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40 articles, 2016-04-15 18:01 1 Portfolio: Martine Syms | Frieze A Twitter academic, a science fiction writer and a Wells Fargo debit card: Martine Syms shares some images that are important to her 2016-04-15 18:01 1KB www.frieze.com 2 museo della merda shits-out collection of dung-made products the poop used to create the raw material comes from the castelbosco farm, in the province of piacenza, northen italy, from 2,500 pedigree bovines that produce milk for grana padano cheese. 2016-04-15 13:30 2KB www.designboom.com 3 zaha hadid sculpts valle shelves from black granite for CITCO the material explores the unique properties and performance of stone to produce a series of four shelves that can be mounted as a stand-alone pieces. 2016-04-15 13:23 1KB www.designboom.com 4 designboom's live coverage of milan design week 2016: day four day four kept people dancing, with installations and performances circulating through alleyways from the brera district all the way to via tortona. 2016-04-15 13:20 1KB www.designboom.com 5 ronan + erwan bouroullec poured and blown glass nesting tables for glas italia the furniture pieces are characterized by a low sitting square table top made from extremely thick poured glass, supported by cylindrical legs in blown glass. 2016-04-15 13:15 1KB www.designboom.com 6 Young Royals Take in a Himalayan Trek The couple hiked to Tiger’s Nest, a Himalayan Buddhist holy site. 2016-04-15 12:49 1KB wwd.com 7 marni ballhaus brings colorful colombian cumbia culture to milan design week the traditional full circular skirts worn by cumbia dancers have been made in marni fabrics and suspended in a circular formation to serve as a vibrant backdrop to the live performances. 2016-04-15 12:17 2KB www.designboom.com 8 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-04-15 14:48 1KB gdusa.com 9 ingenhoven architects plans to build two towers in tokyo german firm ingenhoven architects has revealed plans to build two towers in tokyo's toranomon district as part of a new business and lifestyle precinct. 2016-04-15 11:30 3KB www.designboom.com 10 Glasgow International 2016 Glasgow, a Macintoshian architectural pearl in the Scottish Lowlands, is a city stippled by its histories of trade and manufacturing — a perfect representation of the effect of a globalized... 2016-04-15 10:44 5KB www.flashartonline.com 11 Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe. Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth... 2016-04-15 10:37 2KB contemporaryartprojectsusa.com

12 Malian Photographer Malick Sidibé Dies at 80 Portrait photographer and documentarian of his native country of Mali, Malick Sidibé has died at age 80. 2016-04-15 09:41 2KB news.artnet.com 13 Amanda Ross-Ho on OMEGA and Her Creative Origins — Amanda Ross-Ho on OMEGA and Her Creative Origins — Channel — Walker Art Center For her contribution to Ordinary Pictures , Amanda Ross-Ho worked with movie industry prop fabricators to create a large-scale, hand-made... 2016-04-15 07:45 987Bytes www.walkerart.org 14 Morning Links: Edward Snowden’s Techno Song Edition Must-read stories from around the world 2016-04-15 08:54 1KB www.artnews.com

15 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson, an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York-based foundation has announced. 2016-04-15 07:39 1KB www.startribune.com 16 lagranja renovates century-old istanbul brewery into the populist with just under 2,000m2 of space, 'the populist' is a craft brewery and eatery with a disobedient atmosphere motivated by political rebellion and local culture. 2016-04-15 08:45 2KB www.designboom.com 17 A Narrative for the Body: Shahryar Nashat’s Present Sore Artist Shahryar Nashat recently made Present Sore (2016), a composite portrait of the 21st-century body mediated by substances both organic and fabricated. In this new interview, Walker Bentson Mo... 2016-04-15 07:03 967Bytes blogs.walkerart.org 18 See What sold at Art Cologne 2016 After a flurry of sales during preview day, things cooled off at Art Cologne's 50th edition, with anticipation for stronger sales this weekend. 2016-04-15 07:44 8KB news.artnet.com 19 joseph sarafian & ron culver explore concrete casting with fabric forms utilizing two 6-axis kuka robots and fabric lycra sleeves, the duo developed a method that's enables quick, adaptable concrete casting. 2016-04-15 06:45 1KB www.designboom.com 20 35 Relatives of Da Vinci Tracked Down in Italy A research into the living descendants of Leonardo da Vinci, which began in Italy in 1973, has finally yielded results. Check out who's on the list. 2016-04-15 06:38 2KB news.artnet.com 21 Emilio Pettoruti's Futurist Headache Read THE DAILY PIC on Emilio Pettoruti, who brought the future to Argentina, however it made him feel. 2016-04-15 06:00 1KB news.artnet.com 22 Rome Retrospective Celebrates Alphonse Mucha’s Art Nouveau Legacy The first retrospective dedicated to the Czech artist and Art Nouveau icon Alphonse Mucha has opened at the Vittoriano – Ala Brasini in Rome 2016-04-15 05:44 3KB www.blouinartinfo.com 23 Following Model Frederikke Sofie Through NYFW During New York Fashion Week, photographer Kacey Jeffers shadowed Danish darling Frederikke Sofie to her shows, castings and fittings. 2016-04-15 04:01 1KB wwd.com 24 josé quintela turns ordinary parked vehicles into surreal tiny cars with the help of instagram's layout application, lisbon-based copywriter josé quintela turns ordinary parked vehicles into surreal tiny cars. 2016-04-15 04:01 1KB www.designboom.com 25 Marni’s Consuelo Castiglioni On Design and Success Consuelo Castiglioni discusses her approach to design, art and the success of her brand in a rare interview. 2016-04-15 04:01 10KB wwd.com 26 Gagosian Shows Klein and Giacometti Together - artnet news For the first time ever, the works of the legendary 20th century artists Alberto Giacometti and Yves Klein will be shown together at Gagosian London. 2016-04-15 04:00 2KB news.artnet.com 27 Activists Interfere with Botero Sculptures Green activists demanding action over high levels of pollution in Medellin have decorated sculptures by Fernando Botero with giant surgical masks. 2016-04-15 04:00 2KB news.artnet.com 28 The Disappearing Way of Life Through Ravi Agarwal’s Lens at Gallery Espace The Disappearing Way of Life Through Ravi Agarwal’s Lens 2016-04-15 03:29 6KB www.blouinartinfo.com 29 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a... 2016-04-15 03:07 11KB www.walkerart.org 30 VIDEO: Poklong Anading’s Manila We’re sitting on the back of a jeepney on a cool, breezy afternoon in Quezon City as Poklong Anading explains his latest project to me. 2016-04-15 03:16 3KB www.blouinartinfo.com 31 berlin's james simon galerie by david chipperfield tops out designed by david chipperfield architects, berlin's james simon galerie has topped out, six years after construction work first began in 2010. 2016-04-15 02:01 3KB www.designboom.com 32 Review: ‘Elektra’ at the Met Does Full Justice to Strauss’s Masterpiece The director Patrice Chéreau, the conductor Esa-Pekka Salonen and the soprano Nina Stemme evoke all the terror and intensity the composer built in. 2016-04-15 00:00 8KB rss.nytimes.com 33 The 15 Best Sandals for Fall 2016 WWD’s picks for the best sandals for fall 2016 from the New York, London, Milan and Paris collections. 2016-04-14 22:11 1KB wwd.com 34 Michael Hainey Joins Hearst as Esquire’s Executive Director of Editorial A former GQ editor, Hainey will also serve as editor-at-large for Town & Country. 2016-04-14 21:25 1KB wwd.com 35 Art Basel’s Crowdfunding Initiative Reaches USD$1 Million Milestone Art Basel has announced that it has raised $1 million USD through its Crowdfunding Initiative, launched in partnership with Kickstarter to catalyze support for non-commercial art projects worldwide. 2016-04-14 21:06 2KB www.blouinartinfo.com 36 HTC deliberate celebrates everyday metals with latest flagship phone for 2016, the company is making its biggest leap forward with the HTC 10, a differentiated design informed by years metal manufacturing processes. 2016-04-14 21:01 3KB www.designboom.com 37 New Ink Works From Zheng Chongbin at S2 Hong Kong “Zheng Chongbin: Structures” presents 34 of the artist’s fractured, crystalline ink paintings at Sotheby’s S2 gallery. 2016-04-14 19:46 1KB www.blouinartinfo.com 38 Looks Like Skrillex Invaded Artsy Time to touch up that undercut—Artsy, the online platform for collecting and researching art, has five hidden easter eggs. One just so happens to be dubstep. 2016-04-14 19:00 2KB thecreatorsproject.vice.com 39 jedediah corwyn voltz builds tiny treehouses in succulent and cacti plants for his latest series of work titled 'somewhere small', jedediah corwyn voltz has crafted tiny treehouses around succulents and cacti. 2016-04-14 18:42 1KB www.designboom.com 40 A Perfect 1:20,000,000 Scale Model of the Moon Oscar Lhermitte and Kudu studio's 'MOON' is one small step for man, one giant leap for globes. 2016-04-14 18:15 2KB thecreatorsproject.vice.com Articles

40 articles, 2016-04-15 18:01

1 Portfolio: Martine Syms | Frieze All images courtesy: the artist Martine Syms Martine Syms is an artist and entrepreneur based in Los Angeles, USA. She is the founder of Dominica, a small press dedicated to 'nowhere shit'. Her artwork has been exhibited and screened extensively, including recent presentations at Karma International, LA, Bridget Donahue Gallery, New York, the New Museum, Kunsthalle Bern, Switzerland, Index Stockholm, Sweden, MOCA Los Angeles and MCA Chicago. Syms has also lectured at Yale University, California Institute of the Arts, University of Chicago, Johns Hopkins University and MoMA PS1, amongst other venues. From 2007–11, she directed Golden Age, a Chicago- based project space focused on printed matter. Her solo exhibition 'Fact & Trouble' opens at the Institute of Contemporary Arts, London, on 18 April, and her work will be included in 'Made in LA: a, the, though, only', Hammer Museum, Los Angeles, in June. 2016-04-15 18:01 www.frieze

2 museo della merda shits-out collection of dung-made products museo della merda shits-out collection of dung- made products all images courtesy of museo de la merda / by henrik blomqvist located in a neo-renaissance style palazzo in via santa marta in milan, the shit museum has chosen the storica società di incoraggiamento arti & mestieri (SIAM) in co-production with 5Vie art + design, to present their first collection of products made of a plaster that comes from dung. the poop used to create the raw material comes from the castelbosco farm, in the province of piacenza, northen italy, from 2,500 pedigree bovines that produce milk for grana padano cheese. the products showcased are the result of a conversation between gianantonio locatelli, the owner of castelbosco and driving ideological force behind the museum, and the architect luca cipelleti, who is also the museum’s designer and creative director. flowerpots, vases, plates, tiles, and other iconic objects turn shit into everyday contemporary living elements where the concepts of transformation, sustainability and creation coexist. the courtyard of the palazzo opens the show with a room that emerges from the floor, with bricks and tiles in ‘merdacotta’, the material made largely of dry shit and, to a lesser degree, of clay. products for the home are displayed on the floor, both for interiors and exteriors. at the far end, outside the room, a toilet stands alone. the products are the result of a conversation between gianantonio locatelli and luca cipelleti the exhibition continues with a projection of photographs by henrik blomqvist and a stop motion animation. in the center, the museum’s homage to piero manzoni: a pyramid of six cans, all made from mercacotta, recall the artist’s famous work ‘merda di artista’, but this time eight times larger than the original ones. as the user continues around the space, different pieces that have in common the same material, make sure all bases are covered. 2016-04-15 13:30 Juliana Neira

3 zaha hadid sculpts valle shelves from black granite for CITCO having previously launched a sculptural series of vases last year, zaha hadid and stone compant CITCO have expanded their collaboration with ‘valle’, a shelving system at the salone del mobile in milan. fabricated in black granite, the material continues hadid’s explorations with CITCO into the unique properties and performance of stone. the pieces are made of black granite image © CITCO the pieces are defined by the contrasting lightness of its design with the solidity of black granite, each of the four shelves can be mounted as a stand-alone piece as well as in unified configurations that radiate from the same focal point. the four shelves can be mounted as a stand-alone pieces image © CITCO 2016-04-15 13:23 Shuhei Senda

