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24 articles, 2016-06-12 12:02 1 Live Then, Live Now — Magazine — Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s—on (0.01/1) the cool side for the height of summer in Minneapolis. Diana Ross... 2016-06-12 06:54 11KB www.walkerart.org 2 Jorge Cavelier|Colombia|Special Project Art Santa Fe|Horizon Jorge Cavelier, “Special Project at Art Santa Fe” entitled “Horizon” (0.01/1) curated by Silvia Medina, Chief Curator of Contemporary Art Projects and Linda Mariano... 2016-06-12 07:17 2KB contemporaryartprojectsusa.com 3 They Are Wearing: London Men’s Fashion Week Spring 2017 WWD went off the runways and onto the streets and sidewalks for (0.01/1) the best looks from London Collections: Men. 2016-06-11 16:02 1KB wwd.com 4 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions... 2016-06-12 10:59 1KB contemporaryartprojectsusa.com 5 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than... 2016-06-12 10:59 2KB contemporaryartprojectsusa.com 6 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume,... 2016-06-11 18:52 6KB designawards.core77.com 7 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nat... 2016-06-11 18:00 885Bytes blogs.walkerart.org

8 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins's free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27–October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 pho... 2016-06-12 06:19 874Bytes blogs.walkerart.org 9 scholten & baijings present a family of etched + printed glass gradient patterns for skyline design coinciding with NEOCON 2016, skyline design presents glass gradients, a family of etched and printed patterns for glass by scholten & baijings. 2016-06-12 05:15 2KB www.designboom.com 10 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to... 2016-06-12 07:17 843Bytes contemporaryartprojectsusa.com 11 What’s on TV Sunday It’s all about “Hamilton” at the Tony Awards. Billy Ray Cyrus skewers himself in “Still the King.” And Norman Reedus of “The Walking Dead” takes a ride. 2016-06-12 00:00 3KB www.nytimes.com 12 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneap... 2016-06-12 03:47 867Bytes blogs.walkerart.org 13 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker's Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this... 2016-06-12 03:47 966Bytes blogs.walkerart.org 14 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Ki... 2016-06-12 03:47 972Bytes blogs.walkerart.org

15 westonwilliamson+partners toward a green city TOD created as an adoptable proposal for any geographic area, toward a green city uses a high speed transportation hub as a center point for urban growth. 2016-06-11 23:15 2KB www.designboom.com 16 ruiz velázquez blends architecture and nature in madrid's ford vignale pavilion the concept wanted to portray a service that is centered, thought and designed for people, creating a facility that goes beyond the technological beauty and its precision. 2016-06-11 21:29 2KB www.designboom.com 17 Paul Smith Toasts 40 Years of Punk With Exhibition Held at his No. 9 Albermarle shop, Paul Smith celebrated 40 years of punk with an exhibition of Derek Ridgers’ photographs from the era. 2016-06-11 19:37 2KB wwd.com 18 Jermyn Street Men’s Brands Stage Consumer-Facing Fashion Shows The runway shows were hosted by property owners The Crown Estate. 2016-06-11 18:21 1KB wwd.com 19 VIDEO: 'Hallway Hijack' Fills a Brooklyn High-Rise With Art This video exclusive from the Brooklyn Rail takes us on a floor-by- floor tour of the permanent installations created by 19 artists. 2016-06-11 17:49 1KB www.blouinartinfo.com 20 versatile spyndi chair by mindaugas zilionis much akin to the human spine, the furnishing uses a base kit of 60 individual sections that can be combined in any conceivable configuration. 2016-06-11 17:30 2KB www.designboom.com 21 Suki Waterhouse, Callum Turner Attend Burberry Bash in London The event at the brand’s Regent Street flagship put a spotlight on design and craftsmanship demonstrations. 2016-06-11 13:17 2KB wwd.com 22 fabio novembre lights the way for venini and kartell with muse lamp + lantern designboom spoke to fabio novembre about designs for two of italy's most well established companies, to understand his motivations for the lighting objects. 2016-06-11 13:15 4KB www.designboom.com 23 Moschino’s Spring and Resort 2017 Show Brings More Color to L. A. Scene Moschino’s spring and resort 2017 runway show draws Katy Perry, Caitlyn Jenner to support designer Jeremy Scott in L. A. 2016-06-11 12:54 5KB wwd.com 24 Interstellar-Inspired Fractals Open Up New Dimensions A digital artist is creating mind-bending fractals for NASA. 2016-06-11 12:05 3KB thecreatorsproject.vice.com Articles

