’ needs, optimizing space usage and limiting energy waste. designers and researchers at the studio equipped the century-old structure with sensors that monitor different sets of data, including occupancy levels, temperature, CO2 concentration and the status of meeting rooms. based on all this information the building management system responds dynamically, adjusting lighting, heating, air-conditioning and room booking in real-time. once occupants set their preferred temperature with a smartphone app, a thermal bubble follows them throughout the building, as the fan coil units, situated in the false ceilings are activated by the presence. ‘this open platform for occupants, employees, and guests will further evolve over time, through crowd-developed apps and software updates,’ adds ratti. the workplace learns and synchronized to its users’ needs the outside of the agnelli foundation headquaters in torino 2016-06-06 17:10 Piotr Boruslawski

35 latvian museum of contemporary art designs unveiled proposals by caruso st john, david adjaye + henning larsen unveiled for latvia art museum (above) adjaye associates + AB3D’s tilted roof structure references domestic latvian architecture all images courtesy of malcolm reading consultants the list of seven practices to design the latvian museum of contemporary art was announced at the beginning of the year and now the seven proposals have been unveiled. the new €30 million museum building is set to become a cultural and arts center as well as a beacon of national significance. located in latvia’s capital city riga, its unique collection will span art and visual culture in latvia and the baltic sea region from the 1960s to the present day. the seven international firms comprised of adjaye associates, architects lahdelma & mahlamäki, caruso st john architects, henning larsen architects, neutelings riedijk architects, sauerbruch hutton and wHY will work in partnership with a latvian practice. british firm adjaye associates will collaborate with AB3D to offer an experience of contemporary art that synthesizes art practice and art perception. speaking to a wide spectrum of artwork, the building comprises a group of flexible spaces for a multi-nodal display sequence – offering smaller spaces for intimate works through to more expansive environments to facilitate larger installations. the form resonates with traditional domestic latvian architecture, like a simple wooden house, elevated to an institutional architecture. this suggests the idea of the museum as a home for the collection, inviting a wide audience to participate in the cultural and civic exchange it will offer. the roof structure refers to a distinctive architectural trope of the region. each tilt is a highly specific geometry designed to sculpt the pure northern light in order to define the interior organization and flexibility of the museum. danish firm henning larsen’s proposal aims to draw people from all over the world and cater to everyone no matter the age, nationality, gender and experience in art. lmoca’s architecture is a result of functional and programmatic ambitions. its twisted form seems like an effortless gesture, reaching out and connecting to riga and its citizens. by twisting the volume, two generous entrances are created: one towards the city, the other towards the city garden. both entries are connected to a centralized foyer and atrium – a gateway, where filtered daylight lures people towards the central hub and all museum functions. the twist results in an undulating roofscape, creating a dynamic, illuminated sculpture within the city garden and to the skyline of riga. drawing influence from the art nouveau history of the city, the spirit of the proposal starts with the circumstances of the project at the centre of new hanza city. not only will the new institution be the first building of its type in latvia, but the site is a blank sheet of paper, where not even the roads have yet been built. the design is conceived as an idealized vision of a museum, bringing together art, architecture and landscape in an almost arcadian composition of buildings and gardens. from within the museum, visitors will see art in the galleries and art in the gardens around, as if they are standing at the centre of a large park. this outward-looking and open museum will be the centerpiece of the green fields of new hanza city, a destination and a meeting point for citizens as the new city takes shape slowly around it. named ‘gemma’ – the architects describe their design of the contemporary museum of art of latvia will meet the two demands of a modern museum: it is at the same time a ‘container’ and has an identity of its own. the systematic ‘container’ offers a flexible setting for different exhibitions and events. the identity – the vital experience – is created by the combination of lobby and atrium called gemma.the identity of the new museum is based on tradition, on the way timber has cleverly been used as building material, creating continuity between the present and the past. in a city known for its facades, wHY’s scheme acts as a streetscape, physically and programmatically the neighborhood evolves around it – a hub in a continuous urban fabric. this cultural aggregator performs as an interior public space in the winter, and in the summer months opens up, unfolding into the landscape to invite the energy of the city in. described as ‘the non-iconic museum’, it will facilitate as an anchor and counterpoint in the new ‘hanza-quarter’. the latvian museum of contemporary art (lmoca) takes on a position of ‘non-iconicity’. appearing like a simple shed or warehouse, this proposal deliberately avoids architectural comparison with the contemporary expressionism of the new residential and office developments in its immediate context. neither does it enter into the increasingly inflationary global competition for architectural extravagance in museums. the lmoca will be a place of quiet but strong character, intimacy and surprise. additionally, it offers a wide range of enclosed and interstitial spaces that await interpretation as gallery, studio, performance space, agora, construction site or storage space. appearing like a simple shed or warehouse, this proposal deliberately avoids architectural comparison with the contemporary expressionism the dutch firm’s concept for the LMoCA is set up as a covered public space in the park, featuring a long white canopy over a black treasure box. visitors are welcomed in the atrium, a public passage from city to park, for cultural events in riga. the atrium is surrounded by stairs and ramps leading to all museum departments. the galleries in the heart of the building create an art journey – visitors can roam in a series of continuous spaces, exploring different spatial qualities and light conditions that make numerous types and sizes of exhibitions possible. the filigree white concrete skin of the museum reminds of the rich texture of the birch tree. all the inspiration for building materials, colours and appearance is sourced from abundant yet subtle palette of latvian nature and riga center buildings. 2016-06-06 16:43 Natasha Kwok

36 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Patrick Marschke shares his perspective on Saturday night’s performance of Devendra Banhart & […] 2016-06-06 20:24 By

37 Zurich Gallery to Unveil Zaha Hadid’s Final Art Installation Before she died last March at age 65 , the acclaimed Iraqi-British architect created another otherworldly white space for art: It is to house a major Kurt Schwitters retrospective at Galerie Gmurzynska in Zurich, slated to open June 12 and be reproduced at the gallery’s booth at Art Basel, also this month. According to Mathias Rastorfer, director of Gmurzynska, Hadid was fully implicated in the entire project, and it will be her final major art installation, an interpretation of Kurt Schwitters’ Merzbau, the name given to the Hamburg house he transformed with grotto-like forms in the Twenties and Thirties. Rastorfer noted that Hadid’s “adoration of Kurt Schwitters work is lesser known and will become fully apparent when seeing our exhibition.” Galerie Gmurzynska represents Karl Lagerfeld , one of Hadid’s great friends, and regularly hosts exhibitions of his photography. 2016-06-06 16:37 Miles Socha

38 Samsung 837 and CFDA Link Up for Yearlong Partnership The ever-tightening bond between fashion and technology has become more fastened, thanks to a new yearlong partnership between the CFDA and Samsung 837. A private audience of 150 guests will watch a live- stream of tonight’s CFDA Fashion Awards at the Samsung 837 space in the Meatpacking District. And afterward, hundreds will make their way to the experiential Washington Street address for the event’s official after party. DJ Mia Moretti won’t be the only source of music. There will also be a surprise performance, according to Zach Overton, general manager and vice president of Samsung 837. The downtown double-header will kick off 12 months of special events, panel discussions and cocktail parties that aim to redefine how designers and fashion brands can reveal their creative process, outlook and marketing in more innovative ways. Unveiled last year, Samsung 837 has stadiumlike seating, digitally activated installations, a broadcast studio and other immersive features. For last week’s launch of two fitness wearables, Gear Fit 2 and the Gear IconX, Gwen Stefani performed outside in the street. Aside from exploring how technology and culture intersect, the CFDA and Samsung 837 will be working together to market in new and unexpected ways, Overton said. One focal point for Samsung 837 will be working with the men’s wear designers who are part of the CFDA’s Platform 3. The plan is to develop virtual reality content that “amplifies” those designers and their processes, the execution of their ideas and how technology is having an impact on fashion, Overton said. The concept plays off similar ones Samsung 837 has staged including an up close and personal one with “Fight Song” musician Rachel Platten. As part of its “360° Meals” program, Samsung 837 shot a four-minute film of Daniel Boulud discussing menu selection, creating recipes and preparing one in his kitchen. After watching the film and removing their goggles, guests were greeted by Boulud who then did a Q&A and prepared the recipe from the film for attendees. In the next few weeks, Samsung 837 will host a New York Times-sponsored panel discussion about the future of fashion with Tory Burch, the CFDA’s president and chief executive officer Steven Kolb and others to try to “get to the heart of the fashion system,” Overton said. Before joining Samsung last fall, he worked for RED and prior to that, The Gilt Groupe. 2016-06-06 16:30 Rosemary Feitelberg

39 'Fallout 4' Is Better with Rick and Morty Screencap via The creative nerdmasters over at UpIsNotJump are recreating some of the best scenes from Rick and Morty using the insanely customizable medium of Fallout 4 machinima. When you think about it, it makes sense: The Adult Swim sci-fi comedy and Bethesda's fourth iteration Fallout are both filled with senseless violence, surreal random creatures, and delightfully deus ex machina technology that either ruins or saves the day, depending on your perspective. The lines and characters from Rick and Morty fit seamlessly into the apocalyptic Earth of Fallout 4. One could interpret the wasteland as a dimension the duo escaped à la the Cronenberg Earth from the Season 1. Other characters fit the mold as well: Imagine a side quest where you have to return testicles to Scruffles' (erm—sorry, Snowball). The two were made for each other. Watch the dimensional crossover in UpIsNotJump's video below. See more machinima on UpIsNotJump's YouTube channel. Check out 20 new Rick and Morty worlds on Instagram. Rick and Morty Season 2 comes out on BluRay and DVD June 7. Related: The Creators of 'Rick and Morty' Told Us the Secret to Comedy 'Rick and Morty' Adds 20 New Worlds to Instagram On World-Building in the Wastes of Fallout 4 2016-06-06 16:25 Beckett Mufson