4 designboom's live coverage of milan design week 2016: day four the party hasn’t stopped at milan design week. day four kept people dancing, with installations and performances circulating through alleyways from the brera district all the way to via tortona. some highlights from thursday included: brazilian samba dancing at the toiletpaper + wallpaper dinner supported by seletti, gufram and disaronno; alessandro gnocchi, marco scairato, chiara moreschi, alessandro stabile and giulio iacchetti showcasing their final 3D printed pen designs at studio iacchetti presented by alessi; italian fashion house marni opened their showroom to exhibit their new furniture collection influenced by colombian culture; and a visit to DA A’s exhibition space displaying all their latest metal furniture pieces. throughout the week designboom’s editorial team will be checking in through its new @milan.design.week instagram account. six designers, six unique pen designs; all part of a workshop supported by @alessi_official curated by giulio iacchetti. #milanoBOOM#MDW2016#milandesignweek #alessi #alessigoesdigital @natashakwok alessandro gnocchi (one of the six designers) tests out his pen for us. @alessi_official #MDW2016#milandesignweek#milanoBOOM #salonedelmobile #alessi #3Dprint#milandesignweek2016 @natashakwok 2016-04-15 13:20 Piotr Boruslawski

5 ronan + erwan bouroullec poured and blown glass nesting tables for glas italia designed for glas italia, ‘nesting tables’ by ronan and erwan bouroullec are rendered using complex manufacturing processes. presented at the 2016 salone del mobile, the furniture pieces are characterized by a low sitting square table top made from extremely thick poured glass, supported by cylindrical legs in blown glass; which are completely embedded and welded into the top in full transparency. available in transparent, yellow or light grey glass, the colors of the top and the supporting legs can be freely combined, creating chromatic variations that convey the transparency of the material. the tables feature a square table top made from thick poured glass, held up by cylindrical legs in blown glass ‘nesting tables’ by ronan and erwan bouroullec at the glas italia stand during salone del mobile 2016 image © designboom the legs are completely embedded and welded into the table top in full transparency the colors of the top and the supporting legs can be freely combined, creating chromatic variations image © designboom 2016-04-15 13:15 Shuhei Senda

6 Young Royals Take in a Himalayan Trek More Articles By The couple trekked to Tiger’s Nest, a Himalayan Buddhist holy site, situated on the cliffside of Paro valley. The duchess wore white Jaeger linen shirt with jeans. She accessorized her look with a leather waistcoat by Really Wild and brown Penelope Chilvers boots. The young royal, who is known for recycling her looks, has worn the British designer’s tasseled footwear on several occasions including the CLA Game Fair at Blenheim Palace in 2014. The brand was commissioned to create bespoke shoes for her in the past. Later this evening, the couple is scheduled to attend a reception for British Nationals. 2016-04-15 12:49 Lorelei Marfil

7 7 marni ballhaus brings colorful colombian cumbia culture to milan design week italian fashion house marni has opened their showroom to the public during milan design week to showcase their new furniture collection influenced by colombian culture. last year the vast space was transformed into a fruit market mimicking the ones in bogotá, and colombia has been referenced once again with the exploration of the ancient dance of cumbia. the traditional circular skirts worn by the dancers have been made suspended in a circular organization image © designboom ‘marni ballhaus’ sees the traditional full circular skirts worn by cumbia dancers and the knotted scarves worn by the men reinterpreted and reproduced in iconic marni fabrics. suspended in a circular formation, the floating skirts serve as a vibrant backdrop to the live performances of voice, music and dance celebrated throughout the week. two cumbia dancers stand in front of the installation image © designboom additionally, new home furnishings including lamps, loungers, chairs and bags – all fabricated using marni’s signature colored hand-woven PVC cord – have been displayed around the space. the limited edition items have been made in colombia by a group of women who have gained independence and freedom through work. the items in limited edition have been made in colombia by a group of women image © marni the furnishings are made of metal, wood and hand woven PVC cord image © designboom the bright and colorful skirts are available to purchase image © marni cumbia dance performances will take place throughout the week image © marni 2016-04-15 12:17 Natasha Kwok

8 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-04-15 14:48 GDUSA Staff

9 ingenhoven architects plans to build two towers in tokyo ingenhoven architects reveals plans to build two towers in central tokyo (above) toranomon project, tokyo / competition proposal image all images courtesy of ingenhoven architects german firm ingenhoven architects has revealed plans to build two towers in tokyo’s toranomon district as part of a new business and lifestyle precinct. a 185 meter-tall office structure and a 220 meter residential building will flank both sides of the existing ‘toranomon hills mori tower’, which stands at a height of approximately 250 meters. once complete, the taller of the two new towers will form tokyo’s highest residential building. lushly planted pedestrian decks fan out from the central tower forming a stepped urban landscape. rooftop plantation helps reduce urban heat island effect, while creating a shared garden for businesses, residents and visitors. the concept for both towers is a shared architectural vocabulary of horizontal ledges. these shelves help shade the fully building’s glazed façades and balance a desire for maximum daylight with energy performance requirements. terraces and decks provide public landscaped areas for recreation, activity or relaxation, and seamlessly merge with the horizontal ledges of the upper floors. the integration of green space on multiple levels not only adds external areas, but also reduces air pollutants and enhances the microclimate. carefully positioned waterfalls reflect natural light and enhance the urban soundscape through the sound of moving water. an inviting visual transition between inside and outside characterizes the office tower toranomon project, tokyo / competition proposal image the decks also allow for an uninterrupted connection between buildings, creating a multi-layered urban landscape of lush greenery and public space. the design of the two towers seeks to enhances the overall identity of the urban precinct while simultaneously fulfilling the diversity of functional requirements. while the façade design plays an important role in the office tower’s overall energy efficiency, other green technologies include: high-performance glazing, rainwater harvesting, photovoltaic panels, and high-efficiency lighting. both towers are slated for completion in 2019. earlier this week, OMA unveiled plans to construct a mixed-use tower as part of the development. the lower decks of the office tower create several areas for exchange and movement toranomon project, tokyo / competition proposal image 2016-04-15 11:30 Philip Stevens

10 Glasgow International 2016 Glasgow, a Macintoshian architectural pearl in the Scottish Lowlands, is a city stippled by its histories of trade and manufacturing — a perfect representation of the effect of a globalized capitalist trade on local communities. The city rose to prominence and wealth in the nineteenth century with the success of its textile production and shipbuilding under the Industrial Revolution, resulting in abundant architectural growth and grid-structured urban planning. However, with the closure of many factories, the city eventually suffered a decline and widespread poverty, now visible in the impressive amount of empty and repurposed warehouse space around the city. These processes of value-generation, and the central place of labor conditions within these discourses, were explored in the curated program of Glasgow International , the twelve-day biennial arts festival now in its seventh edition. Glasgow International At the main site, in the vast exhibition spaces of the former tram depot Tramway in the south of the city, a five-person group show explored the histories of Fordist and post-Fordist female labor. Amie Siegel’s documentary video piece Provenance documented with poetic precision the globalization of the furniture trade through the depiction of a factory in Chandigarh, India. This nicely mirrored Mika Rottenberg’s tactile cinematic video pieces in another room, one of which interspersed surrealist Jeunet-and-Caro-like images of a macabre underground human manufacturing line with a pensive but equally forceful depiction of female South Asian rubber plantation workers. It was surprising how successfully the labor histories of Glasgow, so specific in their historical and geopolitical context, could be extended with relative ease to worlds far beyond it, highlighting how the value-generation of art itself operates through post-Fordist chains of global trade. In recent years, Glasgow International has become a prominent and important destination for the touring art world — particularly with the arrival of curator Sarah McCrory (previously at Frieze Projects). As discussed eagerly in the opening days, many artists and art professionals from London find in Glasgow a more affordable and less market-driven environment to develop their practices. A few galleries, including the five-year-old Koppe Astner, have installed themselves in run-down but picturesque townhouses around the city. The famous Mackintosh-style art school, long hailed for having produced Scotland’s best artists, remains the center of this scene, even after surviving an extensive fire in 2014 that saw all graduate work and an important architectural cultural heritage go up in flames. Here, Marvin Gaye Chetwynd presented on Thursday night her most recent performance with the collective “ad hoc theater group” MEGA HAMMER (a lot of glow paint, some obscure crooning and a lot of art students in costume). More successful was Cosima Von Bonin’s pleasant impro-gay house vocalization at the opening of her exhibition at the palazzo-like GoMa (Gallery of Modern Art) earlier that evening. Her sculptural work takes up quilting and pairs it with a Pop-art sensibility to discuss the gendered histories of popular culture and craft — specifically Bavarian stuffed sea animals riding phallic rockets and occupying voguing ballrooms. Upstairs, Tessa Lynch proposed a less masculinist version of psychogeography with her sculptural abstractions of objects encountered on her daily commute. Beyond the curated program, there were some really fantastic exhibitions across the city that further cemented Glasgow’s institutional significance. At the Center for Contemporary Art, a large exhibition showed recent work by Finnish artist Pilvi Takala, who immerses her performance practice so deeply in the banality of everyday life that it almost vanishes. Her most famous piece, The Real Snow White , captures on hidden camera the escalation of events as Takala, dressed in an impeccable Snow White costume, is denied entrance to Disneyland Paris due to “issues of authenticity.” As a growing hoard of amazed children flock around the princess/artist, and a security guard tries to explain that “the real Snow White is already inside,” the ubiquitous but invisible codes of human conduct are exposed. However, in Broad Sense , wherein Takala navigates the strict security measures of the European Parliament building, the artist poignantly addresses larger themes of accessibility, institutionality and the aesthetics of modern democracy. In the Montmartre-like quarter at the top of Kelvingrove Park, the nonprofit space The Common Guild showed the work of Lebanese artist Akram Zaatari, who pairs sexual desire with archive theory. Zaatari personifies the vast virtual archive of Internet pornography through delicate drawings of Xtube video stills — and in another piece, inversely tells the story of a personal love affair through a meticulous process of self-documentation. From derelict warehouse spaces to fully operational public libraries, Glasgow International engages the city on its own idiosyncratic terms, imaginatively responding to the thematics and histories embedded there. by Jeppe Ugelvig 2016-04-15 10:44 Francesco Vezzoli

11 Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe. Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth #405; as the fair celebrates its sixteen successful year this summer July 7th to 10th, 2016, when galleries from around the world will once again offer an outstanding overview of modern and contemporary art. Designated as one of UNESCO’s Creative Cities, Santa Fe is a globally familiar art destination. The city claims the second largest art market in the United States, and draws scores of national and international visitors. The Wall StreetJournal’s Smart Money magazine recently noted: “Santa Fe is dotted with 240 art galleries, and is the home of ART Santa Fe, an international art fair that attracts buyers and tourists from around the world. The Santa Fe art scene is one of the best you will find anywhere.” The Gallery will be showcasing a selected group of contemporary artists curated by Silvia Medina, Chief Curator, that includes as Invited Artist Kelly Fischer, Switzerland, with her master piece, “Horizon”, honoring the theme of the Fair; Robin Apple, USA; Rosario AESTUS Vigorito/Italy; Rajvi Dedhia Unadkat/India; Eliel Perez/Puerto Rico; Miquel Salom/Spain; Ileana Collazo/USA; and the unique Kinetic Sculptures of Gary Traczyk/USA-among others. Well-established artist, Jorge Cavelier/Colombia, will present a curated project by Ms. Medina and Linda Mariano member of the curatorial team of Art Santa Fe titled, “Horizon”, for which he will create an imaginary forest with his murals. The media sponsors for Contemporary Art Projects USA are: Smiley Stones, Conexiones Publications, Art and Beyond Magazine, Art Daily News International Magazine, Art Miami Today, and Avior Magazine. So, join us this summer for Art Santa Fe 2016 alongside an illustrious line-up of art lovers and high-net-worth collectors with average household incomes of $200,000+! For More Information, please contact: Contemporary Art Projects USA Tata Fernandez, Director 786-262-5886 [email protected] www.contemporaryartprojectsusa.com 2016-04-15 10:37 Leticia Del