24 articles, 2016-06-12 12:02

1 Live Then, Live Now — Magazine — Walker Art Center (0.01/1) August 15, 1981 was a Saturday with temperatures in the 70s—on the cool side for the height of summer in Minneapolis. Diana Ross and Lionel Richie’s Endless Love was at number one on the Billboard Hot 100, and MTV had been on the air for precisely two weeks. This was uninteresting, though, to the crowd pushing into 7th St. Entry, a one-year-old, black-box annex to Sam’s Danceteria (months later to be rechristened First Avenue), a downtown music club in the former Northland-Greyhound bus depot fast becoming one of the Twin Cities’ premier music venues for emerging talent. They were here for punk rock, and for the homecoming of three young musicians from St. Paul: Grant Hart, Bob Mould, and Greg Norton—collectively known as Hüsker Dü—returning to town at the end of a tour they named the “Childrens’ Crusade.” The tour marked Hüsker Dü’s international breakout, as it began in Calgary and Victoria. It then meandered from Seattle to Portland to San Francisco and Sacramento and back to the Midwest through Chicago and Madison. But here at the Entry (as it was called by its regulars), Hüsker Dü was a fixture, having played the venue on at least 50 occasions—sometimes several times in one week—since January 1980. The cramped Entry—capacity 250—had been hewed from the bus depot’s former cloakroom and cafe. In its corner was the low-ceilinged stage, swathed in peeling black paint and scattered with plastic beer cups. It barely accommodated Hart, Mould, Norton, and Hart’s Ludwig drum kit, inherited at age 10 from his older brother, tragically killed by a drunk driver. The crowd in the smoke-filled room was partying, restless, waiting to experience the contagious energy that by now they knew well. Touring had tightened up the material, and new songs had been written on the road, so the band knew it was a moment to capture. Short on funds for a studio album, they had cobbled together $300 to record the show with the intent of releasing it as a live LP. From the moment Hüsker Dü took the stage, the first set was unrelenting. It began with “All Tensed Up” and proceeded to compress 17 songs into less than a half hour, kept on pace by Hart’s ferocious, high-speed drumming: insistent, decisive, with clear purpose. The LP would be called Land Speed Record and was released shortly thereafter with assistance from Mike Watt of the Minutemen and his label New Alliance. The jacket, like those of many hardcore punk and ska records of the time, was requisite black and white, its DIY graphics (designed by Hart via his pseudonymous Fake Name Grafx with Xerox copier and Sharpie marker) advocating the same urgency and immediacy as the music within. While less melodic and textured than Hüsker Dü’s subsequent albums, this one was special in its unruliness: it not only revealed a band on the verge of its collective potential, but also captured the essence of the venue that had been its incubator. For 26 minutes and 35 seconds within its enveloping black walls, 7th St. Entry became a creative tinderbox, encapsulated within Land Speed Record. Eighteen years later, Hüsker Dü had disbanded, as had Hart’s subsequent band, Nova Mob. By the channels through which artists and performers often discover shared sensibilities, Grant Hart, now a solo performer, met Chris Larson. Both were from St. Paul, both had a fascination with a certain history of American culture, both understood music’s relationship to art. Their friendship through the years became a collaborative one: Hart appeared in Larson’s live performance work Shotgun Shack and his film Crush Collision (both 2006), and Larson provided album art for Hart’s independent release Good News for Modern Man (2014). A musician in addition to being a visual artist, Larson has broad interests. His roots in sculpture have led him to explore film, video, photography, performance, drawing, and painting. His most memorable projects have stemmed from architecture—from vernacular building types (coal mine tipples, shotgun shacks) to imaginary, illogical structures—which inspire sculptural or filmic environments rooted in his skilled carpentry. These structures are layered with a strong narrative armature; he often lays plans within them for some unexpected action, such as the rural shack in Deep North (2008) encrusted inside and out with ice and housing a strange, human-powered machine, or the floating house adrift on a lake in the film Crush Collision (featuring Hart among its performers), in which a rough-hewn machine, a gospel quartet, and a drummer share parallel narratives and spaces within. Larson’s works are often linked—a sculpture becomes a film set that then becomes a photograph, for example—and are also regenerative, as an element used in one piece has the potential to appear again in another. While his earlier works embraced archetypal