40 Martos Gallery Announces Move To Chinatown, Names Ebony L. Haynes Director Installation view of Jess Fuller’s “Planet without a body,” 2015. COURTESY MARTOS GALLERY Martos Gallery has announced that it will be moving from its Chelsea location at 540 West 29th Street to a new, two-story space in Chinatown at 41 Elizabeth Street. The gallery been located in Chelsea for the past 16 years. Coinciding with this move, the gallery has hired Ebony L. Haynes, a former associate director and artist liaison at Mitchell-Innes & Nash, as director. A press release also noted that changes to the gallery’s L. A. space will be announced soon. Martos Gallery will be closed for the summer while renovations are underway at the new space, which is set to open in September. Their last show in Chelsea, Agnes Lux’s “Winter, summer, together,” closed on June 3. When I spoke with Haynes over the phone this afternoon, she told me she was in DUMBO, Brooklyn collecting wood samples for the new gallery space.“They’ve been in Chelsea for a long time, and this move has been in the works long before I arrived,” Haynes said. “I’m kind of jumping into this in the middle. The space is great —it’s huge and it’s right in the middle of Chinatown. Chelsea, especially 29th, where Martos has been, is a difficult street for foot traffic. The space was really great, and our neighbors have been really great. But I think it’s just time for a change.”Haynes echoed the feeling that many have had surrounding the recent mass exodus from Chelsea: “I think [we’re moving] to get out of something that Martos and a lot of Chelsea galleries have been comfortable with—the thinking that Chelsea is the place to be. Maybe it was at one point, but now the Lower East Side and Chinatown have begun to include so many other kinds of spaces, and I think it’s really exciting to not have the same epicenter of art galleries.”“Who knows what’s going to happen in the next ten years?” she added. “Maybe the Lower East Side will be overrun with art galleries. But right now, it feels like a really exciting place to be.” 2016-06-06 16:21 Hannah Ghorashi

41 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […] 2016-06-06 20:24 By

42 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-06-06 20:24 By

43 Explosive Field Paintings Capture the Sun's Brilliance Photos courtesy of PPOW Gallery. In their abstract nature and focus on color, field paintings serve as opportunities for the viewer’s mind to wander. Because there is no specific figure in the composition, the viewer can bring their own interpretation to the piece and focus on the emotions that each color might evoke. Karen Arm’s latest solo show, Light + Heavy , at the PPOW Gallery through June 25, invites the viewer to do just that— although she does let us in on what inspires her pieces. Each work in the show is untitled, but with a parenthetical aside that gives viewers some insight into the source material for the piece. These descriptions mention the sun, and also its waves and beams. And while the resemblance between these forms definitely comes through, the magic happens in the abstraction. For Arm, the importance comes in how she translates a form, such as the sun, into her own visual language. “My work is inspired from natural forms and systems, which I abstract and transform in my paintings,” Arm tells The Creators Project. “The image in the Sun series evolved through the working process. I have developed a kind of language of mark making that reflects different elements found in nature. For example, I have worked and continue to from (images of) waves and other water patterns, branches, roots, grass blades, and stars.” Circular shapes do make an appearance in the show, echoing the viewer’s internal image of what a sun might look like. But these round shapes could also refer to galaxies, to stars. “The first of these star images were fields and then evolved into globular clusters, which were a bit closer to reality,” writes Arm. “As these changed, the image began to form a sphere. The first of these pieces were called 'planetary bodies' and then developed into the Sun s.” No matter their figural representation, the creation of these compositions seems to sparkle with their own light. The colors cluster together, seeming to get brighter when they meet in the middle. Whether through acrylic or watercolor, Arm pays close attention to the effect of each and every mark. “The interactions of color and light are integral to my process,” writes Arm, "utilizing different methods of resist and glazing in order to achieve optimum luminosity. I think of the marks themselves as a source of light and energy in the pieces.” Taking in each piece could inspire a meditative experience, a chance to reflect on nature’s beauty or simply get lost in the floating dots of color or wavy lines. For Arm, there is no one mission when creating these pieces— its in the viewers’ hands how they decide to experience each one. “I do think of the work as meditative, even a type of mandala, but as an abstract artist, I want the viewer to bring their own perceptions to the work,” writes Arm. “I see my work as slow, in that I hope one will spend a bit of time looking, as there is alot of detail in each piece. For me, the 'sun' as subject has such a range and depth of meaning.” Light + Heavy is on view at PPOW Gallery in New York City through June 25. You can find more information on the show here. Related: Neon-Streaked Pictures Blurs Boundaries Between Painting and Digital Art Aerial Photos Of Tulip Fields Look Like Abstract Paintings Photographer Creates Stunning Galaxies in the Darkroom 2016-06-06 15:45 Eva Recinos

44 ‘The Revenant’ Official Music Video Is All- Natural [Premiere] A still from the video If you've seen The Revenant , you know that the scenic locales and the score have roles as big as DiCaprio. Through the beautiful cinematography of Emmanuel Lubezki and the powerful composition of Ryuichi Sakamoto and Alva Noto , nature and sound are placed front and center in this modern adaptation of an American folk tale about a hunter pitted against the wild. Accompanying the film's DVD release, the official music video for the soundtrack 's “Main Title Theme,” premieres today on The Creators Project. It’s the logical extension of Iñarritu's film, without actors and plot to distract you from the gorgeous B-roll. This is Earth at its grandest, set to the telltale violin melody that grounds the score. "The idea of telling the story of the movie through the landscape is already implemented in the movie," says Noto, who edited the new video. "The idea here was to recall very specific moments of the movie through the landscapes, and to recall specific metaphors from the film as well. " Much like the Koyaanisqatsi trilogy, Noto's video settles in for a sweeping vision told purely through image and sound. As the slow chords proceed, clips fade in and out in tandem. Foggy dawns, a melting spring, and the pyramid of skulls unfold to the swelling violin melody. Unfortunately Ryuichi Sakamoto, Alva Noto, and Bryce Dessner were disqualified from their Academy Award nod due to outdated rules for score nominations, which are limited to those written by a single composer. "Everybody knows that the creation of a movie is based on teamwork and collaboration," Noto argues. "Specifically, the sound design and sound recording, as well as composition, of this movie were in a very close symbiosis. " Luckily extras like these allow us to show our appreciation for such forward-thinking creativity. Check out the video below: Learn more about Alva Noto here. Order The Revenant on Blu Ray, DVD, 4k, or on demand, here. Related: Installation Artist Carsten Nicolai, Otherwise Known as Alta Novo This Is the Sound of Nature Gone Digital Nature Sculptures Exist Between Natural and Man-Made Beauty 2016-06-06 15:40 Mike Steyels

45 Think Tank: Strategies to Better Engage Shoppers, Online and In Stores More Articles By We all know every retail brand needs an online presence to be relevant – if you can’t be bought on the web, to your would-be-customers, it’s as though your brand doesn’t really exist. But the other extreme is to place all eggs in the digital basket, believing e-commerce alone is the sure-fire ticket to high profits. While e-commerce is essential, brands who focus on it exclusively, or too much, lose out hugely on giving customers what they really want. Speaking to the deficiencies of ecommerce may defy conventional wisdom, as we hear daily reports of online retailer’s success causing department stores to close their doors. And while this is true for some stores, it’s an oversimplification of the overall shifts in retail. The appeal of online shopping is obvious: search from wherever, whenever; price-compare to your heart’s content; contrast product features easily across brands; and have your selections delivered to your doorstep in exchange for a flicker of patience and often no shipping fee. E-commerce’s upside of convenience has some retailers eager to say goodbye to the overhead of rent in exchange for a click-only shopping process. But why are companies like Birchbox, Honest Beauty and even Amazon taking what originated as online-only brands into physical storefronts? Because customers aren’t satisfied with the two-dimensional screen experience, no matter the degree of sophistication. They simply don’t connect to a screen – but they do connect to an in-person, human experience. Today’s customer wants convenience and connection. Plenty of research proves that pure-play e-commerce brands are lacking – they take in only a small percentage of retail profits (6 percent according to data from market research firm eMarketer ). And yet the online marketplace is increasingly noisy and more expensive to compete, with more than 800,000 brands vying for your eyes every time you Google-search. Brand intelligence firm L2 reported that, by and large, there aren’t any successful e-commerce brands that don’t also have physical retail as part of their offering. Online, consumers only get part of what they want. Omnichannel companies find they get more than just income from the live environment. Jason Goldberg of Razorfish explains this success: “Not only do those stores tend to be economically successful on their own but they generate a huge lift in incremental shopping to the online store.” Ron Johnson, pioneer of the Apple stores, agrees: “It’s not as though there’s a physical retail world and an online retail world, and as one grows, the other declines. They’re increasingly integrated.” What is it about the marriage of digital and physical shopping that boosts sales in both places? They fan each other’s flames. I believe today’s consumers don’t differentiate between in-person versus online brands – they connect to the brand itself and want easy ways to get what they want when they want it. They like to browse online and then buy it in person so they can touch and feel it – and vice versa. Studies show: The value of the omnichannel approach is of course not through single purchasers, but through long-term loyalty. Loyal customers choose a brand’s product regardless of circumstance – including price and speed, competitive arenas that have natural end points, and can no longer be brand differentiators. As Seth Godin articulates in The Icarus Deception, the marketplace has shifted: “People want your humanity, not your discounts.” And nowhere does this statement ring more true than in companies that are structured around building relationships through great customer service, like Nordstrom and Cabi. According to a Forrester Research survey, 89 percent of customers say they don’t have any personal connection to the brands they buy, which means they can be easily wooed by competitors. But customers with an emotional connection are worth their weight in gold, or more precisely, “businesses that optimize this [emotional] connection outperform competitors by 26 percent in gross margin and 85 percent in sales growth.” Customers who are emotionally engaged, according to Mori research, are three times more likely to refer friends and family to the brand and three times more likely to continue to purchase. When loyal, 44 percent rarely or never even consider other brands. When screen interaction is constant in our lives, we yearn for the unique feelings that come from immersive, multisensory experiences with which we can emotionally engage with people and the brand values they live out – and when we do, we keep going back for more. Brands who build an experience for customers who want convenience and connection understand these key desires: There comes a point in shopping when most people just want someone to cull the choices for them. Online company Birchbox cuts through consumer anxiety brought on by the paradox of choice through sending beauty samples monthly for $10 so people can try recommended products before they buy. This successful company saw added opportunity through being present with their customers through a SoHo storefront, going beyond algorithms to the intuition of a person who can truly guide. This human connection has brought the brand into a new realm of customer loyalty, leading them to expand their in-person presence. For products of a personal nature that impact how we look, emotions can run deep. A screen can never build confidence like the guidance of someone “in the know.” Honest Beauty, Jessica Alba’s online beauty line, recognized the yearning women have for expert help when she opened a flagship store in Los Angeles with beauty gurus on hand to educate around how to use products. On May 11, at TechCrunch Disrupt NY, Alba announced, “We’re looking to expand our retail footprint,” explaining that many of their online subscribers come into the store to get help selecting their monthly beauty bundles, wanting to feel and smell products they invest in. Although Nordstrom hasn’t been immune to the pullback in department store purchasing, they are far and away the success story, not only due to their relationship-centered service process, but also through how they are leveraging technology. They’ve pursued what they call “digital parity” – bringing the convenience of online shopping into the physical space. Since you don’t have to wait in line when you check out online, all sales associates are equipped to check you out as soon as you decide on your purchase. They are bringing what people like about online shopping into a space where they can deepen personal connection. Inclusive of the elements above, customers come into a physical retail space to be a part of something. More and more stores are projected to become showrooms in the future – places where customers can engage with products and place an order in the context of a bigger experience. When sales people aren’t spending time managing in-house inventory, they can focus on building connections and providing a multisensory experience. This is a process Cabi has perfected with our in-person trunk shows, through which trained stylists present the latest styling ideas to a group of friends through the presentation of a designer clothing collection – they then provide personalized styling services to each client, helping them build a truly functional wardrobe. While Cabi customers have the convenience of shopping online 24-7, the relationship they build with their stylist and fellow Cabi shoppers give them the personal connection they’re truly after. E-commerce has its place as an ever-present side-kick to an in-person experience, but it can never generate the sales and loyalty derived from a personal connection. It is time for retailers to recognize the trade-offs they make when they place the efficiency of the digital world on too high a pedestal. While the emotional labor of an authentic, human connection takes time, it’s worth every penny. As Godin says, “Emotional labor scales in that a little more emotional labor is often worth a lot.” 2016-06-06 15:23 Lynne Coté