12 Malian Photographer Malick Sidibé Dies at 80 Known for his street scenes and studio shots that render a portrait of post-colonial Mali, photographer Malick Sidibé has died at 80 years old, according to the Mail & Guardian. An exhibition of vintage and recent works is on view through April 23 with his New York dealer, Jack Shainman. He was the first African and the first photographer to win the Golden Lion for Lifetime Achievement, on the occasion of the 2007 Venice Biennale, “Think with the Senses Feel with the Mind," curated by Robert Storr . Good photographers, Sidibé told the Guardian in 2010, need "a talent to observe, and to know what you want. You have to choose the shapes and the movements that please you, that look beautiful. " They must also, he said, be “friendly, sympathique. It's very important to be able to put people at their ease. It's a world, someone's face. When I capture it, I see the future of the world. I believe with my heart and soul in the power of the image, but you also have to be sociable. I'm lucky. It's in my nature. " Among the distinctions he earned are the International Center of Photography Infinity Award for Lifetime Achievement in 2008 and the Hasselblad Foundation's annual award in 2003. “Malick Sidibé has documented an important period of West African history with great feeling, enthusiasm and commitment," said the Hasselblad Foundation . “In his portraits and documentary photography, he has uniquely captured the atmosphere and vitality of an African capital in a period of great effervescence. " While Sidibé was comfortable in his role as documentary photographer, he struck out into new territory in the last decade and a half with his Vue de dos series, in which he takes on the genre of the female nude at Jack Shainman Gallery. The artist's work is included in numerous public collections throughout the US, from the Museum of Modern Art and the Metropolitan Museum of Art in New York to the Getty Museum, in California, as well as noted private collections such as that of German-American collector Artur Walther . Follow artnet News on Facebook. 2016-04-15 09:41 Brian Boucher

13 Amanda Ross-Ho on OMEGA and Her Creative Origins — Amanda Ross-Ho on OMEGA and Her Creative Origins — Channel — Walker Art Center For her contribution to Ordinary Pictures , Amanda Ross-Ho worked with movie industry prop fabricators to create a large-scale, hand-made replica of the photo enlarger she remembers her parents, both artists, using when she was a child. Titled OMEGA (2012), it represents the origins of her creativity: “From a very young age I had access to the idea of manipulating something— not just taking a photograph, but scaling it, manipulating it, dodging and burning, and really producing a picture.” 2016-04-15 07:45 www.walkerart

14 Morning Links: Edward Snowden’s Techno Song Edition Edward Snowden. VIA WIKIMEDIA COMMONS UNEXPECTED CREATIONS Edward Snowden has partnered with electronic artist Jean-Michel Jarre to co-produce a “techno” song for the musician’s upcoming album, after The Guardian put them in touch at Jarre’s invitation. [Business Insider] Artist Cornelia Parker has recreated the house from Hitchcock’s Psycho on the roof of the Met. [Wall Street Journal] PACIFIC COAST Theaster Gates is now represented by Regen Projects in L. A. [The New York Times] Siyuan Zhao, who infamously stabbed another woman at Art Basel Miami Beach last year because she thought she was working with ISIS, will be deported to China. [New York Daily News] Hong Kong’s Tiananmen Square Museum is closing after a legal dispute. [BBC] OVER IN EUROPE Grocery billionaire Stein Erik Hagen has opened his art collection to the public. One of the largest private collections in Norway, Hagen is allowing The Norwegian National Museum of Art, Architecture and Design (Nasjonalmuseet) to go through his 2,000-piece collection of Nordic and Northern European art (estimated at $120 million) to pick out anything it wants. [Forbes] The Kunstmuseum Basel, which will reopen this Sunday, will start with a rare show of Jackson Pollock’s figurative works. [The Art Newspaper] LITERATURE Hilton Als on Maggie Nelson’s poetry. [New Yorker] 2016-04-15 08:54 The Editors

15 15 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson , an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York- based foundation has announced. Johnson is one of approximately 200 creative artists, natural scientists and humanities scholars to land the prestigious mid-career honor out of approximately 4,000 applicants. Guggenheim winners get varying amount of funding, which helps to support their work over a period of six months to a year. Johnson, who has performed at Walker Art Center and Northrop, among other venues, is one of several Twin Cities-connected winners. Writer Paul Lisicky , whose books include “Lawnboy,” “Famous Builder” and “The Narrow Door,” is published by Minneapolis-based Graywolf Press. Poet Sally Keith , also a Guggenheim winner, is published by Milkweed. And poet Stephen Burt , who now teaches at Harvard, is a former Twin Citian. The long list of fellowship awardees has some august names, including theater-maker Anna Deavere Smith , choreographer Camille Brown and photographer Lyle Ashton Harris . 2016-04-15 07:39 www.startribune

16 lagranja renovates century-old istanbul brewery into the populist lagranja renovates century-old istanbul brewery into the populist all images courtesy of lagranja spanish design firm lagranja was given the special privilege of rehabilitating one of turkey’s first breweries, opened by the bomonti brothers in istanbul a century earlier. with just under 2,000m2 of space, ‘the populist’ is a craft brewery and eatery with a disobedient atmosphere motivated by political rebellion and local culture. ‘the populist’ creates a unique narrative, which is woven through an amalgamation of art, graphic design, and décor. drawing primarily from prohibition-era USA, walls, menus and design details bring the past to life. in addition, a large photography series portrays istanbul’s multi-cultural residents. original brick and mortar tank converted into an indoor balcony the restaurant and bar’s three floors are organized into six functional areas. each possesses its own personality that works as a component of the larger space. as many original details as possible were retained within the 100 year old building. improvements add a new sense of character, but like its concept, doesn’t forget its history. an eight meter spiral staircase connects the first and second floors graphics and photography tie the space to the narrative: disobedience lead by the crowds 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. 2016-04-15 08:45 Lagranja Lagranja

17 A Narrative for the Body: Shahryar Nashat’s Present Sore Artist Shahryar Nashat recently made Present Sore (2016), a composite portrait of the 21st-century body mediated by substances both organic and fabricated. In this new interview, Walker Bentson Moving Image Scholar Isla Leaver-Yap and Portikus curator Fabian Schöneich ask Nashat what drives his work—the politics of the body, its digital and physical augmentations, and its obsolescence. Present Sore is presented on the […] 2016-04-15 07:03 By

18 See What sold at Art Cologne 2016 There were some clear winners at Art Cologne this year. Sales at this slow-burner fair usually take place all throughout its duration, with local collectors—well-informed and knowledgable, as they are often described by the dealers who come here—in the habit of mulling over any big decisions. At Art Cologne, unlike in the bigger fairs across the border, they can take their time. Nevertheless, some galleries saw a buying frenzy during preview day and opening night which left gallery managers scrambling for smart last-minute rehangs. "We're on fire," said Sarah Miltenberger of König Galerie. By the middle of preview day, the gallery had placed almost everything at the booth with collectors, including a drawing on canvas by Tatiana Trouvé from her recent show at the gallery that went for €70,000; a mirror sculpture by Alicja Kwade for €75,000; works by Jorinde Voigt for €30,000; two new works on canvas by Paul Czerlitzki, which went to the collection of the Bundeskunsthalle for €30,000 each; and a painting by Katharina Grosse for €60,000. Gallerist Johan König, a Berlin-based dealer who originally hails from Cologne, was among the Berlin dealers who spoke out against the change in dates planned for next year's Art Cologne. Pushing the fair to the end of April in 2017 would mean a clash with the schedule of Berlin Gallery Weekend, the most important date for the German capital's dealers, who see a concentrated week of handsome sales, minus the cost of shipping and travel to international fairs. “If both dates clash, and it came to deciding between Gallery Weekend and Art Cologne, I would —even as a native of Cologne—try to convince our clients in the Rhine region to come spend a weekend in Berlin," König told the German magazine Monopol last month. However, considering the flurry of sales made within the first few hours of the fair, it remains to be seen whether the gallery would really skip next year's participation. (Although working together with others is not something Berlin is generally very good at, Art Cologne's director Daniel Hug assured the press that an agreeable solution might still be for both parties). Works by Katharina Grosse also performed well at the booth of Vienna's Galerie nächst St. Stephan. Dealer Rosemarie Schwarzwälder, who received the 2014 Art Cologne prize from the federal association of German galleries and art dealers (BVDG) and the Koelnmesse, was extremely happy with the first day at this year's Art Cologne. “Art Cologne is so successful because of the personal relationships that we have built up with collectors and institutions for so many years," she stated. Within the first hours, Schwarzwälder sold a work on paper by Grosse ( Untitled , from 2006) for €28,500; a small canvas by the artist, also untitled, from 2014, for €49,000; two works by Romanian artist Daniel Knorr , from his "Depression Elevation" series, ranging from €30,000- 37,000. The gallery's young addition to the roster, Sonia Leimer , has been performing well ever since her first outing at the Vienna Contemporary art fair last fall, and her chair-like sculptures— made of an iron beam and a cushion covered in textiles from the former Eastern Bloc—sold here too, for the friendly price of €4,300. The gallery's main attraction, however, a towering 4 meter by 8 meter canvas by Grosse (pictured above) was still available on day two of the fair. Raimund Thomas, this year's winner of the Art Cologne Prize and a founding member of “Kunstmarkt Köln"—the first art fair founded in 1967, out of which Art Cologne was born—has participated in every single iteration of the fair. To mark the fair's golden anniversary, the gallery —presenting on the level dedicated to modern and postwar art—conceived of a unique display focusing on small-format works that convey the entire spectrum of their artists, from Emil Nolde , Alighiero Boetti, Nam June Paik, and Marc Chagall ( L'homme au parapluie , priced at $1,25 million) to the gallery's youngest artist, Simon Schubert. The elegant arrangement attracted collectors like bees to honey, and on opening day, the gallery sold various works for €20,000. But it wasn't only the veterans who did well on opening day. On the fair's third level dedicated to young galleries, the very young London gallery, Evelyn Yard, founded less than two years a go, sold out an entire solo presentation of works by Ry David Bradley. Using the Periscope app, the 32-year-old artist captures portraits which he transfers to synthetic suede. But in the series shown here, rather than fixing the lush material, the artist left the suede pliable, and visitors could take a sponge-topped brush and make patterns in the fabric, which could then be brushed back to its neutral position. Priced between £3,500 and £5,500, all works on view sold out within hours. Back on the second level with its established contemporary dealers, Hauser & Wirth reported sales of two editions of Richard Jackson's neon work, Ain't Painting a Pain (2012), priced at $75,000 each, and Jackson's acrylic painting The Men's Room/The Trophy Room (2004), which went for $55,000. The gallery's eye-popping booth drew a crowd for its site-specific wall painting by Jackson, and two museums showed interest in acquiring the work. Further down the aisle, Pearl Lam Galleries ' booth emphasized a strand of abstraction rooted in Taoism, Confucianism, and Buddhism. During the preview of the fair, the gallery sold Korean artist Chun Kwang Young's Aggregation 11 – AP030 Blue and Red , (2011) for $160,000. Paintings are indeed favored at Art Cologne, and even the galleries on the second and third floors, expected to be more daring, played it safe and focused their offerings on two- dimensional art that goes on the wall. Berlin gallery Klemm's managed to make the most of it with a well-curated juxtaposition of works by Viktoria Binschtok and Bernard Piffaretti. Binschtok's work-process is rooted in the visual results spat back at her by image search algorithms, from which she creates clusters of intriguing formal repetitions and variations. Piffaretti's practice has always been to divide his canvases in half, paint one side, and replicate the result on the other. Buchmann Galerie showed an early wall-work by Tony Cragg (pictured above) which was still available on day two of the fair, priced at €180,000. Cragg is opening a show at the Von der Heydt-Museum, Wuppertal, this coming Sunday, and this being a slow-burner fair—with collectors flocking to Cologne form the neighboring Benelux countries and Switzerland on the weekend—it still stands a good chance of changing hands. However, collector Alain Servais opined that the halt in sales after preview day was due to the auctions taking place in London at the moment. "If you're a serious collector" he said, "you'd compare and see that some artists offered here sell for less at auction. " But is the cooling off in sales at art fairs really a result of competition from auction houses, rather than other fairs? What you don't get at auction (not yet, at least) is a private naked tour. After artnet News' roving correspondent Kenny Schachter faced a naked dilemma at Art Cologne , artnet News got in touch with Cologne-based journalist Stefan Haase, who was one of the three participants in Australian artist Stuart Ringholt's naturalist morning stroll through the aisles. "It was just me—a journalist—the artist, and one visitor, all male" Haase told artnet News. "It was very special, though. You realize that your face is your dress, and you only focused on the others' faces," he described. Although the tour took place this morning before opening hours, the textile- less troupe was surprised to find art fair staff on location. "One woman came out from behind a door, saw us, and turned right back around," Haase told us. As soon as initial inhibitions were left behind, the naked tour turned out to be an exhilarating experience. "You feel a breeze pushing you through the fair," Haase described. "I felt like I were floating through the aisles. " 2016-04-15 07:44 Hili Perlson