structures and improvised apparatus, more recent endeavors have investigated specific architectural sites. For Celebration/Love/Loss (2013), he meticulously constructed a full-scale wood-and-cardboard facsimile of the only Marcel Breuer–designed modernist home in the Twin Cities, then proceeded to torch it in a grand spectacle of flame. For Larson, the process of replication is a route to new meaning. With Land Speed Record , his latest video installation, he focuses on the objects (and memories) left behind when their context and architectural enclosure have disappeared. In 2011, Hart’s childhood home in South St. Paul caught fire and partially burned. The smoke-blackened contents—furniture, appliances, antiques and collectibles, Studebaker parts, ephemera from gigs, art supplies, clothing, master tapes, guitars, and drums—had to be quickly cleared from the home, and Larson volunteered his studio as a storage space. For almost two years, the accumulation occupied the studio, itself a former warehouse for furniture in transit from factory to home. Hart would occasionally rearrange things on periodic visits, but Larson lived with and contemplated the items as they sat dormant, without framework or circumstance, unmoored from the house in which they had been collected, where Hart had learned to play the drums used at 7th St. Entry on August 15, 1981. Larson did not focus on the house. Instead, he began to build another machine, this time a motorized track for a camera that could provide new perspective and capture a slow, methodical pan across the 85-foot-long drift of Hart’s possessions. This became a pair of films—one in color, one black and white—each mirroring the 26:35-minute duration of Land Speed Record. At first the films, at once reverential and haunting, were silent. But the work wasn’t finished. Larson began a new sculptural element, this time using the less physical materials of sound, memory, and place. He bought drums from Twin Town Guitars (“Keeping your life loud & local since 1997”)—a crystal-clear Ludwig Vista- Lite kit in mint condition. He commissioned a young musician with a passion for hardcore punk to learn the drum track of Land Speed Record , in its entirety and to meet him at 7th St. Entry when he was ready. The empty venue was unlocked, lights turned on, and the transparent drum kit arranged on the stage. Quietly placed alongside it was a Ludwig snare, unearthed from the pile of burned objects. After recording equipment was set up, the musician, sticks poised, donned headphones. Seven seconds passed, during which one could faintly hear through his headset the sound of a crowd, a squeal of feedback, and the opening chords on Land Speed Record . Then he began drumming, playing with surgical precision alongside the recording of Hart. Live then and live now. This time, distilled and stripped away from band and crowd, Larson’s recording captured just two things: the crystalline syncopation and the walls of 7th St. Entry that carried its sound. In Larson’s installation within the dark gallery space, this pure and specific sound is layered with sculpture (based on the venue’s black room divider/drink rail) and with the films. The sound interrupts, then fades through the filmed images, wrapping Hart’s inert and orphaned belongings in the moving image with the liveness of August 15, 1981. Recorded by the camera and scaffolded by sound, the charred objects are no longer ruins but are emancipated—they no longer require the enclosure of the house, the studio, or specific recollections. When Land Speed Record hit stores just before Christmas 1981, a local critic admiringly called it “a repository of strength and horror” ( City Pages ). For Larson, the notion of the repository remains rich and spacious, filled with the possibility for reinvention. Likewise, the vestiges of what a space has once held, whether objects, sounds, words, or memories, can perpetually be re-embodied. In Larson’s Land Speed Record , these remnants layer to form a larger narrative. Hüsker Dü was named after a family board game that tests one’s ability to recall images: a childhood home, a music venue, a furniture warehouse. The words are Norwegian for “Do you remember?” This essay will appear in the Chris Larson: Land Speed Record exhibition catalogue. To be released in August in commemoration of the 35th anniversary of the release of Hüsker Dü’s album of the same name, the catalogue will take the form of a clear vinyl LP bearing a new drums-only recording of the entirety of Land Speed Record , accompanied by four essays that appear as liner notes. Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017. Photo: Larry Smith Photo: Gene Pittman Photo courtesy the artist Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist Photo: Jordan Rosenow Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Photo: Jordan Rosenow 2016-06-12 06:54 By Siri