46 When Muhammad Ali Made His Broadway Musical Debut When “Buck White,” a musical by Oscar Brown, Jr. and produced by Zev Buffman, opened on Broadway in December of 1969, there were picketers protesting outside the theater while the mood inside was tense and uncertain. The reason: the show marked the stage debut of Muhammad Ali, in the title role of a political black activist and messiah who’d come to free his people of their slave legacy. The run of “Buck White” on Broadway was brief, only seven performances, and served as little but a theatrical footnote in the colorful and heroic life of Ali, who died on June 3 at the age of 74. The effusive tributes and remembrances that poured in from around the world marked the passing of an American original who brought a distinctively theatrical passion to everything that he did inside and outside the ring. Indeed, it was what had made the sports legend such a beloved figure. Ali, however, was far from beloved when, in early 1969, Buffman suggested the idea of the athlete starring in a Broadway musical. Two years earlier, the heavyweight champion, then a follower of the Nation of Islam, had taken a principled religious stand not to be inducted into the military and was not only stripped of his boxing titles but also convicted for his pacifist refusal. His anti-war stance alienated a large segment of the American public then in the midst of the punishing conflict in Vietnam. Buffman, reached at his home in Florida, recalled, “We all knew that Ali’s participation in ‘Buck White’ could lead to some backlash but for the first time in my life, I received death threats, we had to rehearse the show at a secret location, and I had to engage a security detail.” The very idea of a boxer making a musical Broadway debut might have struck anyone else as somewhat outlandish. But Buffman was then a bold and maverick producer who’d presented Dustin Hoffman in “Jimmy Shine” and had a hit with the rock musical, “Your Own Thing.” In late 1968, he also produced an off-Broadway drama, “Big Time Buck White,” by Joseph Dolan Tuotti, which had been inspired by the Los Angeles Watts riots in 1965. During its run at the 99-seat theater, the cast had a frequent visitor: Muhammad Ali. He was “lonesome and lost at the time,” living in a flea bag hotel with his second wife and baby, his money going to alimony and to a team of lawyers fighting his conviction, says Buffman. “Then one night backstage after a performance, he picked up a guitar and starting improvising with that flair for rhyme he had. He sang ‘We came in chains…’ He had a pleasant voice, not a huge range, but he was hypnotizing and that was the first time I’d heard rap.” Later that week, Buffman asked Ali that if he were to hire Oscar Brown, Jr., and his wife Jean Pace to write a score for the show, would he be interested in starring in it? He simply responded, “Is there any money in it?” In order for Buffman to get Ali to sign his contract, he first had to fly to Chicago to get the approval of Elijah Muhammad, the leader of the Nation of Islam. The producer wryly notes, “They were happy with the $5,000 per week I was paying Ali, which was then top dollar for a star on Broadway.” The producer says that Ali threw himself into rehearsals with the tenacity, discipline, and focus as if he were approaching the fight of his life. “It permeated the entire company,” recalls Buffman. “There was no smoking, drinking, or profanity allowed. These were tough kids who were in the play and Ali turned them into monks. But Ali’s warnings to them were always done in the sweetest, softest voice.” Omnipresent at rehearsals and at the theater were members of the Nation of Islam, who acted as Ali’s bodyguards. “We called them ‘the suits,’” says the producer. “But Ali couldn’t have cared less about the protests and pickets. He brushed them off.” Given the heated environment, the musical had only one preview when it was typical to have a week of performances, at least, before opening. Buffman recalls that at the sole preview, the audience was electrified by Ali’s entrance from the back of the theater and for the rest of the night, he had them in the palm of his hand. “What Elijah was to Ali, Buck White was to the audience — it was a role he was born to play, a charismatic preacher, a visionary, a leader. He played it every bit as though he was the Second Coming and the audience was on its feet at the end.” The opening night, however, was a different story. “The charisma and brilliance had faded, Ali simply wasn’t there,” says Buffman. “I came backstage afterwards and asked him if he was okay. Ali said, ‘It was strange, man. I’ve never had to do this before. I get ready for a fight, I do the fight, and that’s it. I don’t have to do it the next night. The energy and focus wasn’t there. I’m so sorry.’” The reviews were mixed to negative. Although Ali had by that time ditched his “slave name,” Cassius Clay, he was still billed as such in the program. Thus, Clive Barnes, the all-powerful critic of the New York Times, wrote, “How is Mr. Clay? He emerges as a modest, naturally appealing man, he sings with a pleasantly slightly impersonal voice, acts without embarrassment and moves with innate dignity.” Barnes was downbeat about the musical itself. The show swiftly closed. “Blacks were intimidated by the controversy and didn’t come, whites thought it was dangerous,” says Buffman. “But for that one sterling preview, which I will never forget, I got to see Ali at his most incredible. It was one of the most divine experiences of my life.” 2016-06-06 15:17 Patrick Pacheco

47 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins’s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27– October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he […] 2016-06-06 12:21 By

48 Lose Yourself in Crowds of Colorful Animals | Monday Insta Illustrator Our brains love repetition. Whether it's in music, art, or suburban neighborhoods, it feels nice to look onward and feel that you get it. That's what makes Sanchia Tryphosa Hamidjaja 's illustrations so satisfying. Whether it's a school of fish, a sea or cars, or a squadron of children, the Jakartan artist's work straddles the line between unique and uniform, chaos and order, thus capturing the essence of a group, a crowd, or a community. She varies from tiny sketches to large scale murals, each of which draws the eye into her communities of animals, objects, and people with a playful, cartoonish style. Check out Hamidjaja's work in the Instagrams below. See more of Sanchia Tryphosa Hamidjaja's work on Instagram. Find your new favorite artist on The Creators Project's Instagram. Related: Evocative Illustrations Show What Women Do When No One's Watching Supershinobi Catalogs the Animal Kingdom | Monday Insta Illustrator Glorious Biology GIFs Visualize The Secrets To Animal Flight 2016-06-06 14:55 Beckett Mufson

49 Stalco Wraps Up Construction of Liebeskind Berlin Store at Tanger Outlets More Articles By Stalco Construction said it finished construction of the Liebeskind Berlin store at the Tanger Outlets shopping center in Riverhead, N. Y. This is the second Liebeskind Berlin in the U. S. The German leather accessories and fashion retailer has its flagship in New York’s SoHo. Tanger Outlets is owned by Tanger Factory Outlet Centers Inc., which operates outlets stores across the U. S. The Riverhead mall is located on the East End of Long Island, and Liebeskind Berlin will be in the company of brands and retailers that include Armani Exchange, Calvin Klein, Coach, Michael Kors, Steve Madden and Wilsons Leather, among many others. The store is currently open. Stalco president Alan Nahmias said that the 2,000-square-foot store’s “interior reflects Liebeskind’s signature industrial chic esthetic. Designed by the brand’s in-house architectural team in Germany, with support from the architect of record L2 Studios, the store features exposed ceilings, a manufactured wood planks floor and concrete-finish and metal display fixtures manufactured in Germany.” Stalco said the store has its own street entrance “and houses the sales floor, cash wrap counter, shelves along the perimeter, multiple merchandise display islands, window display shelves, racks for clothing and accessories, two fitting rooms, and back office facilities, including a stockroom, a security desk, manager’s office and an employee break room.” The Islandia, N. Y.-based construction firm said the interior finishes and fixtures “include charcoal-black painted ceiling and building systems, white- painted gypsum board walls, [and] an LED-lit logo signage mounted on a distressed wood section of the wall behind a cash wrap.” Other features include continuous wood and steel shelving as well as cushioned leather racks, which are designed for displaying the retailer’s accessories and belts. Edward Dutton, project manager at Stalco, said the $340,000 project was done ahead of schedule. He described the project as having a “challenging schedule” due to a tight deadline of four weeks, which included demolition. 2016-06-06 14:41 Arthur Zaczkiewicz