19 joseph sarafian & ron culver explore concrete casting with fabric forms architects joseph sarafian and ron culver, following a technology seminar with julia koerner, took their new found knowledge and applied it to an experimental project, ‘fabric forms’. the work questions conventional casting methods, which requires a static mould to be made for the repetition of each part. utilizing two 6-axis kuka robots and fabric lycra sleeves, the duo developed a method that’s enables quick prototyping of various parametric geometries. following pouring the fabric sleeve is stripped away, and the robot can be re-oriented to accommodate the following parameters. once cast, pieces are connected using a 3D printed node and bolt. ‘fabric forms’ is an ongoing project by sarafian and culver. currently, the duo is attempting to enlarge the technique to achieve building-scale elements such as façades and architectural structure. sarafian and culver give special thanks for continuous help and direction from julia koerner and peter vikar at UCLA. 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. 2016-04-15 06:45 www.designboom

20 35 Relatives of Da Vinci Tracked Down in Italy After 43 years of research, Italian historians claim they have found the living relatives of Leonardo da Vinci, including the film director, and Academy Award nominee, Franco Zeffirelli. Alessandro Vezzosi, director of the Leonardo da Vinci Museum, and Agnese Sabato, president of the Leonardo da Vinci association, say they have tracked down 35 indirect descendants of the Renaissance master—despite the fact that his remains have been missing since the 16th century. That meant there was no means for Vezzosi and Sabato to perform DNA tests, so they had to trawl through paper records dating back to the time of da Vinci's birth. “Leonardo's descendants are all living around Florence and nearby villages such as Empoli and Vinci," Vezzosi told Discovery News . They started with a record of the birth of a boy by da Vinci's grandfather Antonio, with his son Ser Piero listed as the father but no mother's name given. Although in note written by Antonio, dated 1457, she is named as Caterina, wife of Achattabriga di Piero del Vaccha da Vinci. “We checked documents and tombs as far as France and Spain in order to reconstruct the history of Leonardo's family," Vezzosi told Discovery News . “We even found a unknown tomb of Leonardo's family in Vinci. " Due to the disappearance of his remains, it was previously thought that there was no way to track down da Vinci's relations, and those named as such were only informed of their connection to the genius polymath days prior to a press conference to announce the results. Of these, the most famous living descendants of da Vinci is indeed Zefirelli—the director and producer of operas, films, and television shows, best-known for his superb 1968 film adaptation of Romeo and Juliet. Vezzosi and Sabato also discovered an architect, a policeman, a pastry chef, an accountant, and a retired blacksmith. “I heard this story about our da Vinci's blood from my mother, but our family believed it was a legend," Giovanni Calosi, one of the descendants, told Discovery News . “We never gave any importance to those documents, which were lost and sold. What we thought was a legend passed down through generations turns out to be the truth," said Calosi, who began collaborating on the project with Vezzosi nine years ago. Follow artnet News on Facebook. 2016-04-15 06:38 Amah-Rose

21 Emilio Pettoruti's Futurist Headache THE DAILY PIC (#1529): To end this week's “visit" to Argentina, here's a self-portrait painted in 1918 by Emilio Pettoruti, from the permanent collection of the National Museum of Fine Arts in Buenos Aires. Pettoruti lived in Italy for 11 years from 1913, and then became a crucial transmitter of European avant-garde ideas to his native Argentina. (The art historian Lauren Kaplan has a nice essay about his Italian visit.) A lot of Pettoruti's pictures come off as frankly tame derivations from Picasso. This self-portrait, however, strikes me as having an almost Surrealist edge, before Picasso himself had got there. Rather than simply echoing the moment's advanced art in its surfaces, it seems to capture Pettoruti's own deep reaction to the avant-garde culture he encountered. It's about his undoing and remaking by the cutting edge. After visiting a Futurist show in Florence in 1913, Pettorutti wrote that “I left the exhibition with a splitting headache and experienced a spiritual turmoil difficult to explain. It was as though everything were spinning inside. " Although painted five years later, this picture seems to recall that moment. For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-04-15 06:00 Blake Gopnik

22 Rome Retrospective Celebrates Alphonse Mucha’s Art Nouveau Legacy Related Venues Complesso del Vittoriano Artists Alphonse Mucha The first retrospective dedicated to the Czech artist and Art Nouveau icon Alphonse Mucha has opened at the Vittoriano – Ala Brasini in Rome, under the auspices of the Istituto per la storia del Risorgimento italiano and the patronage of Regione Lazio and Roma Capitale. Born in 1860 in Ivančice, a town in southern Moravia then under Austrian rule, Alphonse Mucha became one of Europe’s most renowned artists in the late 19th and early 20th century, with his unique style establishing him as the pre-eminent exponent of French Art Nouveau. Characterised by its soft lines, floral forms, and plant motifs, the Art Nouveau artistic movement blossomed in the Paris of the Belle Époque before spreading throughout Europe. In its early days the movement was known as “Le style Mucha,” such was Mucha’s influence. Mucha’s combination of images of seductive women with innovative typographical compositions and layouts gave birth to the new genre of visual art. His original poster designs, for which he is best known, were chosen for all the major advertising campaigns of the time. “ Alphonse Mucha ” at the Vittoriano – Ala Brasini brings together more than 200 works, including paintings, posters, drawings, decorative works, jewelry, and preparatory drawings of the vessels of the Fouquet Boutique. The exhibition traces the artist’s entire creative trajectory, presenting his different stylistic nuances and spheres of action through six thematic sections: The Bohemian in Paris, The Creator of Images for the General Public, The Cosmopolitan, The Mystic, The Patriot, and The Artist-Philosopher. Highlights include his iconic poster “Gismonda” (1894) for the superstar Sarah Bernhardt, works associated with the 1900 World’s Fair, and ten preparatory studies for his “Slav Epic,” a colossal series of twenty canvases measuring six by eight metres that recount the major events in Slav history. Ending the exhibition is Mucha's last project, the triptych of “The Age of Reason, The Age of Wisdom and The Age of Love,” which was conceived as a monument to mankind as a whole, presenting reason, wisdom, and love as the three key principles of humanity. “ Alphonse Mucha ” reveals “a multi-faceted and versatile artist as well as a great experimenter with different styles and approaches, firmly convinced that the value of art derives from reflection that does not refer exclusively to the aesthetic sphere but rather finds completion there.” Curated by Tomoko Sato, curator of the Mucha Foundation, and organized and produced by Arthemisia Group in collaboration with the Mucha Foundation, the exhibition is at the Vittoriano – Ala Brasini in Rome until September 11, 2016. 2016-04-15 05:44 Nicholas Forrest

23 Following Model Frederikke Sofie Through NYFW More Articles By At only 19 — two years after being discovered in her native Copenhagen — Frederikke Sofie has caught the attention of designers and casting directors with her natural curls and effortless style. She’s already appeared in numerous issues of Vogue and i-D; nabbed Céline and Zara campaigns, and recently walked a slew of top shows for fall including Chanel , Givenchy , Versace , Céline and Michael Kors. But New York Fashion Week was special for a different reason: “It was my birthday on Feb. 15, right in the middle of shows, plus my family and a few close friends were in town,” Sofie said. “It was really great…celebrating my birthday alongside the fashion parties.” As for what she never left the house without: “My cigarettes, my phone…and a big smile, of course.” 2016-04-15 04:01 Kristi Garced

24 josé quintela turns ordinary parked vehicles into surreal tiny cars with the help of instagram’s layout application, lisbon- based copywriter josé quintela turns ordinary parked vehicles into surreal tiny cars. while strolling through the city streets, quintela collects photos of a wide variety of cruisers ranging in shape, size and model, which he finds parked in front of both decorative and simple building façades. then, using the layout app provided by instagram — a program which allows users creative control over the style and format of their photos — quintela mirrors the image of the car at its middle, condensing it into a miniature vehicle. while the recreated automobiles lose their drivability and functionality as they teeter on a single wheel, their humorous shapes and quirky configurations form amusing and bizarre spectacles on the streets of lisbon. 2016-04-15 04:01 Nina Azzarello