2 Jorge Cavelier|Colombia|Special Project Art Santa Fe|Horizon (0.01/1) Jorge Cavelier, “Special Project at Art Santa Fe” entitled “Horizon” curated by Silvia Medina, Chief Curator of Contemporary Art Projects and Linda Mariano, Curator Redwood Group. Thoughts from within Between two worlds life hovers like a star, twixt night and morn, upon the horizon’s verge. Lord Byron. The horizon sets an illusory limit where the sky meets the surface of the earth. A line where dreams seams to inhabit since there’s no way to fix it in a clear way. Hope is beyond that line and great leaders fix their vision in that limitless region where all possibilities may happen. My aim in this new series of paintings goes to find the blur and at the same time the precision of the horizon, within the series of landscapes. A high horizon will expose much of the earth’s surface observed as the place our bodies dwell on, but a low one create open skies, meditative ethereal spaces where our soul nature wants to rest peacefully. The combination of both high and low horizons may expand our conception of a world where our existence expands every day. The technique of silk drawings and paintings try to evoque that ethereal realm where we exercise the recognition of our universe. Different layers of transparent silk textile add colors, shades of smoky white hues, to create landscapes where the spectator may lose his/her conception of time and space and enter into his/her own interior spectrum of soul qualities. The walk through the installation in any direction constitutes the exercise of entering a labyrinth, a meditative route to enhance our spiritual connections. This work emulates the intentions of such designs as labyrinths of geometrical nature found in medioeval cathedrals as well as primitive floor drawings, both meant for walking in a circuit to and from a center. 2016-06-12 07:17 tatafedez

3 They Are Wearing: London Men’s Fashion Week Spring 2017 (0.01/1) Four years after Prince Charles inaugurated London Collections: Men with a designer-packed cocktail party at St. James’s Palace, the schedule has undergone radical change due to the trend for see-now-buy-now or coed shows, and new strategic directions for many of the brands. It’s a season of uncertainty — and some would say opportunity — here, with London’s men’s wear showcase, which unfolded Friday minus many of the names that helped to cement the week’s status on the international fashion calendar. Burberry, Alexander McQueen, Pringle of Scotland, Gieves & Hawkes, 1205, Kilgour and Moschino have all left the spring 2017 schedule for a variety of reasons, while Tom Ford cancelled his separate men’s presentations beginning in January as the designer shifts to a see-now-buy- now model. The four-day London schedule, which wraps on June 13, remains packed, however, with some brands, such as Sibling, deciding to show men’s and women’s wear on one catwalk. Organizers are naturally optimistic. WWD went off the runways and onto the streets and sidewalks for the best looks from London Collections: Men . See More From “They Are Wearing” Here >> 2016-06-11 16:02 WWD Staff

4 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions to kick off the New Year. FUSION: Maria Fernanda Lairet at MDC- West, inaugurates the 2016 winter season with a student reception at Noon on Jan. 20. The exhibition runs through April 17, 2016. Born in Caracas, Venezuela. Lairet acquired a degree in Graphic Design at the Design Institute of Caracas in 1987. Throughout her career, Lairet has experimented and combined elements of graphic design, drawing, photography and painting to create exciting mixed media works. Currently the artist works in a more reflective and conceptual way through the redesign of paper money for countries globally and in different denominations and her works touch on the political, economic and social issues of each country. She has participated in solo and group exhibitions in universities, galleries, biennials, fairs and exhibitions, both in Venezuela and abroad. Lately, she has participated in Art Palm Beach and Art Santa Fe along with a solo show at Photo Lima. She received second place, Best Artwork during the “Cosmic Connections” fair in Miami in December 2014. The exhibition created in collaboration with Tata Fernandez of Contemporary Art Projects. This exhibition was created in collaboration with Contemporary Art Projects under the direction of Tata Fernandez. 2016-06-12 10:59 Leticia Del