50 Bruno Pieters Sets Antwerp Exhibit on Sustainability Belgian designer Bruno Pieters copped Hamnett’s pioneering efforts to raise social consciousness through clothes and displays five new statements in “Behind the Clothes,” an exhibition that just opened in a sprawling shipping hangar in Antwerp’s port district. Part of the Born in Antwerp festival spotlighting local creative businesses, the showcase is meant to highlight how fashion can promote high ethical standards. Among Pieter’s slogans: “The Revolution Begins with You” and “Every Informed Customer Is an Engine for Peace.” The designer also devotes a section of the exhibition to h is fashion company, Honest By, which he founded in 2012 after designing a signature collection and working for Hugo Boss and Delvaux. Honest By aims to produce and sell fashions that are sustainable and priced in a transparent way, disclosing the markup, too. Yet in Pieter’s estimation, “production processes are barely evolving at all” despite innumerable summits about sustainability. For the exhibit, he remade with ethical fabrics versions of coats, skirts and jackets that he had paraded on the Paris runways between 2001 and 2009. He also displays portraits he took of 40 local fashion figures, including linen manufacturer Raymond Libeert, makeup artist Gina Van den Bergh and model Anouck Lepere. The free exhibit runs through July 31. 2016-06-06 14:41 Miles Socha

51 New York Academy of Art Names Four New Trustees, Including Brooke Shields and Naomi Watts New York Academy of Art. COURTESY NYAA The New York Academy of Art has announced the appointment of four new trustees: Christina DiDonna, Alexander Gilkes, Brooke Shields, and Naomi Watts. These new members will be joining Eric Fischl, Nicolas Bos, Bob O’Leary, Maureen Chiquet, and chair Eileen Guggenheim on the board, bringing the total to nine members. Gilkes, a cofounder of online auction house Paddle8, has hosted online auctions for the NYAA’s benefit in the past, while Shields chaired the dinner at the 2016 Tribeca Ball and served as Honorary Muse for the academy’s 2014 fall fundraiser. Watts and DiDonna, a partner at DiDonna Gallery in Manhattan and the founder of art advisory firm Floyd Contemporary, frequently attend NYAA events and both have purchased many works by NYAA alumni and students in the past. 2016-06-06 13:40 Hannah Ghorashi

52 Real Art Welcomes Bryan Wilson Real Art welcomes Bryan Wilson as the newest addition to our team. He is a Quality Assurance Analyst working out of Real Art’s Dayton headquarters. Bryan brings a mix of experience in designing, developing and implementing system and application automation processes. Bryan graduated from Wright State University with a Bachelor of Science in Management Information Systems in April 2016. He previously worked at LexisNexis in the Windows Enterprise Systems Engineering division carrying out IT automation strategies. Bryan believes deeply that all great things must come from a place of the highest quality. He understands that taking a widespread, systematic approach to the testing of production releases allows for the finished product to be of the highest quality, showcasing the beauty and functionality that the development team worked so tirelessly to achieve. Bryan loves to spend time with his family, and you can generally find him at his sister’s house playing with his niece and nephew. In addition to this, he can also be found reading some good nonfiction, listening to or making new music, watching Ohio State football or tinkering with his computer. 2016-06-06 13:27 realart.com

53 There's Something Refreshing About This Analog Short Film GIF via A swirling short depicts old phenakistoscopes, proto- cinematic devices that spun to create the illusion of a moving image. Motifs of dancing frogs, farmers, people in powdered wigs, and various other intricate symbols remind viewers of the early days of film, telling a humorous story of classicism. Directed and created by Pask D'Amico , a.k.a., Mr. Plesha, and scored by Al-Maranca , it honors Joseph Plateau, a Belgian physicist who eventually played a part in developing the phenakistoscope. The film begins and ends on a stop-motion created with a 19th century paper toy set. Says D'Amico, "Virtual reality, 360-degree videos, social networks, video games that look like movies and movies that resemble video games: I think that most of the entertainment's world nowadays has become monstrous and it is no longer just eyes' illusion, but often illusion of the mind. " Free yourself with a little blast from the past in L'illusion de Joseph : L'illusion de Joseph from Khlesha Production on Vimeo Find more of D'Amico's films on Klesha Productions' Vimeo page, here. Related: A Young Filmmaker Gives Love a New Face Short Film 'Hyper-Reality' Imagines an Oversaturated AR Future Disney Meets David Lynch in a Surreal Short Film [Premiere] 2016-06-06 13:25 Diana Shi

54 woolloongabba gardenhouse in queensland by refresh design in a brisbane inner-city suburb, architecture studio refresh design has developed a model of infill- development, designed to increase the density of urban areas. the scheme — named ‘woolloongabba gardenhouse’ — serves as a response to the scale of sprawling australian homes, which are among the largest in the world. the project has been conceived as a blueprint for similar ‘gardenhouses’, transforming the underutilized backyard of an existing property into a multi-generational home. the dwelling is located in an inner-city suburb of brisbane the surrounding neighborhood is characterized by traditional queensland cottage-style homes, many of which have been renovated and extended. responding to this context, the design team embraced traditional materials, including corrugated metal, weatherboards and timber elements, to express a distinctly contemporary form. following the plot’s sloping terrain, the sequence of indoor, outdoor and hybrid spaces offer either integration and connectivity, or separation and privacy, to allow for maximum flexibility. in order to achieve the brief’s requirements within a relatively small budget, the architects developed a number of cost-effective solutions. one strategy was the double use of spaces. examples include the combination of the kitchen island bench with the dining table, and the incorporation of the laundry within the powder room joinery. another solution was to use burnished concrete to avoid costly tiling, and the polishing of the slab or form-ply to enable the design of custom joinery, while avoiding the usually costly finishing. the dwelling opens onto the garden at the rear of the plot a timber staircase leads to the bedroom above the stairs also provide access to the remainder of the existing house 2016-06-06 13:10 Philip Stevens

55 Conspiracy Theories Inspire Cartoonish Greyscale Art Image: R. Lord, installation view at The Composing Rooms, Berlin Los Angeles-based artist Rachel Lord has chosen to work in the ambiguous tones of gray for her latest show Safeworld, on at The Composing Rooms , Berlin, with the colors reflecting the enigmatic subject matter that the images explore. The cartoonish paintings, full of occult symbols, references to conspiracy theories, and leftfield humor are made from charcoal and gesso, created on unprimed canvas from Lord's own sketches with no photo reference. Using these simple materials Lord, a painter who's also appeared as a performer in the videos of Lizzie Fitch and Ryan Trecartin, says she wanted to strip the images of the "more manipulative/objective aspects of painting"— perspective, vanishing point, color, texture—to convey the immediacy of what she was exploring: "The subjective aspects of concept, meaning, technique, drawing, scale, and spirit. " Lord tells The Creators Project, "I use the cartoon language to create an ideogrammatic shorthand for a larger conversation so as to discuss the relationships of these theories to each other. " In the paintings, the number two, related to conspiracies via the number 23, is seen doing the Richard Nixon "V for victory" sign, its hands wearing the iconic white Mickey Mouse gloves, a character whose creator himself is shrouded in conspiracy theories. Another image has the Illumunati and internet favorite, the all-seeing eye. The picture also features a coiled serpent, a mystical symbol, and like the eye in the triangle on the dollar bill, has ties to American history via the Gadsden flag. R. Lord Quarantine Zone, 2016 Gesso and charcoal on canvas, 240 x 166 cm "I am interested in the taxonomical distinction of 'conspiracy' itself," explains Lord. "The differences between the Wikipedia pages for the false-flag term 'Chemtrails' and that of 'Solar Radiation Management' which is the scientific term for an on-the-books multinational policy. I am interested in the present- tense mythologies that arise from a revisionist view of history, and am invigorated by the questioning of basic assumptions like the nature of the moon and it’s relationship to the earth, a Darwinian model of evolution, time, and (outer) space. " The works are full of other references for viewers to decode, Saturnian symbols, climate change, politics, and more. "They are basic explorations of belief and systems of belief," the artist notes. "Terrence Mckenna calls conspiracy theory 'an epistemological cartoon of reality.' These are very much that. To paraphrase him again I would say that I am attempting to paint the innumerable shades of gray between the poles of spiritual and scientific discourse, a gray area oft labeled 'conspiracy.'" R. Lord Geoengineeringwatch.org, 2016 Gesso and charcoal on canvas, 230 x 166 cm R. Lord Subspace, 2016 Gesso and charcoal on canvas, 127 x 166 cm R. Lord The Politician, 2016 Gesso and charcoal on canvas, 63 cm x 77 cm R. Lord Timeslave, 2016 Gesso and charcoal on canvas, 82 x 166 cm R. Lord S & M, 2016 Gesso and charcoal on canvas, 82 x 166 cm R. Lord's Safeworld is on now until July 16, 2016 at The Composing Rooms, Berlin. Visit The Composing Rooms' website here. Related Illuminati Art: Inside the Aesthetics of a Modern Conspiracy Artists Address the Women at the Heart of JFK's Assassination The Trippy Art (and Trippier Life) of Occult Artist Marjorie Cameron 2016-06-06 13:10 Kevin Holmes

56 MoMA PS1 Communications Director Allison Rodman Departs Institution Allison Rodman with Judith Shea’s Easy Does It , 2014, at PS1’s ‘Greater New York’ exhibition in 2015. COURTESY INSTAGRAM Allison Rodman, who has served as director of communications at MoMA PS1 for nearly two years, is leaving the Long Island City institution, ARTnews has learned. Her last day is June 10. “After two years at MoMA PS1—which I personally think is the most cutting-edge, exciting, and flat-out cool museum in New York City —I’ve decided to take a leap into the next phase of my career, pursuing a range of projects,” she said in a statement. Rodman, who was previously a communications manager for the Armory Show, said she is working on some yet-to-be announced endeavors, while also working on Platform for Pedagogy, which has over the last few years organized a variety of cultural happenings in New York. She is the co-editor, alongside the Platform for Pedagogy founders, of Should I Go to Grad School?: 41 Answers to An Impossible Question , which was published by Bloomsbury.“Working with Klaus and the entire team was a career highlight for me,” she said. “From the spellbinding Wael Shawky show last year, to the lineup of summer Warm Up concerts, to the quinquennial Greater New York exhibition, the entire run at this groundbreaking institution has been immensely fulfilling. I can’t wait to come back to see what comes to MoMA PS1 next—especially because, as of last year, it’s free to all New Yorkers!” In recent months, PS1 has been gearing up for its 40th anniversary, with a retrospective of work by Vito Acconci—one of the first artists who showed at the institution when it opened in 1976 (decades before it merged with MoMA)—and “FORTY,” an exhibition organized by the institution’s founder, Alanna Heiss. Other notable departures from PS1 in the last year include associate curator Christopher Lew and assistant curator Mia Locks. They are both now at the Whitney , as Lew left last year to become an associate curator, and Locks left to begin work on the 2017 Whitney Biennial, which she will co-curate alongside Lew. To handle communications, PS1 has brought on Molly Kurzius, who was previously the associate director of communications at the Jewish Museum in New York. She starts today. 2016-06-06 12:56 Nate Freeman