25 Marni’s Consuelo Castiglioni On Design and Success More Articles By Consuelo Castiglioni marches to the beat of her own drum — one that she has mastered for more than 20 years for her Marni line. Just as the revolving door of designers at other brands continues to spin around her and the industry grapples with the notion of see-now-buy-now collections, Castiglioni’s fashion epitomizes the seasonless trend many of her peers are beginning to embrace. “Either you love or you hate Marni. Those that first approach it always loyally come back, perhaps because there are no seasons, you don’t throw pieces away, you keep them and wear them again,” the designer explained in her soft-spoken way as she tried to explain the resilience of the brand. Castiglioni is wearing a white blouse from her fall 2015 collection over wool gabardine, wide-leg pants in a hazelnut hue, and her staple “fussbett” [“footrest”] shoes, a term that refers to the practical sandals she loves to design — and wear. With a self-effacing grin, she said she still marvels whenever she sees anyone wearing one of her designs, and timidly confessed to a frisson of pleasure and pride. Much has been said of the designer’s reserve, as interviews are few. Flanked by her daughter, Carolina, and her husband, Gianni, seated on a green Gio Ponti velvet armchair, in their beautiful and warmly inviting apartment in central Milan, the designer opened up about her fashion and her family, her passion for art, theater and traveling. Two colorful Takashi Murakami artworks — gifts from her Japanese artist friend — stand on an alpaca rug designed by Castiglioni. The apartment is colorful, lived-in, with furniture that has a Fifties and Sixties mood — sometimes vintage, from flea markets including London’s Camden Town — and peppered with paintings by artists such as Alberto Burri and Ellsworth Kelly. The spacious living room overlooks one of Milan’s so-called “secret gardens” hidden behind the austere facades of the city’s stately buildings, its windows open on a balmy spring day. Photos by another artist friend, Cindy Sherman, are displayed on a dark library, near a large vase. Decorating the apartment was “instinctive,” said Castiglioni — the same adjective she uses to describe her fashion. “I don’t sit down and map out a collection.” To wit, asked to go over images of her fall runway show, she pointed to the first look out: a white blouse with puffed sleeves under a long brown cape with the front cropped above the waist, over forest-green ski pants with a wide waistband and big, high-contrast buttons. Castiglioni explained that the collection evolved from that one design. “The starting point was the volume, the materials and the contrasts, we wanted to do something different, with these sleeves, but with this severe silhouette there is a new romanticism,” noted Castiglioni, conceding that viewers also made references to the Renaissance. She carefully described each look with a few words, at times even caressing the photos as if to feel the fabrics. To be sure, her predilection for exclusive materials is palpable. “We do a lot of research on fabrics — it’s very thorough — and on finishings, too.” She remarked on the bows, which she sees as “the more feminine touches,” and the capes. “I’ve always liked them, and these are more particular, perhaps. With the buttons on the shoulder, they look more modern.” The prints in the lineup were based on the American art scene in the Fifties, including one that “many saw as harlequin.” Asked if she views this description as incorrect, the designer shrugged, “I’m used to it now.” At one point, even she struggled to define one of the prints, admitting to “different interpretations,” almost inviting a personal take — à la Rorschach test. In its review, WWD called the collection “masterful” and “incredibly chic,” and retailers heaped praise on Castiglioni’s designs after the show. Asked for a possible reason for this particularly positive feedback, Castiglioni simply responded: “I don’t know, I also asked myself the same question. Perhaps because it’s very feminine. Or because it has a very clear message. All of the collection had a precise identity. The message must be clear, there’s so much out there.” Indeed, the collection was consistent with Marni ’s aesthetic, yet daring at the same time, and, as Gianni Castiglioni noted, it was “elegant.” “I don’t follow trends. It’s what I like. It’s our way of working,” the designer underscored. She usually speaks in the plural form when speaking of the brand, to include her close-knit team of seven designers (and three for men’s wear). Castiglioni credited her instinct, “what you like at the moment,” without agonizing over commercial concerns. Beneath her understated demeanor, one senses strength of character and an independent spirit. “I do listen to [merchandising] unfortunately, but only up to a certain point, otherwise [the collections] become banal if you follow what the commercial office wants. I logically listen to the demands of the market, especially from our stores, but one [should proceed on one’s own path],” she said. The image of a dress with baguette sequins embroidered on a men’s fabric, prompts a question on a hot topic, given that the interview takes place a day after Gucci revealed it would unify its men’s and women’s shows starting in 2017. Would Marni consider this option? “No, I have never taken this into consideration. For Gucci it works,” said Castiglioni. For Marni, “the taste, the way of seeing things is the same but in men’s you can’t be too decorative. A man is man, and a woman is woman with her more feminine details and decorations. With men’s, [you must design] something particular but credible.” “It also depends on the message,” added her husband, who is president of the company. “Ours is different, and the message is fundamental when you see so many collections.” “And to combine the two is very heavy, really, in addition to perhaps diluting or distracting from one or the other,” the designer concluded. The Castiglionis are equally resistant to the see-now-buy-now option. “No, absolutely, it’s not what we want to do. Marni is aspirational, you must dream about it,” said Gianni. “It’s also an organizational problem and it’s not realistic for us. It would work if you are a retailer. You need to have stock.” The company today counts 60 stores. Marni’s first season, launched in 1994, was a fur collection, meant to diversify the production of Gianni Castiglioni’s family company, Ciwifurs, a storied fur licensee for several designer brands. “We wanted to do something that would be ours, and retailers, from Joyce to Browns, started asking for apparel to go with the furs, and then accessories, and so on,” said the entrepreneur of the brand’s evolution. Marni is now controlled by Renzo Rosso’s OTB, parent group of Diesel, Maison Margiela and Viktor & Rolf, as well as manufacturing arms Staff International and Brave Kid. In 2015, Marni revenues grew 15.4 percent to 150 million euros, or $166.5 million, compared with the previous year. While the Castiglionis believe the runway shows are meant for the industry — retailers and the press — they have been opening special events to the public. “We’ve always wanted to do this,” said the designer. “The idea is for a wider public to get to know Marni, we don’t want to keep [the brand] closed for a limited number of people, but allow everyone to participate,” said Carolina Castiglioni, director of special projects. Examples include the Flower Market, part of the company’s 20th anniversary celebrations that kicked off in September 2014, and the “Becoming Marni” event in collaboration with Brazilian artist Véio at the Venice Biennale last year. During Milan’s furniture and design trade show Salone del Mobile this month, Marni will transform its multifunctional space into a ballroom named Marni Ballhaus, inviting visitors to discover Cumbia, an ancient Colombian dance. For the occasion, Marni will customize the traditional full skirts worn by Cumbia dancers and the knotted neck scarves worn by the men. At the same time, the company will present its new home collection: chairs, chaise longues, small tables, lamps and vases made of metal, wood and hand-woven PVC cord in brilliant color combinations, all made in Colombia by a group of women who achieved personal independence through their work. A portion of the proceeds from the sale of these items will be donated to the Vimala Association, which supports numerous children’s projects, and is dear to the Castiglionis. This event follows the launch of Marni’s eyewear in February with the “Looking For Marni” theater event, marking a deeper interest for the performing arts. The dreamy pièce was inspired by Oskar Schlemmer and the Bauhaus movement with dancers wearing Marni costumes and eyewear produced by Marchon. The success of the events caught the Castiglionis by surprise. “Why are they so popular? Maybe because they are special and different but also very accessible — one feels at ease,” observed Carolina. The designer has also been developing another project. She has tapped artists to photograph her ad campaigns, first the Anglo-American Jackie Nickerson, followed by Tom Hunter for this spring season. Castiglioni is relying on another artist for the fall campaign, but remains mum on the name and details ahead of the shoot. “They are not fashion photographers and the idea is to eventually set up an exhibition of all their images,” she said. Developing the Flower Market theme, the Marni Flower Café opened in March in Osaka, carrying special branded products, such as lunch boxes, in line with the first theme: the picnic. The designer, who flew to Japan for the opening, said traveling has always been important for her work. “I remember when I went to Bhutan around two years ago, I came back with lots of good ideas. You could see how the sleeves from the summer collection [following the trip] reflected that inspiration,” she said. Consuelo was born in Lugano, Switzerland. Her grandmother hailed from Chile, but she regrets never having had the opportunity to travel to that country — yet. “There are thousands of places to see, so many exhibitions to see, but there is so much work to do…” she trailed off with a smile. 2016-04-15 04:01 Luisa Zargani

26 Gagosian Shows Klein and Giacometti Together - artnet news On April 27, Gagosian London will launch a historical exhibition which will pair key works by Alberto Giacometti and Yves Klein for the first time ever. The show, titled “In Search of the Absolute: Alberto Giacometti and Yves Klein " has been curated by the art historian and director of the Hunter College Galleries Joachim Pissarro. The exhibition borrows its title from an essay on Giacometti by Jean-Paul Sartre, in which the existentialist philosopher described the artist's sculptural figures as “always mediating between nothingness and being" and stated that Giacometti was “forever beginning anew. " Though Giacometti and Klein were working within a mile of each other in Paris in the 1950s and early 1960s, few immediate connections can be made between the withering bodily forms of Giacometti's sculptures and the bold, blue presence of Klein's works. In fact, except for a shared interest of the use of the human body as subject matter, found both in Giacometti's sculptures and in Klein's Anthropometries, there is little visual association to be made between the works of the two artists at all. Where Klein and Giacometti do overlap, however, is in the origins of their work. Though the artists are from different generations (with Giacometti being born in 1901, and Klein in 1928), both worked with a constant consciousness of the calamitous effect of the Second World War on Europe's people and culture. “In Search of the Absolute" will put their oeuvres in conversation, so viewers will be able to recognize not only the differences in their artistic approaches, but also the underlying kinship in their situation. As Pissarro explains in a statement: “Both artists, rather than creating something that reflected the chaos, chose to rise above it, transforming and deciphering it into elegant, lyrical matter. " More than 25 works from each Giacometti and Klein will be featured in the exhibition, on loan from the Fondation Alberto Giacometti, the Yves Klein Archives, the Beyeler Foundation, and several private collections. " Alberto Giacometti and Yves Klein: In Search of the Absolute " will be on view at Gagosian London, from April 27-June 11, 2016. Follow artnet News on Facebook. 2016-04-15 04:00 Harlie Rush

27 Activists Interfere with Botero Sculptures A group of sculptures by Colombian artist Fernando Botero have been drawn into a large- scale protest against pollution in Medellin. The 23 sculptures—rendered in the artist's trademark style and located in Plaza Botero— have been adorned with oversized surgical masks, as if to protect them from the high levels of pollution that is currently plaguing the Colombian city. The masks placed on the works by Colombia's most famous artist are the work of environmental group Green City Collective. "We came to the place that we love the most, Plaza Botero… but which is also the most polluted part of the city of Medellin according to our sensors," Green City's Carlos Cadenas told AFP. "We designed masks for all of the sculptures and we installed them," he explained. The protestors were also promoting a forum which will take place in October in Medellin in which strategies to implement the agreements reached at the Paris climate talks in late 2015 in Latin America will be discussed. The activists also handed out real masks to passers by who, reportedly were more than happy to use them. Carmen Zapata, head of the Air Quality Laboratory at Medellin's Universidad Nacional, told AFP that there were extremely high levels of pollution in the city as result of the little rainfall caused by El Nino and a change in wind patterns. "The rainy season and public awareness are fundamental to lower the pollution indices," Zapata said. Even after a two-day car ban in April, the quality of the air is so bad that it is harmful to young people and the elderly, and those protesting are asking for solution other than simply waiting for the weather to change. Follow artnet News on Facebook. 2016-04-15 04:00 Amah-Rose

28 The Disappearing Way of Life Through Ravi Agarwal’s Lens at Gallery Espace Related Venues Gallery Espace Artists Ravi Agarwal Pushing the glass door open at the well- appointed Gallery Espace is an act in anticipation whenever an exhibition is on because the first sight that greets you as you enter, the big wall on the left, sets the tone for the show. Right now, the wall is wearing a huge poster made up of pictures of 20 dozen boat-engines, stationed on a beach on the eastern coast of India, in a small village near Pondicherry. It gives you a hint of what the exhibition of photographs by environmentalist/ photographer Ravi Agarwal , titled “Else, All Will Be Still,” is about. The wall opposite, with its individual photographs of machine parts, presumably something to do with the boat engines, adds to the suspense. But it’s not until you start descending the stairs to reach the gallery’s lower level that the weight of the title makes itself evident. The wall facing the stairs has a photograph of a catamaran – the very basic, wood structure that the smallest of fishermen must be using – seemingly suspended in blue space (which, of course, is water), and increasingly getting smaller in size from the top to the bottom frame, giving an illusion of something diminishing, or disappearing, or even, falling perilously in free space. It is titled “Ecological Manifesto.” Much later, when the photographer leads me back to the stairs to talk about this picture of a catamaran, he sums up, “It’s to signify the disappearance of the small way of life.” Agarwal’s work, encapsulated in “Else, All Will Be Still,” is the labour of two years, cataloging this ‘small way of life,’ through the daily chores of a fisherman, Selvam, in a village in the region that gave birth to the celebrated Sangam poetry in 3rd century B. C. He uses words from Sangam poetry, refering to various aspects of nature, to name the machine parts, in an attempt “to bring the two language systems together, to see how nature has now acquired the language of capital and technology,” says Agarwal. It’s interesting that the word ‘catamaran’ itself has its origin in Tamil, where ‘kattu maran’ refers to tied wood that makes up a catamaran. The primitive boat that man is using for 2,000 years now, is physicaly present in the show. Surrounded by telling pictures and videos, it makes for a powerful installation. The photographer, who is better known for environmental activism and for Toxics Link, an environmental NGO that he founded, says he had a close encounter with the sea two years ago, and it was a seminal experience which led him to explore the relationship with sea that people who live off it have with it. “It is a power-based relationship with vulnerability factored in it. The one having the power guides the whole economics. Selvam, the protagonist of this work, has a relationship of vulnerability with the sea. He is vulnerable to sea, vulnerable to coastal erosion that is far more serious than we know about it here, and he is vulnerable to global politics. An example of the latter is that he is increasingly being driven out by the trawlers. If he has to stay in the business, he has to fit his catamaran with an engine. While the former costs only Rs 50,000, the engine costs Rs 25 lakh,” says Agarwal, adding that Selvam could be a fisherman anywhere in the world whose world around him is changing. The changing world has left Selvam with a terse expression on his face, as is evident in the pictures and the videos that are a part of the show. That’s because his relationship with the sea has undergone such a monumental change leaving him with very little control over it that he doesn’t want his sons to become fishermen. “The result of this decision of Selvam is that his family will lose all the internalized knowledge that it has about the sea. For example, just by looking at it, even if it appears calm, he knows whether it is safe to venture into the sea at that time or not. This relationship, with intangible internalized knowledge, is ending everywhere in the world,” says Agarwal. The relationship of vulnerability and power comes out strikingly in a set of 29 photographs titled “Lunar Tide.” These images of the sea were taken at night in torchlight, corresponding to the 29 days of the lunar calendar and the impact it has on tides. It exemplifies the cosmic world that governs our lives through the phenomena such as tides, yet we do not have enough knowledge about it, and certainly no control over it. “It’s a manifestation of our inability to know nature,” sums up Agarwal. “The idea is to question our fundamental relationship with nature, to understand why have we come to this point? The idea is to imagine a different relationship, to see, perhaps, if we could have taken another route in our relationship with nature. After all, what is nature if not the construct of our mind, as to how we see it and want to use it?” asks Agarwal. The diary that the photographer/ activist maintained while on the project is an interesting insight into the other, smaller yet forceful aspects of the total life system on the seashore, where dynamic global actions – both man-made and natural – play out silently, yet in a way that our lives are destined to change fundamentally as a consequence. Some pictures placed along with this diary, such as a small, seemingly abandoned snack shop with straw roof and a tiny bench for customers displays the vulnerability a small-time vendor has not just in face of bigger man- made forces such as retail chains but also when facing the mammoth natural forces such as a tsunami which would blow it apart, and away, in less than a second. It’s a work on a way of life that is slipping away. Whether for good or bad, it is for the beholder to decide. — The exhibition is on view at Gallery Espace, 16, New Friends Colony, through May 14, 11 am – 7 pm Follow@ARTINFOIndia 2016-04-15 03:29 Archana Khare