5 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than all else are works of art; mysterious existences, the life of which, while ours passes away, endure … Rainer Maria Rilke, Letters to a Young Poet I am an Italian-American, a lesbian, a retired NY lawyer, a law librarian professor, and an ovarian cancer survivor; but my calling is that of an artist. After a long hibernation, I rediscovered my childhood passion for art; and once re-awakened to my innate passion – which I refer to as my second coming out – I studied with various accomplished figurative artists in New York City, and went on to formalize my training by receiving my MFA from the Graduate School of Figurative Arts of the New York Academy of Art in 2003. Following in the example of one of my inspirations, i.e., Picasso, with his perchance for re-invention and bold experimentation, my versatility extends to painting, drawing, sculpture, photography, and the focus of my more recent works: innovative digital mixed media collage – which incorporates the fusion of elements taken from different media, both digital and non- digital, and their manipulation in computer post-production. Regardless of the medium I employ, I subscribe to the philosophy that art serves as a bridge from our primal essence to our higher selves, to the divine. As such, my “aestus,” or passionate fire, and underlying motivation, is to produce works intended to stimulate the senses, provoke emotional responses, elevate the spirit, and address issues that are dear to me. Interview with the Artist by Fatima Canovas|Art Daily News International Magazine 2016-06-12 10:59 tatafedez

6 6 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and Buckminster Fuller; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and theFoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co- opting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed. 2016-06-11 18:52 Volume Inc

7 7 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […] 2016-06-11 18:00 By

8 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins’s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27– October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he […] 2016-06-12 06:19 By

9 scholten & baijings present a family of etched + printed glass gradient patterns for skyline design scholten & baijings present a family of etched + printed glass gradient patterns for skyline design (above) glass gradients samples by scholten & baijings skyline design presents ‘glass gradients’ – a family of etched and printed patterns for glass application created by dutch designers scholten & baijings. the collection which is exhibited at the NEOCON 2016 design exposition, showcases the materials transparent properties which have been achieved using a variety of innovative techniques. the ‘glass gradients’ detail two geometric forms including a dot and a square, which have been applied vertically and horizontally forming a repeated pattern across the material. although transparent, the use of these precise shapes creates a greater level of privacy, providing creative solutions for open-plan layouts. the balanced nature of the designs are enriched though subtle color variants. these combinations have been applied using an environmental etching process to create the translucent appearance as well as an ‘ast printing’ technique on the opposite side of the glass. the opaque and transparent options conceal ones visions creating an interplay between density and scale and movement. the graphic markings reveal a new spatial context transforming different interiors in new and unexpected ways. the customizable designs convey a sense of surprise and movement — concealing or revealing any given space. the grid-like patterns act as an architectural element which encourages play and personalization within a given set of variables. glass gradient dot (etch) seen from above image courtesy of inga powilleit 2016-06-12 05:15 Shuhei Senda

10 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to see the world as I do. My works inspiration is a combination of daily elements that are combined to form non-rigged and flexible images. I combine multiple materials of construction that allows me to free my ideas and create freely without material restrictions and in a freer flowing manner. 2016-06-12 07:17 tatafedez

11 What’s on TV Sunday It’s all about “Hamilton” at the Tony Awards, hosted by James Corden of “The Late Late Show.” Billy Ray Cyrus, Miley’s dad, skewers himself in “Still the King.” And Norman Reedus of “The Walking Dead” takes a ride. THE 70TH ANNUAL TONY AWARDS 8 p.m. on CBS. James Corden of “The Late Late Show” — a 2012 best actor Tony winner for “One Man, Two Guvnors” — makes his hosting debut at this ceremony honoring excellence on Broadway. But most eyes (especially those who can’t afford $849 tickets ) will be on Lin-Manuel Miranda and his “Hamilton” crew, who are expected to take home armfuls of statuettes, including the one for best musical. Other near shoo- ins, according to a sample survey of Tony voters : “The Humans,” for best new play, and its stars Reed Birney and Jayne Houdyshell, and “A View From the Bridge,” for best revival. (Image: Mr. Corden) THE OPEN MIND 3:30 p.m. on World. Virginia Heffernan , a contributor to The New York Times Magazine, discusses her new book, “Magic & Loss: The Internet as Art.” LEGENDS & LIES: THE PATRIOTS 8 p.m. on Fox News. Alexander Hamilton isn’t the only founding father onscreen tonight. Here, Bill O’Reilly offers historical commentary on the life and times of John Adams. HOUSE OF LIES 9 p.m. on Showtime. Marty (Don Cheadle), Jeannie (Kristen Bell) and the rest of the corporate sharks board their last flight — this time, to Havana — in this series finale, shot in Cuba. STILL THE KING 9 p.m. on CMT. Billy Ray Cyrus, his mullet only slightly tweaked from his “Achy Breaky Heart” days, plays Burnin’ Vernon, a dysfunctional Elvis impersonator turned fake preacher, the better to worm his way into the life of the teenage daughter he didn’t know he had. “I’ve reinvented a couple times in my career, at least,” Mr. Cyrus, Miley’s dad, said in an interview with The New York Times. “But how do you reinvent out of ‘Hannah Montana’?” he continued. “And then it hit me.” (Image: Mr. Cyrus, front, and Travis Nicholson) RIDE WITH NORMAN REEDUS 10 p.m. on AMC. Mr. Reedus , who straddles a motorcycle on “The Walking Dead” and has a garage filled with his own, tours the country by bike, starting with a jaunt up the Pacific Coast Highway in California. But he’s still not telling whether he has been killed off on his other show. (Image: Mr. Reedus) THE GREAT BRITISH BAKING SHOW on Netflix , Amazon and PBS.com. This BBC competition show — a mainstay on Britain’s most-watched lists and a near-cult hit in the United States — returns to PBS for a third season on July 1. A dozen drama-free amateur bakers are plopped in a tent on the grounds of “Downton”-esque Welford Park in Berkshire, where lambs frolic among the snowdrops. Confections include Victoria’s Crown charlotte russe, Earl Grey tea biscuits and puff pastry horns filled with rose pistachio and mocha hazelnut buttercream frosting. 2016-06-12 00:00 By