57 How Brexit Could Affect Britain's Artists: Last Week in Art Via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky —but all of them are worth knowing about. Without further ado: + From Rankin to Antony Gormley, 15 artists give their thoughts on how Brexit could affect Britain. [ artnet News ] + And, even more artists are getting involved in the Remain Campaign on their own accords: Tomma Abts and Shirazeh Houshiary among them. [ The Art Newspaper ] + With extreme floods hitting Paris, the Louvre Museum has had to take (or attempt to take) quick and drastic measures to save their precious collection. [ WIRED ] + In related news, these are the World Heritage sites that are under severe threat from climate change. [ Gothamist ] Via + Darja Bajagić, a New York-based artist that uses images of women sourced from pornography in her work, says that one of her pieces featuring a Swastika and Nazi references has been censored from an upcoming show in Romania. [ ARTnews ] + Plot twist: Pyotr Pavlensky has been nominated for the Russian Security Services' Prize for Literature and the Arts for the piece in which he lit the same agency's door on fire. [ artnet News ] + Scheduled to open in September of next year, the $38 million, 100,000- square-foot Zeitz Museum of Contemporary Art Africa in Cape Town. It will be the biggest museum to open in Africa in over a hundred years. [ CNN ] + A solid gold, diamond-encrusted eagle was stolen from "Ultimate Treasure Hunter" Ron Shore. [ VICE News ] Via + Despite rising prices and shrinking spaces, these New York developers are fighting for artists to remain in Manhattan. [ The New York Times ] + The tussle between Dmitry Rybolovlev and Yves Bouvier over the 2-billion- dollar has brought Sotheby's into the mix: the auction house may be forced to disclose the details of their transactions with Bouvier. [ Financial Times ] + There is a Dave Matthews Band retrospective on at the Morrison Hotel Gallery in New York. [ DNA Info ] + Housed in an abandoned church in Detroit, L. A.-based gallery Moran Bondaroff is launching a year-long residency with inaugural exhibition, War Games. [ Forbes ] Via + Megumi Igarishi, Japan's controversial "vagina artist," has published a manga memoir entitled, What is Obscenity The Story of a Good-for-Nothing Artist and Her Pussy. [ Hyperallergic ] + A Spanish court claims that one of the brothers accused of organizing a forgery scheme amounting to $80 million in masterworks sold through, notably, Knoedler & Company, should not be extradited to the U. S., due to neurological problems. [ The New York Times ] + The Rijksmuseum has a new director, and his name is Taco. Taco Dibbits. [ Rijksmuseum ] + In Spain, seven individuals have been arrested under suspicion of stealing a nearly $30 million Francis Bacon painting from the apartment of a close friend of the artist. [ New York Daily News ] Did we miss any pressing art world stories? Let us know in the comments below! Related: Shia LaBeouf Wants You to Pick Him Up: Last Week in Art Fake Art Heists and Big Ceramic Dicks: Last Week in Art $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Art Fair Asses and New Radiohead: Last Week in Art NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes | Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art ¡Artistas, Arrested! : Last Week in Art [Cuba Edition] Kanye Kissing Kanye: Last Week in Art 2016-06-06 12:55 Sami Emory

58 italian pavilion venice architecture biennale antonio scarponi’s mobile device aims to activate the mafia’s confiscated lands (above) model all images courtesy of antonio scarponi conceptual devices is an interdisciplinary design practice founded by antonio scarponi with the mission to develop design strategies with social (and economic) impact. commissioned for the XV venice architecture biennale, ‘campo libero’ (the innocent house) is a project that aims to reactivate the lands confiscated from the mafia in the south of italy. it was designed as an off-grid rural mobile pavilion for the italian organization libera, which promotes legality by training volunteers, providing legal support and helping refugees working with no rights. the exhibition at the italian pavilion was commissioned by taking care and curated by TAM associati where five architects (matilde cassani, marco navarra nowa, arco’, and alterstudio) worked together with five organizations active in the territory to develop five mobile devices tat activate the italian peripheries, promoting five common goods: health, legality, sports, education and environment. during the exhibition, while in the italian pavilion the projects are shown, these devices will be built with the help of the civil society through a crowdfunding campaign. with this project, the intention of the curators of taking care, designing for the common good, is to go beyond the biennale exhibition and to create an action that will have a real impact in the disadvantaged territories of the italian urban peripheries. for more images, follow designboom on our dedicated instagram account @venice.architecture.biennale the drawings found at the exhibition explain the project in detail 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. 2016-06-06 12:30 Antonio Scarponi

59 Joseph Nahmad on Nahmad Projects Opening The latest member of the Nahmad dynasty to enter the art business, Joseph Nahmad, will inaugurate Nahmad Projects , his new gallery with business partner Tommaso Calabro in London's Mayfair district, with a performance art show. Starting in style, the gallery's inaugural exhibition is curated by critic and curator Francesco Bonami and is inspired by enigmatic performance artist Tino Sehgal. For the show, titled I am NOT tino sehgal, the curator invited artists to submit performance proposals inspired by Sehgal's work in a global open call. Beginnign June 9, there will be 30 new performances in 30 days staged at the gallery by artists from the UK as well as Russia, Finland, Poland, and Korea. artnet News sat down with Nahmad, Calabro, and the Greek artist Tomàs Diafas , who will perform at the opening, to discuss how emerging art fits into Mayfair, Sehgal's legacy, and what to expect from the gallery in the months to come. Why are you choosing to focus on emerging art? Tommaso Calabro: Our aim at Nahmad Projects is to look to the future, to look at what will happen next. the idea of focusing on emerging art was natural, as it allows us to break the status quo. However, our vision does not simply concern emerging art. Rather, we will try to see and present things differently. A contemporary artwork is much more than an artwork realized today, in 2016. Being contemporary is a perspective that we have to revise and challenge daily. It is a way of seeing things. And sometimes a Picasso can be much more contemporary than a canvas executed yesterday. What kind of exhibitions can we look forward to at the gallery? Joseph Nahmad: We aim with this project space to create shows that challenge the viewer to question what art is, and how they perceive it. We aim to make this gallery a platform for both emerging and recognized artists and curators who want to make an impact on London's contemporary art scene. Situated in Mayfair, we are going against the grain of the traditional galleries in the area, but hope to offer the audience an experience when they visit the gallery. What is the role of performance art? Artist Tomàs Diafas: I'd say that my practice is an open-ended one that draws in energy by involving the public in the creative process with the aim of reaching a point where we overcome "reality" together and exchange new kinds of information. I think performance art has to do with who you are as a human being and not as an artist. You cannot pretend, you are not offering a ready-made piece of art. You are creating it in real time, totally exposed to others. Since my art is influenced by my experiences and not by itself, I would say that there is no difference between writing a poem, filming, or performing. But don't ask me why I sometimes choose one over the other. I really don't know! Why choose to inaugurate the gallery with performance-based works? TC: We feel that by realizing I am NOT tino sehgal we can do something very innovative and in line with our vision. The contemporary art scene in Mayfair has so much potential. We would like to bring in a wider audience, inviting into the gallery not just those who are collectors or experts, but students, families, and simply curious people. The choice to opt for performances was coherent with our ideas. We should look at I am NOT tino sehgal not just as a series of 30 performances, but as a performance in itself. What did it take to get the show off the ground? JN: When I first met Francesco I was taken aback after listening to his idea for the opening show; performance art to me at that time was not something I took seriously. However, after seeing what ideas and possibilities the applicants had to offer, I became very excited. Sitting on a plane to New York and reading over 200 scripts was a really captivating experience. Being involved with the artists, not just one but 30, put me in a very personal position and I appreciated having that connection. What about Tino Sehgal's work resonates with your audience? TC: Undoubtedly, Sehgal has been one of the most important artists since the early 2000s. His practice has strongly altered the perception we have of art and what art is. He challenged the boundaries of contemporary art by dematerializing the artwork and all the structural aspects surrounding it. Documentation, contracts, and photography all disappear, and all that is left is in the eyes and mind of the beholder. We would like to bring this practice forward and see what could happen if we removed the artist as "initial creator" from the equation. Follow artnet News on Facebook. 2016-06-06 12:25 Henri Neuendorf