29 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a vanguard artist. As a composer of sound, movement, and film, Monk is one of the most innovative American artists of our time. Her expansive body of work, anchored by her trademark, three-octave voice, transcends definition; it is simultaneously contemporary yet timeless, deeply personal yet universal. Since the beginning Monk has pushed boundaries within her practice, and she continues to do so today. But her explorations of sound, time, and space, in whatever form they take, all bear her unmistakable signature. Meredith Monk and the Walker share a long, rich history that has spanned the majority of her career. Since 1974, the Walker has supported Monk’s artistic activity across a variety of mediums, including commissioning five key works, presenting an array of her creative output over 11 visits to the Walker, hosting six artistic and community residencies, featuring her in a prominent exhibition in the Walker galleries, and acquiring her iconic 16 Millimeter Earrings, 1966/98 for the Walker’s visual arts collection. What follows is a chronological history of Meredith Monk’s legacy with the Walker, one that’s sure to continue far into the future. The Walker first presented Meredith Monk’s work in 1974 with Act II from Education of the Girlchild , a theatrical opera, which, in this version, incorporated local artists, alongside her intimate solo work, Our Lady of Late. Each performance happened in a converted Masonic lodge, reflecting Monk’s early and longstanding interest in non-proscenium spaces (a section of her influential work Juice: A Theatre Cantata in Three Installments was the first live performance to happen at the Guggenheim, in 1969). Education of the Girlchild (1973) consisted of three sections at the Masonic Lodge, beginning and ending with the artist performing alone and featuring local performers in the middle section. Monk described the themes of the work as “seeing the process of aging, but backwards … show[ing] the change of time through gesture and through sound.” Likewise, Our Lady of Late (1971) featured Monk alone onstage, this time accompanied by the sound of a wine glass. Taken together, these two performances showcased the artist’s adventurous treatment of both time and sound, making it a fitting introduction for Walker audiences to her early work. Three years later, Monk returned to the Twin Cities with Quarry , her 1976 Obie Award–winning opera music/theater piece set during World War II. With 40 performers, the multidisciplinary work was performed in the Great Hall at the University of Minnesota’s Coffman Memorial Union. In describing the inspiration behind Quarry , Monk asked herself: “How could I make a piece, an abstract, poetic documentary about World War II that had some historical references, but at the same time was free of that and dealt with cycles of war and cycles of dictatorship. How could I do that in a really honest way?” In contrast to the large scale production of Quarry , Monk also performed her unaccompanied solo Songs from the Hill , a work originally composed on a hill in New Mexico in 1975 and 1976, showcasing the dynamic range of Monk’s singular voice. Continuing her site-specific exploration of the Twin Cities, Monk and Ping Chong filmed their collaborative theater piece Paris , a live performance originally created in 1972, over five days in an abandoned grain factory on the Mississippi River. This adaptation was supported by the Walker and KTCA-TV (now TPT or Twin Cities Public Television) and aired on national public television to wide acclaim; Paris was also performed in front of a live audience in the Walker auditorium during a 1982 residency. In celebration of the 20th anniversary of her career, the Walker presented a selection of performances from Meredith Monk’s expansive catalogue, including vocal arrangements from her landmark works Solo Excerpts for Voice and Piano , Turtle Dreams: Waltz , and Dolmen Music. A screening of the documentary film version of Quarry contributed to the evening at Hamline University. Alive from Off Center , a creative collaboration between the Walker and Twin Cities Public Television, was a 1980s broadcast TV show that featured contemporary performing artists across a range of genres. Meredith Monk’s short film Ellis Island (1981) was featured in the third season of the show, in an episode hosted by Laurie Anderson. Ellis Island explores the American immigrant experience through music, dance, and imagery, examining history through a contemporary lens. ATLAS: An Opera in Three Parts was the first work by Meredith Monk that the Walker commissioned—and the artist’s first full-scale opera. The critically acclaimed performance includes a 12-piece orchestra, seven soloists, and a full chorus trained in Monk’s in extended vocal technique. The story revolves around Alexandra Daniels, a female explorer based upon the life of Alexandra David-Neel, the first western woman explorer to visit Lhasa, Tibet. The work was performed at the O’Shaughnessy Auditorium at St. Catherine’s University. In 1994, Meredith Monk returned to the Walker auditorium for an early work-in-progress showing of the Walker co-commissioned work Volcano Songs , which deals with themes of aging and the miracle of human transformation and features Monk’s characteristic vocal range. Describing the Walker’s support of Volcano Songs , Monk stated that “they gave me the chance to do what an artist strives to do: to create a new work without knowing what the result will be; to take the risk of starting from zero, cutting through preconceptions and artistic habits to allow the piece to grow organically, so that eventually it will have a life of its own.” In 1994, the Walker also co-commissioned American Archeology #1 , a site-specific work performed only on Roosevelt Island, New York, in Lighthouse Park and Renwick Ruin. The 1998 Walker exhibition Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones documented the Walker’s longstanding relationships with three key innovators who approached multidisciplinary creation in distinct ways. Monk’s gallery included a new set of interactive, memorable installations (which the artist worked closely with Walker curators to create) as well as scores, storyboards, drawings, sets, props, costumes, and sound and film excerpts representing the range of her artistic output, including landmark works like 16 Millimeter Earrings (1966), Juice (1969), Quarry (1976), and ATLAS (1991). Monk’s role in Art Performs Life also included performances, an artist talk with Curator Philip Bither, community residency activities, and an exhibition catalogue. The Meredith Monk gallery in Art Performs Life included an installation of her breakthrough music/performance/film 16 Millimeter Earrings. Created very early in her career, 16 Millimeter Earrings was the first time the artist worked with film and consequently became a watershed moment for Monk. Combining voice, guitar, audio loops, performance, film projections, and sculpture, the work is mesmerizing and unforgettable. In 2010, the Walker acquired 16 Millimeter Earrings , 1966/1998_ , the video/installation version of the work created for Art Performs Life for our visual arts collection; it is currently on view in the Walker exhibition Less Than One. Another key element of the Art Performs Life opening was a moving performance of A Celebration Service (1996) at the First Unitarian Society Church next to the Walker, involving Monk, her Vocal Ensemble, numerous community members, and a post-concert processional. Monk also sang a solo work from the organ loft at the Basilica of St. Mary, also near the Walker, following Sunday mass. In conjunction with the opening weekend of Art Performs Life , Meredith Monk and Vocal Ensemble performed a full concert featuring excerpts from two Walker co-commissioned works: ATLAS (1991) and The Politics of Quiet (1996), which Monk describes in the Art Performs Life exhibition catalogue as a “musical-theater oratorio.” She went on to say, “I am always interested in discovering new forms between the cracks. … In The Politics of Quiet the music was the continuity. I didn’t want to illustrate the music; I wanted images that were a counterpoint to the music. Eventually, the piece revealed itself to be an abstract, nonverbal oratorio, or you could think of it as a ceremonial.” Meredith Monk and visual artist Ann Hamilton worked together for the first time on their 2001 music/performance work mercy. With visual installations by Hamilton and sound and movement by Monk, the work was a true collaboration between the two artists from start to finish. In 2008, Monk said “[ mercy ] ended up being a manifestation of the creative process of two human beings. The first image of the piece—the two of us sitting at opposite ends of a table—was what the piece was about.” The New York Times called mercy “an extraordinary collaboration. … Together, they created a multitude of visual and sonic wonders.” The work was performed at the O’Shaughnessy Auditorium at the College of St. Catherine. When the Walker held a grand opening celebration for the McGuire Theater in 2005, Performing Arts curator Philip Bither invited Meredith Monk and her longtime collaborator, Theo Bleckmann, to inaugurate the space in a series of performances that also included Philip Glass, Mugiyono Kasido, Steve Tibbetts with Choying Drolma, and Rizwan-Muazzam Qawwali. As Bither remembers : “After Meredith Monk and Theo Bleckmann flawlessly performed three excerpts from Monk’sFacing Northto a hushed, reverent crowd, they began their deceptively simple but truly complex vocal work Hocket. A few seconds in, Theo started on a wrong beat and Meredith waved her arms and then faced the audience with a smile: ‘Hold it. Start over.’ Warm laughter flooded the room; rigid shoulders lowered as the relieved audience seemed to settle comfortably into their seats. It was like hanging out with friends in your living room, or being with family and playing music together, or experimenting with something and realizing it was time to start over. The theater had, in a matter of seconds, been transformed from a temple of excellence to the kind of artist-centered, audience-friendly place we’d dreamed of.” Songs of Ascension (2008) combined Meredith Monk’s composition and choreography with Ann Hamilton’s visual elements to create a music/theater work exploring spirituality, ritual, community, and time. Monk was inspired, in part, by Hamilton’s 60-foot spiraling tower located in Geyserville, California, where the work was later performed as a site-specific version. The Walker co-commissioned Songs of Ascension , presented three preview performances, and hosted a 15-day production residency in the McGuire Theater, which helped Monk, her performers, and her artistic collaborators bring the work to life. To honor Meredith Monk’s rich history as a pioneer in contemporary performance, Meredith Monk and Vocal Ensemble performs The Soul’s Messenger, Celebrating 50 Years of New Music on Friday, April 15, 2016 at The O’Shaughnessy Auditorium. Meredith Monk will join Director and Senior Curator of Performing Arts Philip Bither for a conversation about her evolution as an artist on Thursday, April 14, 2016, in the Walker’s McGuire Theater. 16 Millimeter Earrings, 1966/1998 is on view in the Walker galleries as part of the exhibition Less Than One through December 2016. 2016-04-15 03:07 www.walkerart