12 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artist- centric values. Following up […] 2016-06-12 03:47 By

13 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker’s Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this illustrated survey. Celebrating its 10th anniversary, the Sundance Institute’s New Frontier program has provided the highest level of curation in this emerging field since 2007. Virtual […] 2016-06-12 03:47 By

14 14 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Kit. The instillation combines Lee’s paint-based practice and his object-based practice to explore the poetics of everyday materials and household items. Contributing Members were […] 2016-06-12 03:47 By

15 westonwilliamson+partners toward a green city TOD westonwilliamson+partners begins TOD campaign with toward a green city all images courtesy of westonwilliamson+partners as part of the ongoing transport oriented development campaign, westonwilliamson+partners has proposed ‘toward a green city’. the urban planning concept imagines a sustainable settlement of one million people designed around a high speed transportation hub. the proposal is presented without specific context, making it equally applicable to a site in southern malaysia or central california. ‘toward a green city’ grew into an independent undertaking within the TOD campaign particularly due to unambitious plans surrounding high speed stations south of birmingham and around ebbsfleet. the latter development, which includes the creation of only 15,000 homes, is an unproductive move when so much more is possible. high speed rail access, in addition to increased housing availability, has the ability to make living more affordable and to decrease excessive commuting (canary wharf). the proposal offers the following principles for consideration, amongst others. 1 million residents within 5km diameter area, community shopping and necessary amenities within 300m radius of every residence, tall buildings clustered in the north to prevent over-shadowing, green roofs and balconies wherever possible, windmills for 40% total energy production, disaster infrastructure (such as flood prevention), carbon neutral development, multi-scale community agriculture, high speed rail links between area and opportunities, and guided/driverless public transport with max. 5 minute wait, lowered ambient noise, and increased air quality. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-11 23:15 Ww P

16 ruiz velázquez blends architecture and nature in madrid's ford vignale pavilion ruiz velázquez blends architecture and nature in madrid’s ford vignale pavilion (above) a tree found previously on site was left intact, adding to the overall natural feeling all images courtesy of ruiz velázquez architecture and design team madrid-based studio ruiz velázquez has completed the ‘ford vignale pavilion’, a new automotive commercial concept by the prestigious automotive brand that aims for a new level of service for its most demanding clients. the concept wanted to portray a service that is centered, thought and designed for people, creating a facility that goes beyond the technological beauty and its precision. the studio took all this into consideration to create the pavilion, resulting in a space where nature and architecture meet, creating a new habitat. natural materials like marble not only add to the exclusivity of the pavilion, but also to the creation of a new habitat the ‘ford vignale pavilion’ is a spatial concept that aims to evolve the originating topic of car design, creating a welcoming environment, where lines converge to unite machine and human being. in this specific case, the architecture of the pavilion and the nature of the courtyard where it is located in madrid, blend to become a new architectural expression. the white and naturally illuminated space is complemented by wood stripes that flow from the walls into the ceiling, giving the space movement. a tree found previously on site was left intact, adding to the overall natural feeling. the pavilion showcases a space where nature and architecture meet, creating a new habitat the concept wanted to portray a service that is centered, thought and designed for people wood stripes from from the walls into the ceiling adding movement to the space clean and geometrical lines make up the furniture designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-11 21:29 Ruiz Vel