60 The Berlin Art Scene Explained by Its Tastemakers Much has been written about Berlin's uber cool art scene and its development over the last 20 years. One thing is for certain, the city and its art community has changed dramatically. As the 9th Berlin Biennale gets underway, artnet News spoke to five influential members of Berlin's art community to find out what its really like to work in the visual arts in the German capital. Jan Wentrup, owner, Wentrup Gallery Founded in 2004 and located in Berlin's multicultural Kreuzberg district since 2009, Jan Wentrup's eponymous gallery has developed into a mainstay of Berlin's art scene. Representing a diverse group of international artists such as Karl Haendel , Gregor Hildebrandt , Cristian Andersen , and Nevin Aladag, the gallery's program reflects the internationalization of Berlin's arts. "In the beginning we didn't do our business in Berlin or even in Germany," Wentrup admitted to artnet News. "The early success of the gallery was carried by foreign collectors. That has a little bit to do with mentality, the Germans tend to take their time, wait and see and gain trust," he explained. "But I can definitely say that in the last ten years Berlin has developed positively because not only are people coming to Berlin regularly, but many people also have a second home in the city who are especially interested in the art scene here. " Related: The Ninth Berlin Biennale Revels in Doomsday Scenarios and Secret Spaces "I think the challenges facing gallerists in Berlin aren't that different from the challenges facing gallerists in London, Paris, or New York," Wentrup continued. "On the one hand, it's doing a sustainable and responsible program and not jumping on every bandwagon, but to stand with the artists, work sustainably for the artists, to be patient, and to believe in the artists. That is equally challenging everywhere, although perhaps it takes a little longer in Berlin and in Germany because the people here want to see that one stands with ones artists. " Christian Boros, collector The ad agency and publishing entrepreneur Christian Boros is one of the Berlin's most active collectors. In 2008 he opened up his collection to the public at the Sammlung Boros. a converted air raid bunker and former food bank. In a telephone interview, Boros told artnet News what makes Berlin unique. "That it still manages to somehow avoid the establishment, that's what makes it different from the London or New York scene. At openings it's different than what I experience in New York where the society is in attendance; here it still feels like a big playground," he said. Related: Klaus Biesenbach Tells Us Why the Berlin Biennale Still Matters "Thousands of artists from all over the world come to Berlin to work," he added. "And Berlin is—and this is the big advantage—a production base for art, in contrast in London, where art is bought but is no longer produced. It's very important for me as a collector to not only be close to the dealers, but also close to the artists. " AA Bronson, artist A founding member of the legendary art collective General Idea, and a radical and innovative contemporary artists, AA Bronson decided in 2013 to leave New York after 27 years. He settled in Berlin after falling in love with the city during a one-year artist residency. We asked him what attracted him to the city and why he decided to stay. "There's a pretty amazing community of international artists here, quality of life is very high for a limited amount of money, and all of the arts are so incredible. In a city of 3.5 million to have seven symphony orchestras and three opera houses is pretty astonishing," he said. "One of the big things for me is how much culture is valued here. Berlin has always been a cultural center, and its extraordinary how much value is put on being a cultural producer," the artist continued. "I think in a way we're only seeing the beginning of what the art scene here is going to be; I think it's really on the verge of becoming something very, very important. " Gabriele Horn, director, KW Institute of Contemporary Art and Berlin Biennale Gabriele Horn's career has been closely linked to KW Institute for Contemporary Art, the organization from which the Berlin Biennale emerged. Horn, the director of the Biennale's 9th edition, was involved in the very first exhibition at KW in 1992. As such, she experienced the development of the Berlin art scene first hand. We asked her how the city's development has affected the local art community. “In the last years, the real estate situation has severely changed, and with increasing rent, the lack of spaces, [and] the commercialization of cultural trends, it has become more difficult for artists nowadays to live and work in Berlin," Horn admitted. But, she added, "the spirit of working independently from external necessity remains, and leads to a continuously big creative input, making Berlin an exciting and inspiring city. Berlin is in a way non-hierarchical and permeable. This permeability is great, because it brings people together who otherwise might not meet. It supports the exchange within the art scene and beyond, encourages discourse, and offers opportunities for the creation of new ideas, or to push ideas forward. " Kilian Jay von Seldeneck, auctioneer, Kunsthaus Lempertz As managing director of the Berlin branch of the German auction house Kunsthaus Lempertz , Kilian Jay von Seldeneck has a unique insight into Berlin's cultural landscape. Since taking over the directorship of the Berlin house in 2013, the former financier has contributed to establishing it as a leading address in Germany's secondary art market, and has strengthened Lempertz's position abroad by renewing the focus of its Brussels branch. "On the one hand, Berlin's art scene has kept its experimental spirit, which has been the reason behind its attractiveness. At the same time, it has established itself, as the the large number of visitors attending events in the city demonstrates," von Seldeneck told artnet News. "The city is open and loose, and perhaps that's why people think that there aren't many collectors here. In reality, we have fantastic collections from which the city profits and which the people enjoy seeing. " Follow artnet News on Facebook. 2016-06-06 11:59 Henri Neuendorf

61 Harvey Quaytman Estate Now Represented by Van Doren Waxter The estate of Harvey Quaytman, the late- 20th-century American abstract artist, is now represented by Van Doren Waxter, the Upper East Side gallery announced today. It had been represented in New York by McKee Gallery, which closed last year. Van Doren Waxter will hold an exhibition of Quaytman’s work next year, prior to a retrospective to be held at the Berkeley Art Museum and Pacific Film Archive in 2018. Quaytman’s canvases were often oddly shaped, and later on in his career his abstractions began moving toward a style of rectangular shapes and bold color palettes. His work is held by the and the Whitney Museum of American Art in New York, the Centre Pompidou in Paris, and numerous other museums. In a statement to press, gallery partner Dorsey Waxter said, “Harvey Quaytman’s work is an important addition to the gallery’s commitment to American abstraction from the post World War II era. He was an artist of broad artistic interests ranging from Arabic calligraphy to Kazimir Malevich. We look forward to exploring in depth the range of his disciplined and varied approach to geometric abstraction.” 2016-06-06 11:29 Robin Scher

62 Banksy Creates Burning Tire Mural for Kids The elusive British street artist Banksy has reportedly given a special gift to schoolchildren by painting a 14-foot mural on a wall of a British elementary school in his hometown of Bristol. According to the BBC , Banksy created the mural as a "present" to Bridge Farm Primary school, after the school named a building after him. A spokesman for the artist reportedly confirmed to the British broadcaster that the artwork was in fact created by the famous street artist. Students and faculty discovered the work, which depicts a stick figure of a little girl spinning a burning tire, after returning from vacation. On Twitter the BBC's West of England correspondent Jon Kay reported that the school caretaker initially thought the artwork was an act of vandalism and wanted to "clean it off" after he discovered it. It was only when he found a handwritten letter from the artist near the mural, complete with important advice and life lessons for the kids that he realized it was an original Banksy. The letter states: "Dear Bridge Farm School, Thanks for your letter and naming a house after me, please have a picture. If you don't like it feel free to add stuff, I'm sure the teachers won't mind. Remember—its always easier to get forgiveness than permission. Much love, Banksy. " Headteacher Geoff Mason said that the school intends to preserve the mural and insisted that there are “no plans to sell it. " The reaction from the local community has largely been positive. Rebecca Redford, whose son is a pupil at Bridge Farm Primary took to Twitter to express her appreciation for the gift. "Heard there was an intruder in my sons [sic] school last night. Wasn't so angry when I found out who it was @thereaIbanksy ," she wrote. This isn't the first time that Banksy has given local organizations in his hometown the gift of art. In April 2014, the artist painted a mural in a doorway near Broad Plain Boys' Club , which was threatened with foreclosure. The club promptly sold it to a local collector for $670,000, raising enough money to keep its doors open. Follow artnet News on Facebook. 2016-06-06 11:13 Henri Neuendorf

63 Then and Now: The Transforming Tate Southern exterior view of the newly completed expansion to Tate Modern. ©HAYES DAVIDSON AND HERZOG & DE MEURON From its beginnings in 1897, when it had but one modest site in London housing a small collection of British artworks, to the present, Tate Gallery has grown to boast four venues—London’s Tate Britain and Tate Modern, as well as Tate Liverpool and Tate St. Ives—and some 70,000 works, dating from 1500 to the present. It’s been on an often controversial roll, culminating in the June 17 debut of its Herzog & de Meuron–designed extension to the architects’ 2000 rendition of the Bankside Power Station, home of Tate Modern and its famous Turbine Hall. Earlier this year, Frances Morris, a longtime curator at Tate, was appointed the new director of Tate Modern. Over the past century ARTnews has tracked the Tate’s evolution. Below are observations from our pages. 1889 HENRY TATE’S DONATION OF HIS COLLECTION LEADS TO A SEARCH FOR A NEW MUSEUM, SEPARATE FROM THE NATIONAL GALLERY, TO HOUSE BRITISH ART. 1897 TATE GALLERY, AS IT WAS THEN KNOWN, OFFICIALLY OPENS AT THE MILLBANK LOCATION, WHICH WOULD UNDERGO VARIOUS EXPANSIONS AND RESTORATIONS IN THE ENSUING YEARS. 1924 TATE GALLERY BEGINS FORMING THE NATIONAL COLLECTION OF INTERNATIONAL MODERN ART. Nov. 14, 1931 Art lovers are experiencing considerable inconvenience, reports The Morning Post , as a result of the increasing congestion of pictures at the Tate Gallery…. Every month four or five fresh works of art are brought into the Tate Gallery and require additional space. —“The Tate Gallery Overcrowded” Exterior view of Tate Britain, which was the first of the institution’s four venues. ©TATE PHOTOGRAPHY 1955 TATE GALLERY BECOMES ITS OWN INSTITUTION, INDEPENDENT OF THE NATIONAL GALLERY. March 1960 “There is no such thing in the British Isles as a modern museum building, in this sense, and it would be rash to suppose that when the Tate at last gets its long-promised northward extension we shall see a revolution in museum- construction comparable to that which has occurred, over the last hundred years, in the character of museum-art.” —“The Tate and the Future,” by John Russell March 1961 Logical as it may have been to have the Seurat Baignade under the same roof as the National Gallery Poussins, the migration will throw upon the Tate’s twentieth-century holdings a weight which they are at present quite unable to bear. Neither in the Tate, nor in English private collections, are there European twentieth-century pictures to compare with the resources even of quite small cities like Basle, Berne and Zurich. During and after the war chance after chance of buying such pictures was let slip; those chances will not now recur. —“Art news from London,” by John Russell September 1964 “It was in the last days of July that Mr. Norman Reid was chosen to succeed Sir John Rothenstein as Director of the Tate Gallery…. Mr. Reid has never, to my knowledge, published a line of art-criticism; nor has he committed himself, in his official capacity, to any one particular point of view. If he has strong opinions, he has loyally suppressed them. It is reasonable to infer that the selection committee counted this in his favor when his qualifications were weighed against those of Mr. [Bryan] Robertson, who has committed himself over and over again at Whitechapel, or of Mr. [Lawrence] Gowing, who has vivid and idiosyncratic opinions to offer on everything from Masaccio to Marisol.” —“London,” by John Russell 1984 THE TURNER PRIZE, NAMED AFTER BRITISH PAINTER J. M. W. TURNER, WHO GAVE A LARGE PORTION OF HIS INVENTORY TO THE TATE, IS FIRST AWARDED. THE PRIZE WOULD GO ON TO STIR MUCH CONTROVERSY OVER THE YEARS. The 2016 nominees for the Turner Prize, from left, Michael Dean, Josephine Pryde, Helen Marten, Anthea Hamilton. FROM LEFT: MICHAEL DEAN; DAN MITCHELL; JUERGEN TELLER; LEWIS RONALD/ALL: COURTESY TATE, LONDON 1988 TATE LIVERPOOL OPENS IN NORTH WEST ENGLAND. IT IS THE FIRST OF THE VARIOUS SATELLITE CAMPUSES THAT WOULD COME TO FORM THE EXPANDED TATE MUSEUMS. Summer 1990 On January 24 Prime Minister Margaret Thatcher looked around her at the rearranged rooms of London’s Tate Gallery. She smiled, commended director Nicholas Serota’s “genius,” and said, “We have a task as government to try to keep these great galleries going with the help of the taxpayers.” Then she delivered what almost sounded like a pledge of commitment. “It’s not enough to conserve the heritage. We have to enlarge it before we pass it on.” —“Remaking the Tate,” by William Feaver March 1993 The Tate Gallery has announced plans to construct a new home for its collection of modern and contemporary art by the end of the century…. [Chairman of Tate trustees Dennis] Stevenson said the museum’s decision was prompted by several factors, including the conspicuous absence of a major modern art museum in London and an “acceptance of and concern about the criticism of the Tate that we only show a small amount of our works.” —“Updating the Tate,” by Jeffrey Kastner The Bankside Power Station prior to its conversion to Tate Modern. ©TATE PHOTOGRAPHY 2000 TATE MODERN, LOCATED AT A FORMER POWER STATION ON THE BANK OF THE THAMES, OPENS TO THE PUBLIC. January 2005 Britain’s Tate Gallery recently made an extraordinary public appeal, asking artists and private collectors to donate works of art in order to build up the museum’s collection ...... The Tate is aiming to acquire 100 donated works of art to build an acquisitions fund in the range of £50 million–£100 million ($95 million–$190 million) over the next ten years. — “Tate Acquires without Spending,” by Sarah Sennott 2009 TATE MODERN ANNOUNCES AN EXPANSION OF ITS CURRENT SPACE BY HERZOG & DE MEURON, TO BE COMPLETED IN 2016. February 2013 [Chris] Dercon has been on the job at Tate since April 2011, and in that time he has applied his “mixing” dictum diligently. Under his aegis, the underground oil tanks of the former power station have been opened up as dedicated spaces for performance, film, and installation, and Tate has embarked on a major drive to acquire and exhibit recent African artworks as part of a more international focus. The 54-year-old Belgian has said his mission is to radically rethink the role of the museum in the 21st century...... He envisages the Tate of the future as a beacon of learning akin to the ancient library of Alexandria. —“War Posters at Public Library” 2016-06-06 11:01 The Editors