30 VIDEO: Poklong Anading’s Manila We’re sitting on the back of a jeepney on a cool, breezy afternoon in Quezon City as Poklong Anading explains his latest project to me. With film crew in tow, as well as JD, the lead singer of local band The Sleepyheads, we’re planning to stage an impromptu performance and discussion on the back of the jeepney itself, inspired by Metro Manila’s notoriously choked traffic, for as long as it takes us to get to Rizal Park in downtown Manila. The starting point for this project, according to Anading, was a poll that voted Manila’s traffic as the worst in the world, “ahead” of even Jakarta. “Many people in Manila use Ways, a smartphone application that updates you on the local traffic situation. It helps you to get around, and navigate the city, and many people use it to find out how to escape traffic, and find the easiest way to get to where you’re going,” Anading tells me. “And then I read this news from Ways that Manila has the worst traffic in the world. I don’t know if I’d be happy about that, but when your city starts to be mentioned in this way, you sound so famous! Of course, traffic is a serious situation that no one can really enjoy.” It was around this time that Anading received an invitation to present something at this year’s Venice Architecture Biennale. “When we got invited, I had nothing much in mind, except this traffic system that we’re stuck in at the moment.” “But before that news came, maybe 3 years ago, I’d been talking with some of my friends, proposing that we discuss this traffic situation by inviting guests who would be able to respond to that idea,” recalls Anading. “Maybe an artist, musician, urban planner, engineer, different celebrities, and have them hang around on different modes of transport.” Led by a rotating roster of “hosts,” the tedious journey through Manila’s clogged traffic is alleviated by improvised musical routines, impromptu discussions about the traffic situation, and how the habits, behavior, and lifestyles of Manileños are affected by it. “I was inspired by this band called the Sleepyheads. They have this song called ‘Save Me From Manila,’ which captured my attention. I almost always sing this song when there’s traffic,” Anading smiles. The song is about Filipinos who have to leave Manila to make a living somewhere else, America, Australia, or even Cambodia. “Basically, the paradise is not actually here, but somewhere else,” he quips. Just like the Sleepyheads who eulogize Manila’s invisible diaspora, constantly yearning to find a better life elsewhere, the city’s stranded commuters who are forced to pass dead time on Manila’s clogged streets are always dreaming of being somewhere better — and with better traffic. “We have this phrase, ‘Filipino time,’ which used to refer to being about one hour late for any given appointment. But now it’s more than that, because of the traffic situation,” Anading points out. “In Manila, we’re always making excuses for being late due to the traffic, which is actually always a given. It’s always there, and unavoidable. So in fact, it’s not a reason at all. Filipino time is just an expression that blames someone else for your being late.” “Instead, why don’t we try to reverse the idea that the traffic situation is just an excuse for not doing anything at all,” says Anading. “In a way, it’s a metaphor for not being able to do anything in a given situation — but what matters is how you condition yourself to deal with it, and changing your perception or state of mind.” 2016-04-15 03:16 Darryl Wee

31 berlin's james simon galerie by david chipperfield tops out james simon galerie by david chipperfield architects tops out in berlin image © ute zscharnt for david chipperfield architects berlin’s james simon galerie has topped out, six years after construction work first began on site in 2010. designed by david chipperfield architects, the building forms an integral part of the masterplan for the city’s museum island approved in 1999. named after one of berlin’s greatest patrons, the james simon galerie has been described by david chipperfield as ‘both a building and place’, explaining that ‘as well as its role to supplement the museological program, its purpose is to reorganise urban relations and accessibility within the museum island’. view from the schlossbrücke (the palace bridge) image © ute zscharnt for david chipperfield architects the new intervention will serve as an entrance building between the neighboring kupfergraben canal and the western façade of the neues museum, completed by prussian architect friedrich august stüler in 1855. the project involves rearranging the relationships and open spaces between the adjacent pergamon museum and the neues museum, and giving architectural form to the site’s large-scale urban qualities. view from pergamon museum towards the humboldt forum image © ute zscharnt for david chipperfield architects the design creates a link to the main entrance of the pergamon museum and to the archaeological promenade at basement level. a new row of columns continues stüler’s colonnade, which currently ends at the neues museum, and forms a small courtyard. a high plinth occupies the bank of the kupfergraben canal, level with the pergamon museum’s main exhibition floor. large parts of this colonnade on the southwest facing terrace remain publicly accessible outside of opening hours. construction work first began on site in 2010 image © ute zscharnt for david chipperfield architects the james simon galerie itself is situated between the elevated colonnade and the new courtyard. an open outdoor staircase faces the lustgarten and serves as the main point of access to the new entrance building. once inside, visitors are led upstairs to a generously proportioned hall, which corresponds with the pergamon museum’s main exhibition floor. a café and a link to the pergamon museum are embedded within the colonnade, while a mezzanine floor between the foyer and the upper reception hall accommodates a cloakroom, toilets and a shop. temporary exhibition spaces and an auditorium are situated at basement level, which connects to the archaeological promenade. view from lustgarten towards bodestraße image © ute zscharnt for david chipperfield architects the appearance of the james simon galerie is derived from its surrounding context on the museum island, reflecting classical architecture without imitating it. the use of reconstituted stone with natural stone aggregate blends in with neighboring buildings that feature limestone, sandstone and rendered façades. the completion of the new entrance building is scheduled for 2018. the appearance of the building is derived from its surrounding context image © ute zscharnt for david chipperfield architects rendering illustrating the view towards the completed main entrance image © stiftung preußischer kulturbesitz / imaging atelier the completion of the new entrance building is scheduled for 2018 image © stiftung preußischer kulturbesitz / imaging atelier 2016-04-15 02:01 Philip Stevens

32 Review: ‘Elektra’ at the Met Does Full Justice to Strauss’s Masterpiece The prospect of a premiere production at the Metropolitan Opera typically generates advance speculation and high hopes among fans. But the director Patrice Chéreau’s production of Strauss’s “Elektra,” which opened at the Met on Thursday night, has already been deemed a landmark of contemporary opera staging. A collaborative venture by several companies, the production was introduced to widespread acclaim at the Aix-en-Provence Festival in France in 2013. A DVD of that “Elektra,” filmed at the festival, was released the following year. Still, nothing prepared me for the seething intensity, psychological insight and sheer theatrical inventiveness of this production on Thursday night, conducted by the brilliant Esa-Pekka Salonen , Mr. Chéreau’s partner in this venture from the start. A superb cast is headed by the smoldering soprano Nina Stemme in the title role. The Met’s presentation was to have been a second joint engagement for Mr. Chéreau and Mr. Salonen, who made long-overdue company debuts in 2009 with a harrowing production of Janacek’s “From the House of the Dead.” But Mr. Chéreau died of cancer at 68 a few months after his “Elektra” opened at Aix. It must be a bittersweet return for Mr. Salonen. He honors his departed colleague by drawing a performance of uncanny transparency and simmering fervor from the Met orchestra, which sounded inspired. (Vincent Huguet is credited as stage director.) Strauss’s inexorable one-act opera, first performed in 1909, tells the story of the house of Agamemnon. Hugo von Hofmannsthal adapted the libretto from his own play, which was based on Sophocles’s “Electra.” The setting is the inner courtyard of the murdered Agamemnon’s palace in ancient Mycenae. Mr. Chéreau updated the period to a vaguely contemporary one. Richard Peduzzi’s set depicts the palace as a spare, ominous place, with tall, grim stone walls, dark crannies, side rooms with prisonlike doors and, in the background, the private quarters of Klytamnestra, Agamemnon’s widow, and her lover, Aegisth, who together ruthlessly killed the king before the action of the opera starts. When the lights go up, we see Strauss’s maids and other serving women in dingy housedresses (the costumes are by Caroline de Vivaise) sweeping the stairs and cleaning the courtyard grounds in eerie pantomime, until the first gnashing orchestral blast sets the bloody tragedy in motion. Updating can be a lazy way to layer an opera with slick contemporary associations. Mr. Chéreau employed it to strip a work to its essentials, as he does in this penetrating “Elektra.” As several artists involved with the production at Aix explained in a collective interview with The New York Times, Mr. Chéreau viewed “Elektra” as the tale of a dysfunctional family consumed with hatred and driven to violence. “He didn’t want to portray anybody as a sort of hysterical, incoherent person,” Mr. Salonen explained. Elektra is consumed with carrying out vengeance upon her mother and Aegisth for murdering her father. But this production reveals better than any I have seen the wild-eyed Elektra’s subliminal fears and strange impotence, qualities that come through with terrifying intensity in Ms. Stemme’s stunning performance. Every day, Elektra clings to hope that her valiant brother, Orest, will return and exact revenge on their mother and the sniveling Aegisth (Burkhard Ulrich, a bright-voiced tenor in a Met debut). She keeps an ax at hand for the deed, wrapped in a cloth and hidden away. Why can’t Elektra carry out the punishment herself? The reason might seem obvious: She’s a woman. But what Ms. Stemme suggests is that Elektra has become a daughter paralyzed by her desire for revenge. For Strauss-lovers, the soprano Christine Goerke set a high bar as Elektra when she sang the role spectacularly in a concert performance with the Boston Symphony Orchestra at Carnegie Hall last year. Ms. Stemme is also a phenomenon. She brings a cool, focused voice, abundant power, chilling top notes and, in moments of doubt, anguished beauty to her singing. Two pivotal members of the original Aix cast take part in this run: the soprano Adrianne Pieczonka as the frail sister Chrysothemis and the veteran mezzo-soprano Waltraud Meier as Klytamnestra. Ms. Pieczonka’s rich, clear voice conveys Chrysothemis’s affecting vulnerability. Yet in moments of frustration and despair, her singing has bright, piercing power. This character is a young woman horrified by her mother’s brutality. Yet she is nearly as horrified by Elektra’s fixation on murderous revenge. Chrysothemis wants a fuller life, a husband, a child to tend; she would happily be given away to a peasant and raise a family, she says. Elektra treats her sister like a simpering weakling. Mr. Chéreau’s take on Klytamnestra is the great revelation of this production, and Ms. Meier, one of the most compelling singing actresses in opera, carries it off with conviction and complexity. Klytamnestra, after all, had reason to despise the power-crazed Agamemnon, whom she blames for sacrificing their daughter Iphigenia. When Ms. Meier’s Klytamnestra bitterly confronts Elektra for stalking around the palace like a hate-spewing maniac, she does not sing her phrases like shrieking accusations; rather, she inflects the lines with subdued fear and genuine distress, which is much more moving. Here is a powerful woman trying to hang on to power, if only she can banish her guilt-driven dreams. The bass-baritone Eric Owens is a deeply sympathetic Orest. In many performances, the character arrives as a sullen but stalwart savior. Mr. Owens’s Orest, pretending at first to be a messenger, walks into the palace grounds almost unnoticed. In fact, he has come to punish his mother and Aegisth; but, as he tells Elektra during their wrenching reunion, the gods have ordained this role for him. This Orest seems a man operating under divine bidding yet filled with doubts. Mr. Owens’s husky body almost sags with the burden of responsibility; his rich, muscular voice is suffused with suffering. As performed by the orchestra under Mr. Salonen, the rapturous, sighing reunion scene was overwhelming. You might have expected that, being a composer, Mr. Salonen would emphasize the shocking, modernist character of Strauss’s score. He seemed almost to do the opposite, drawing out every moment of Straussian lyricism, glowing string sound and delicacy, though the vehement outbursts were steely and terrifying. In the most unmannered way, he revealed the dramatic arc and restless sweep of the music. I still think that the New York Philharmonic missed a potentially great opportunity by not convincing Mr. Salonen to become its music director. On Thursday, the Met announced that James Levine would step aside as the company’s music director at the end of the season, after more than 40 years of devoted work and achievement. So that post is now open. Why not Mr. Salonen? At the end of the opera, after Klytamnestra and Aegisth have been killed, Elektra can finally fulfill her fantasy of dancing over their just demise. But Ms. Stemme’s Elektra was incapable of dancing; her limbs were stiff and immobile; she looked shaken, almost catatonic. Who is Elektra, after all, if not the daughter who lives every day for vengeance? That’s the question this remarkable production explores. 2016-04-15 00:00 By