64 Sotheby's Tragic $40 Million Modigliani Painting Another big ticket Amedeo Modigliani portrait is coming to auction at Sotheby's London , in the Impressionist and modern art evening sale on June 21. Featuring Modigliani's lover, artist Jeanne Hébuterne, the painting is expected to fetch more than £28 million ($40 million), according to a press release. The auction house writes that the canvas, titled Jeanne Hébuterne (Au Foulard) , "reveals a tender moment between a pioneering Modernist and his loyal muse. " Related: Chinese Billionaire Liu Yiqian Is the Buyer for the Record-Breaking $170-Million Modigliani Nude The painter met Hébuterne, a young art student, in 1917, and the two were said to be inseparable for the last three years of Modigliani's life. Following his death of tuberculous in 1920, Hébuterne, who was reportedly pregnant with their child, committed suicide by jumping out of a window. The painting, despite its tragic air, is unlikely to match the $170 million sale price achieved by Modigliani's Nu Couché (Reclining Nude) , 1917–18, which became the second-most expensive painting ever sold at auction at Christie's New York in November 2015. Needless to say, the final hammer price was considerably more than the already-impressive $100 million pre- sale estimate. According to the artnet Price Database, a sale of $40 million would make Jeanne Hébuterne the seventh most expensive work by the artist to come to auction. Prior to Nu Couché , Modigliani's record belonged to the stone sculpture Tête (1911–12), which fetched $70.7 million at Sotheby's New York in November 2014. A similar work by the same name (circa 1910–12) brought in $43.1 million ($52.3 million) at Christie's Paris in June 2010. And another nude portrait, Nu assis sur un divan (La belle romaine) , 1917, sold for $69 million, also at Sotheby's New York, in 2010. Related: Why Modigliani's 'Nu Couché' Is Worth $170 Million The artists's fifth- and sixth-most valuable works are two other portraits of women: Paulette Jourdain (circa 1919), sold for $42.8 million at Sotheby's New York in November 2015; and Jeanne Hébuterne (Au chapeau) , 1919, which went for £26.9 million ($42.1 million) at Christie's London in February 2013. The Hébuterne canvas has been in a private collection since 1986, and is expected, along with Pablo Picasso 's Femme Assise (1909), an early Cubist portrait, to spark increased interest in the upcoming sale. "There is such a fascinating dialogue between the Modigliani portrait of Jeanne and the Cubist portrait of Fernande by Picasso," noted Thomas Bompard, Sotheby's head of Impressionist and modern art evening sales, in a statement. "Obsessed by their lovers' features, both brought the art of portraiture into the modern era. One is expressed in beautiful curves and colors, the other is all about sharp angles and light effects. " Follow artnet News on Facebook. 2016-06-06 10:54 Sarah Cascone

65 Amrita Sher-Gil, Souza, Subodh Gupta Top Draws at Saffronart’s June 8 -9 Auction Related Artists Amrita Sher-Gil Francis Newton Souza Maqbool Fida Husain An untitled landscape by Amrita Sher-Gil , painted during one of the many holidays she spent in the Hungarian village of Zebegény on the banks of the Danube, is the top draw at the Saffronart Summer Online Auction to be held on June 8 - 9. It is estimated to fetch $600,000 - $800,000 (approx. Rs 3.9 crore - Rs 5.2 crore). A 24 X 16 in oil on board, it was painted in 1931and comes to the auction table from a private European collection. It is one of the rare landscapes Sher-Gil (1913-1941) painted during the early 1930s when she was mainly concentrating on the human figure. An untitled oil on board by F. N. Souza, featuring a nude after Titian’s “Venus of Urbino” and Manet’s “Olympia” is the next most expensive lot on offer. It is estimated at $170,000 - $200,000 (approx. Rs 1.10 crore - Rs 1.30 crore). Souza (1924-2002) made this painting in 1961, replicating every minute detail of the 1538 painting by Italian Renaissance artist Titian. However, it is a quintessential Souza work, which is nothing like the oeuvre of the 16th century Italian master. The lines are stark, and there is something violent about the whole work, which makes it fall in line with the rest of Souza’s art, that strongly and violently opposed the established cannons. Yet, it is softer than most of his macabre human figures, including the nude giving birth as made famous in his 1955 work, “Birth” which remains the second most expensive Indian painting ever at $4million or approx. Rs 26.90 crore. It had fetched that astronomical price at a Christie’s auction in New York last year. The next in line is an untitled stainless steel installation by Subodh Gupta (b. 1964), featuring his now world-renowned steel pots and pans arranged in an arch over two steel buckets at two ends. It is estimated at $150,000 - $200,000 (approx. Rs 97.50 lakh - Rs 1.30 crore). Gupta, who has made himself a global name with his pots and pans works has used the items of daily, essential use of an average Indian to comment artistically on the aspirations and emotions of the country’s middle class. The Top 5 is rounded off by two masters of modern Indian art, both of whose works are estimated at $123,080 - $153,850 (approx. Rs 80 lakh - Rs 1 crore). These are S. H. Raza (b. 1922) and M. F. Husain (1913-2011). As expected, these are the signature works by the two — Raza’s “Bindu” and Husain’s untitled oil on canvas featuring his well-recognized horses. Raza’s “Bindu” is a 1990 acrylic on canvas and comes to the auction table from a Mumbai collection. A 1953 painting by the current favorite of the auction circuit, V. S. Gaitonde (1924-2001), is also on offer. It is watercolor and pastel work on paper, and is estimated at $80,000 - $100,000 (approx. Rs 52 lakh - Rs 65 lakh). An important underlying thread that runs through this auction featuring 109 lots is that it features works from important collections put together by the earliest die-hard fans of Indian art. The collectors who get featured in this auction through works that they collected include Dr Herbert Härtel (1921-2006), and Philip Lyon Roussel (1923-2011) to name only two. Dr Härtel was an art historian and a pioneer in the field of Indian art, both in India and his homeland of Germany. He earned a PhD in Indology in 1953 and over a decade, turned the Indian Art department of the Ethnological Museum in then West Berlin into an independent Museum of Indian Art, which was opened in 1963 with Dr Härtel as its director. The upcoming auction features five works from his personal collection – one each by Amarnath Sehgal, M. F. Husain, Biren De, and two by Ajit Gupta. Roussel, on the other hand, first came to India on an army posting in 1941. He returned later in 1960s with family and spent seven years serving as the head of British Council in India. A work that he bought directly from Husain around 1960 is coming up for auction at Saffronart. An untitled oil on canvas, it features a woman seated on a tiger. It is estimated at $30,000 - $50,000 (approx. Rs 19.50 lakh - Rs 32.50 lakh). Follow@ARTINFOIndia 2016-06-06 10:23 Archana Khare

66 Mélanie Matranga at Karma International, Los Angeles Installation view of “Mélanie Matranga: Feeling Myself,” 2016. JEFF MCLANE/COURTESY THE ARTIST AND KARMA INTERNATIONAL LOS ANGELES Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Mélanie Matranga: Feeling Myself ” is on view at Karma International in Los Angeles through Saturday, June 25. The solo exhibition also includes works done in collaboration with Carlotta Bailly Borg, Antoine Trapp, and Dora Diamant. Installation view of “Mélanie Matranga: Feeling Myself,” 2016. JEFF MCLANE/COURTESY THE ARTIST AND KARMA INTERNATIONAL LOS ANGELES Mélanie Matranga, ME in Beige , 2016, jersey polyester and wool. JEFF MCLANE/COURTESY THE ARTIST AND KARMA INTERNATIONAL LOS ANGELES Installation view of “Mélanie Matranga: Feeling Myself,” 2016. JEFF MCLANE/COURTESY THE ARTIST AND KARMA INTERNATIONAL LOS ANGELES Installation view of “Mélanie Matranga: Feeling Myself,” 2016. JEFF MCLANE/COURTESY THE ARTIST AND KARMA INTERNATIONAL LOS ANGELES 2016-06-06 10:22 The Editors