33 The 15 Best Sandals for Fall 2016 More Articles By With global marketplaces, early delivery dates and warm temps that extend far past Labor Day, sandals are becoming just as much a part of fall’s retail offerings as they are spring’s. This season’s crop tends toward thin straps and stiletto heels, but even the barest of styles can offer plenty of embellishment. Giuseppe Zanotti loved crystals, which added a rich effect to its cobalt-colored T-strap silhouette — don’t you dare step on these blue suede shoes. Casadei’s sleek, nude-hued version was barely there, but still had lots to offer with its multicolor fur straps and a blush ribbon adorning the ankle. Check out our other call-outs among the season’s best trends , from footwear — tall boots , chunky-heeled shoes , mary janes , men’s-inspired shoes and low-heeled boots — to accessories — top-handle bags , small shoulder bags , clutches , evening bags and mini- bags — to jewelry such as necklaces and earrings . 2016-04-14 22:11 Roxanne Robinson

34 Michael Hainey Joins Hearst as Esquire’s Executive Director of Editorial Former GQ editor at large Michael Hainey is moving to Hearst to assume the role of Esquire executive director of editorial. He will also serve as editor at large of sibling glossy Town & Country. Hainey, who worked at GQ in the deputy editor role from 2003 to 2015, will report to Esquire editor in chief Jay Fielden, who also holds the title of editorial director of T&C. Hainey’s name had been floated as a potential candidate for the editor in chief’s job at T&C when Fielden replaced David Granger as editor in chief at Esquire in December. The top job at T&C wound up going to internal candidate Stellene Volandes, who was promoted from executive style director. Hainey will be responsible for writing, editing and assigning stories, as well as overseeing section editors and writers at the men’s magazine. The editor will pen stories for T&C and work on developing new projects with Volandes. “Michael is an extraordinarily talented editor with an experienced feel for the art of great magazine making,” Fielden said. 2016-04-14 21:25 Alexandra Steigrad

35 Art Basel’s Crowdfunding Initiative Reaches USD$1 Million Milestone Related Venues Art Basel Art Basel has announced that it has raised $1 million USD through its Crowdfunding Initiative, launched in partnership with Kickstarter to catalyze support for non-commercial art projects worldwide. Art Basel’s curated page on Kickstarter has attracted pledges from more than 6700 backers from 92 countries funded, resulting in the successful funding of 37 art projects from 16 countries. Funded projects include artists’ studios and residencies in Chiang Mai and Chicago, public art works in Detroit and Rome, and a new dance commission in Vancouver, to name a few. Patrick Foret, Director of Business Initiatives, said, “We launched the Crowdfunding Initiative to address the urgent need for alternative funding in the arts, and have been inspired by the response. “While Art Basel has dedicated resources to the creation and promotion of the initiative, it is truly due to the backers and their generous support that have made it such a success. “We look forward to continuing our partnership with Kickstarter to help these organizations flourish and realize exciting new projects.” The following organizations have successfully funded projects through the Art Basel Crowdfunding Initiative: 4A Centre for Contemporary Asian Art (Sydney, Australia) The Andy Warhol Museum (Pittsburgh, United States) The Art Gallery of Windsor (Ontario, Canada) ACRE (Artists’ Cooperative Residency and Exhibitions) (Chicago, United States) The Chinati Foundation (Marfa, United States) Contemporary Art Gallery (Vancouver, Canada) Dallas Contemporary (Dallas, United States) Delfina Foundation (London, United Kingdom) East of Borneo (Los Angeles, United States) FLORA ars+natura (Bogota, Colombia) Gasworks (London, United Kingdom) The Ghetto Biennale (Port-au-Prince, Haiti) LA> 2016-04-14 21:06 Nicholas Forrest

36 HTC deliberate celebrates everyday metals with latest flagship phone HTC’s flagship phones have established a solid lineage of mobile device design and moved the state of the art further, from the HTC ‘one M7′ to the ‘M9′. for 2016, the company is making its biggest leap forward with the HTC ’10’, a differentiated design informed by years of perfecting the design and manufacturing process. materials dictate people’s first impressions of a product, and in this area the HTC 10 literally shines. wrapped in military-grade aluminum and finished with zirconium bead blasting for a premium feel and appearance, the new flagship is a deliberate celebration of metal. defining the design is the ’10’s’ immediately recognizable and distinctive visual feature: the 3.3mm chamfer that runs around the outer edge and gives the phone a bold new silhouette. creating the chamfer required numerous iterations to get it right—not just the visual appearance, but also the process of manufacturing it. a single, precise movement removes the material that exposes the chamfer. controlling tolerances on such a large surface was difficult, so HTC’s design team worked closer than ever before with the company’s engineers. if the cutter is too slow or too fast, it creates unacceptable irregularities in the metal. the raw chamfer surface is then bead-blasted to create a satin finish that catches the light, but doesn’t distract the way a mirrored finish would. designing the HTC 10 took much iteration and tenacity one goal for this new flagship device was to improve the build quality and construction. in order to do that, the design team dramatically reduced the part count to just two pieces, metal and glass. fewer parts translates to smaller tolerances, and therefore a more premium feel. for ’10’, the team reduced the construction to just two parts. HTC’s color specialists worked with resin chemists to closely match the aluminum body and the integrated antenna features with as much subtlety as possible. to maintain the integrity of the silhouette, the team also strived to create a perfectly symmetrical object. the external characteristics that matter most to customers are aligned along the center axis—the headphone jack is centered on top of the phone, and the USB-C port is centered at the bottom—enabling customers to easily find those spots without having to search for them. the chamfer gesture continues into all of the ’10’s’ small details. buttons, camera trim, speaker openings and the USB-C port are all treated with a chamfer that complements the phone’s contour. the power button, also made of aluminum, has a purposefully defined surface texture that makes it quickly identifiable at the faintest touch. aside from the screen, the power button is still the most important touchpoint on phones—it’s the beginning and end of each interaction. giving it the right texture that differentiates itself from the rest of the device was especially important. the design team made at least 50 machined samples until the button achieved the perfect tactility. all of those details, combined with the overall contour, create in the ’10’ a silhouette that reflects the design team’s care and craftsmanship, giving HTC’s latest flagship a new and distinctive identity. 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. 2016-04-14 21:01 Htc Design

37 New Ink Works From Zheng Chongbin at S2 Hong Kong Related Venues Sotheby's Hong Kong Artists Zheng Chongbin Lawrence Weiner Antony Gormley Heinz Mack The iconic ink paintings of Chinese artist Zheng Chongbin are coming to Hong Kong this spring in a new show at Sotheby’s S|2 gallery. “ Zheng Chongbin : Structures” presents 34 of the artist’s fractured, crystalline ink paintings. The exhibition’s curators have organized these paintings into three categories: “Reflection,” “Structured Surface,” and “Geometry.” Zheng’s paintings will be accompanied by the video installation “Chimeric Landscape,” which is making its Hong Kong debut. The 17-minute video explores Zheng’s use of the traditional medium of ink painting and considers how his work fits into an increasingly digital world. In one scene, Zheng turns the lens on the ink itself, capturing its materiality and showing viewers how it’s soaked up by a textile. “Chimeric Landscape” was created for the 2015 Venice Biennale, where it was included in “Personal Structures — Crossing Borders,” an international collaboration featuring work from Lawrence Weiner , Antony Gormley , and Heinz Mack . In an artist’s statement released before the work’s debut in Venice, Zheng described the video as an “environmental installation” that “shows matter in the process of generating forms and material in a state of flux, inviting the viewer into this morphing landscape of intensive flows.” 2016-04-14 19:46 Samuel Spencer

38 38 Looks Like Skrillex Invaded Artsy Skarina Abramović. Composite by Beckett Mufson, via , via Artsy , the "online platform for collecting and researching art," has a sense of humor. Hidden within the site are five Easter eggs , one of which, as an anonymous tipster discovered, actually plays Skrillex’s “Scary Monsters and Nice Sprites” on the pages of individual artworks. When the beat drops, the art goes crazier than the teens still making “the beat dropped harder than my grades” jokes in the comments. It’s a wonder nobody found it sooner; of course it makes sense to add “/skrillex” to the URL of an art listing! Of course, before I buy a piece of art, I want to see what it would look like shaking to the sweet success of an extreme cup stacker . Skirst. Composite by Beckett Mufson, via , via ​ In all seriousness, though, it is amusing to see some artworks in motion, like these splatter pieces by Cornelia Parker , or the original troll artwork, Duchamp’s Fountain. On mute is my preference, but I'm not judging. Besides, if we’re talking internet trolls and old trends, we're happy to declare “Scary Monsters and Nice Sprites” the new Rick Rolling. To experience the easter egg in all its glory, head to any artwork listing on Artsy , and add “/skrillex” to the URL. Related: Skrillex Drops the Bass Way Too Hard in an Animated Music Video [Video Premiere] Skrillex “Doompy Poomp” Directed by Fleur and Manu Skrillex Lights Shit on Fire with a Bunch of Teens in a New Christmas Music Video 2016-04-14 19:00 Alyssa Buffenstein

39 jedediah corwyn voltz builds tiny treehouses in succulent and cacti plants as a prop builder, illustrator and painter in los angeles, jedediah corwyn voltz always seems to find himself surrounded by plants and half finished sculptures. for his latest series of work titled ‘somewhere small’, voltz has crafted tiny treehouses around succulents and cacti. ‘building miniatures for stop motion always leaves me with a huge bin of scrap balsa, basswood, and various fabrics,’ voltz says. ‘I found myself making little fantasy constructions out of that stuff during my downtime, which led to me building some more serious ones in little diorama settings. last year, I built my first living treehouse and since then, I’ve made almost 25 of them — from tiny watchtowers in secluded forests, to quiet treetop meditation platforms, and giant bustling windmills and waterwheels.’ the miniature structures complement the plants they inhabit, growing with and around them. populating these fictional worlds is handmade pottery, silk rugs, furniture, sculptures, paintings, and various other accessories that occupy the house. most of the plants are filled with semi precious stones like tigers eye, labradorite, quartz, amethyst, and apatite, all in their raw forms. ‘this is my way of bringing my love of geology into my work just a little bit,’ the artist says. beginning on april 23rd, ‘somewhere small’ is presented at gallery/boutique virgil normal in los angeles. 2016-04-14 18:42 Nina Azzarello

40 A Perfect 1:20,000,000 Scale Model of the Moon Images courtesy Oscar Lhermitte Since their appearance in the twilight of the 14th century, globes have simultaneously acted as scientific tools, collectibles, and decorative elements for the easy bourgeois office and mahogany-fringed Airbnb apartment. It wasn't, however, until April of 2016 that the moon was given a proper globe from a topographical point of view. That is the goal of the MOON project, led by French artist Oscar Lhermitte and Kudu studio , whose crowdfunding campaign launched yesterday on Kickstarter. "This project is a personal initiative," explains Lhermitte to The Creators Project. "I started working on it when I saw the photos taken during NASA's Lunar Reconnaissance Orbiter mission four years ago. " Alongside its many other projects, the artist has approached the Institute of Planetary Research in order to collect enough data to make the lunar globe as accurate as possible. It took a dozen prototypes for Lhermitte complete his mission. The final object is 3D-printed to a scale 1:20,000,000 the size of the actual moon, replicating each of its mountains and craters. The globe is complemented by a LED ring that represents the sun, as well as a mini-computer designed by Kudu studio that has the same memory as the Apollo Guidance Computer used by Neil Armstrong's crew during the 1969 moon landing. "If I really wanted to make an accurate globe, I had to create a light source that mimics that of the sun to the moon," says Lhermitte. Only with the light that we can see the moon in all its splendor. Only at the proper angle can light help us recognize each crater. "Kudu Studio is thus responsible for creating a computer capable of reproducing the movement of the moon with the sun. " To support the project, click here , and find more photos below. See more of Oscar Lhermitte's work on his website . This article originally appeared on The Creators Project France. Related: It's the Moon, and It's in Your Room Insta's Sickest Blood Moon Photos from Around the World Someone Turned the Moon Landing Photos into a Movie Chinese Artist Turns the Moon into a Lamp 2016-04-14 18:15 Julie Le Total 40 articles. Created at 2016-04-15 18:01