67 Vandals Damage Ugo Rondinone's Las Vegas Art Vandals have defaced Ugo Rondinone's much-admired recently installed public artwork , Seven Magic Mountains , in the Nevada desert. Phrases including "666," "Hella Spider," and images of genitalia were found scrawled on various rocks by visitors over the weekend, according to a report in the Las Vegas Review-Journal . The work, presented by the Art Production Fund and Nevada Museum of Art, was five years in the making at a cost of more than $3 million. It consists of seven colossal stone forms in various day-glo colors that resemble "hoodoos," also called "tent rocks" and "earth pyramids," which are tall, thin spires of rock that protrude from drainage basins. Related: See Incredible Photos Ugo Rondinone's New Installation In The Nevada Desert Not surprisingly the artwork has already become a viral sensation on Instagram and Twitter. The Nevada Museum of Art confirmed that the Police Department was notified though it is unclear exactly when the works were defaced. The museum issued a statement, including noting that it was grateful to the community for its enthusiasm for the work so far. The Art Production Fund provided artnet News with the following statement: Follow artnet News on Facebook . 2016-06-06 10:19 Eileen Kinsella

68 10 Millennial Artists to Watch in 2016 As a companion to our list from last year , artnet News reveals ten new up-and- coming artists born in or after the 1980s. Whether you see their work in between the aisles at a fair or during a gallery visit, our alphabetical list of artists to keep an eye on will guide you to the next generation as they rise to the top. 1. Olga Balema (b.1984) Ukranian born artist Olga Balema's work deals with the notion of the body and how it acts as a point of discussion for wider philosophical and biological questions. For her latest solo exhibition at the Swiss Institute in New York, Balema painted over several outdated schoolroom maps, obscuring any once useful information they may have contained. Attached to the maps are drooped and lumpy breasts made from latex. Ideally, Mother Earth is an all-caring entity that feeds and nurtures us, but Balema shows us the ugly truth: resources are finite, and destruction is imminent. 2. Ian Cheng (b. 1984) New York-based artist Ian Cheng is interested in unpredictable narratives. Having a dual degree in art and cognitive science, the artist captures the boundlessness of our imagination in his video game-inspired stories. Each video piece is programmed to create an infinite amount of distinct animations, allowing his works to take on a life of their own once the artist's hand is removed. "[Art is] the one zone in culture where you can explore the present and cannibalize the past with relatively little oversight," the artist said in a 2013 interview with BOMB magazine. This year, Cheng has had a solo show at Migros Museum for Contemporary Art in Zürich and is currently in a group exhibition at the Hirshhorn Museum in Washington, DC. 3. Than Hussein Clark (b. 1981) Equally an artist, designer, performer, writer, and director, the American- born, London- and Hamburg-based artist could be described as a Renaissance man. Clark explores the histories of architecture, decorative arts, and theater by bringing into question queer trajectories within Western culture. "Within modernism, the decorative is linked to sexual pathologies, and to the feminine," the artist explained to Mousse magazine. "In premodernism, the decorative is linked to notions of historical revival or style in the face of classicism. " The London-based collective Villa Design Group, which Clark is a member, currently has work on view at MIT's Visual Arts Center. 4. Calla Henkel and Max Pitegoff (b. 1988, 1987) Duo Calla Henkel and Max Pitegoff have collaborated for almost a decade since they met at Cooper Union School of Art in New York. After graduating, the two moved to Berlin and opened Times Bar and New Theatre, a performance space in which they invited writers, directors, artists, and musicians to contribute to their plays. By making collaboration and theater central to their work, which is often shown through photography, the American artists interrogate the relationship between people and society. Last year, the duo's New Theatre project migrated to the Whitney Museum for its finale, and the duo now has a work at the Berlin Biennale. 5. Sam Lewitt (b. 1981) New York-based artist Sam Lewitt's work uses both outdated and cutting- edge technology to create sculptures that reveal ceremoniously closed systems. For his most recent show at the Kunsthalle Basel, "More Heat Than Light," Lewitt rerouted the museum's electrical lighting currents to heat up thermal copper sheets strewn across the floor. Each sculpture, which feature blown up versions of already existing technologies, will emanate different amounts of heat depending on the electrical current of whichever space they are placed in. "I like the idea that an artwork can determine its site: really structure it and not just aesthetically activate it," the artist said in a statement for the show. 6. Helen Marten (b. 1985) English artist Helen Marten is one of the nominees up for the Turner Prize this year. Last year the young artist was featured in the 56 th Venice Biennale and she recently had a solo show at Greene Naftali gallery in New York. Objects that defy categorization are central to Marten's work. Aesthetically attractive, Marten's sculptures possess an uncanny quality to being familiar to what we know, yet simultaneously far from our perception of the object's reality. 7. Win McCarthy (b. 1986) The Brooklyn-born and raised artist is currently part of a group show at the Whitney Museum with 11 impressive sculptures scattered across the institution's vast 8 th floor. McCarthy's work, which act as self-portraits, are at once intimate and totally banal. By incorporating poetry, photography, and found newspaper clippings into his sculptures, we get a glimpse into the humorous and serious side of the always observant artist. 8. Kaspar Muller (b. 1983) The Swiss-born, Berlin and Zurich-based artist plays with issues of authenticity, sentimentality, and isolation. Muller's show at Museum im Bellpark in Kriens, Switzerland, last February featured rooms filled with different sized curios including the likes of famously-designed chairs, several vintage toys, books, and near-extinct technology. At once familiar and unsettling, the disbanded objects create a confounded narrative questioning the real versus the fake and the role of the “functional" and “nonfunctional" object. 9. Jessie Reaves (b. 1986) The symbiosis of art and design culminates in Jessie Reave's work which hovers between furniture and art object. Reaves' creates conventional (and functioning) items you would find in any furniture shop: chairs, a couch, lamps, several shelving units. However, the artist assembles materials unconventionally to create an entirely unique aesthetic.; what is normally kept hidden inside furniture is turned out. Reaves recently had a solo show at New York's Bridget Donahue gallery. 10. Cameron Rowland (b. 1988) The Philadelphia-born artist's much-talked about solo show at Artists Space in New York consisted of inconspicuous items: two firefighter uniforms, a standard-looking desk, several rings to adjust manholes, four oak benches, and a pair of lashing bars. Despite the aesthetic banality of the objects their history goes deeper and darker: each item (except the lashing bars) was made by prisoners. Rowland's conceptual works bring together issues of race and politics, highlighting how history inevitably repeats itself. Follow artnet News on Facebook. 2016-06-06 10:04 Christie Chu

69 Jordan Wolfson David Zwirner / New York Nightmares are just as distressing for their familiarity as they are for feeding obscure terrors. More common in children than adults, the feverish horror of repeatedly witnessing, or experiencing, a twisted scene can be a nightly torture. A new installation by Jordan Wolfson , simply titled Colored sculpture , a withholding name, orchestrates a sensory-shocking hallucination that loops without resolution. It carves gaping negative space from a cavernous gallery in Chelsea, contoured by a cubic figuration of immense industrial steel scaffolding, accented by a few absorbent black speaker monitors. The setting is a cruel stage for a single, ruinous performance by a lone, artificial actor. Jordan Wolfson An aggressive, possessed little boy, several feet tall, flies loose-limbed throughout the cube. His maraschino-cherry-red hair and matching freckles, pulsing moonstone eyes and forced, lockjaw smile belong to a 1950s comic-book character — an innocent child kidnapped or caught trespassing, forced to dance and sing indefinitely before a disengaged or, more likely, absent audience. The limp puppet is said to have been programmed to choreograph its own movements, but he isn’t at liberty: The boy is a heavy marionette hung from the ceiling with massive metal chains, flailing around but ultimately having no choice but to crash into either one of the support beams or the polished concrete floor with a distinctly hollow, leaden boom. The stage is otherwise silent, metal on metal clanging cleanly and perversely, except for the occasional momentary blast of Percy Sledge’s 1966 hit “When a Man Loves a Woman.” The boy’s laser eyes conceal facial-recognition intelligence, keeping and following a visitor’s gaze as they move left to right before the maze. His eyes also occasionally flash an image to his audience, whether a short text message or a snippet of the artist’s films. The figure is perhaps an addict, devouring the suffocating streams of advertising and entertainment images that never rest. But it is also attempting to fill a void, one that, regardless of age or sophistication, reduces one to the temperament and restraint of a little boy whose weak penance has resigned him to a corner: that of infatuation’s capacity to completely ravage. by Jennifer Piejko 2016-06-06 07:57 www.flashartonline

70 Curator Frank Wagner Is Dead at 58 German curator Frank Wagner passed away on Wednesday, June 1, at the age of 58. Wagner was an independent curator and a tireless supporter of young artists working in Berlin. As a regular exhibition organizer for Berlin's Neue Gesellschaft für Bildende Kunst (NGBK) , he presented works stemming from artistic practices governed by strong political or social agendas. Throughout his long career, he was often the first to exhibit artists in Berlin before their international breakthrough, including Cady Noland, Barbara Kruger , Marlene Dumas, Stan Douglas, Jeff Wall, Sanja Iveković, Hannah Wilke, Robert Gober, and Wolfgang Tillmans . Wagner was a member of the NGBK for over 40 years, an institution which stages exhibitions by local artists selected for the senate's stipend program. He thus became a mentor to many artists in the early stages of their career. "I was interested in collective interactions and social conflicts," he once said of his approach to exhibition making, a conceit which was also prevalent in his work as independent curator. Wagner was one of the first curators to address the topic of AIDS with a group exhibition in 1988. Five years later, for a show at KW Berlin dealing with sexual rebellion and resistance, Wagner created a memorial room for his friend David Wojnarowicz. In 2006, a decade after the passing of Felix Gonzalez-Torres, Wagner organized his retrospective at Berlin's Hamburger Bahnhof museum. In 2013, he organized a retrospective show about AIDS activism since the mid-eighties at the NGBK. Most recently, and despite already being weakened by cancer, Wagner curated the German pavilion of the Dubai Photo Exhibition, which opened this past March. Follow artnet News on Facebook. 2016-06-06 07:43 Hili Perlson

Total 70 articles. Created at 2016-06-07 06:05