17 Paul Smith Toasts 40 Years of Punk With Exhibition Paul Smith and the British Fashion Council celebrated the 40th anniversary of punk with an exhibition of work from photographer Derek Ridgers’ new book, “Punk London 1977,” which will run through Monday. Debbie Harry was among the faces in the moody black and white images lining the walls in the downstairs gallery, as guests including Caroline Rush, Smith, Ridgers and GQ editor and London Collections: Men chairman Dylan Jones milled about to a soundtrack provided by founder of Radical People magazine, Reba Maybury, who played a mixture of music from the era. The book, published by Carpet Bombing Culture and launching to coincide with the exhibition, is a frank look at the Seventies punk scene and will be available from No. 9 Albemarle Street for the duration of the show for 14.95 pounds (about $21.30 at current exchange). There is also a limited edition of 150 T-shirts created in collaboration with Smith and Ridgers featuring an image from the book of a young girl with smoky eyes and her short hair styled into devilish horns. The tees retail for 80 pounds (about $114) at Paulsmith.co.uk and Paul Smith No. 9 Albemarle Street. Smith said that exhibitions were all part of his grand plan for this shop. “Mayfair is world famous for its galleries. When I opened my shop at No.9 Albemarle Street a few years back, it was really important to me that we had space to showcase artists whose work I admired,” he said. Punk purists might have raised an eyebrow at the Perrier-Jouët Champagne and faceted cocktail glasses but, then again, this was Mayfair, after all. 2016-06-11 19:37 Julia Neel

18 Jermyn Street Men’s Brands Stage Consumer- Facing Fashion Shows The Jermyn Street runway show, hosted by property owners The Crown Estate, sought to answer the question with four events that took place on a catwalk in the middle of the street during London Collections: Men. Now in its second year, the consumer-facing show featured looks from the current season’s collections. Three of the shows were open to the public, with one reserved for trade. “The Crown Estate is investing in promoting Jermyn Street as a men’s wear destination. It has been for many generations, but we’re trying to refine it for future generations,” said Anthea Harries, portfolio manager for St James’s at The Crown Estate. The aim is to “engage with the consumer and improve pedestrian footfall on the street,” Harries added. “This is about the retailers, giving them the opportunity to trade well today and to put Jermyn Street on the map for men’s wear.” More than 30 brands with a presence on both Jermyn Street and the wider Piccadilly area took part. They ranged from establishment stalwarts to newer names and were shown mixed together for a contemporary vibe. Various eye-catchers included a jaunty windowpane check suit by Dunhill ; a long gray cardigan from N. Peal; navy track suit bottoms from Sunspel ; an abbreviated Aquascutum trench; a brocade dressing gown from New & Lingwood, and an oversized Norwegian Rain poncho worn atop a pinstriped suit by Thomas Pink. 2016-06-11 18:21 Stephanie Hirschmiller

19 VIDEO: 'Hallway Hijack' Fills a Brooklyn High-Rise With Art Nineteen artists transformed eighteen floors of the luxury apartment building 66 Rockwell in Brooklyn on June 6 with a series of permanent hallway installations. Curated by Taylor Dafoe of Rail Curatorial Projects (and Blouin Artinfo, where he's a reporter), “Hallway Hijack,” brought together works by current and former fellows of Columbia University’s LeRoy Neiman Center for Print Studies, as well as Brooklyn Rail editor Phong Bui and Neiman Center director Tomas Vu. Our video exclusive from the Brooklyn Rail offers a floor-by-floor look at what's inside. 2016-06-11 17:49 BLOUIN ARTINFO

20 versatile spyndi chair by mindaugas zilionis experiment & play with versatile spyndi chair by mindaugas zilionis all images courtesy of spyndi ‘spyndi’, by lithuanian furniture designer mindaugas zilionis, is a handmade chair composed of 60 loose sections combinable in countless variations. based on the human spine, as alluded to in title, the unconventional furnishing can be transformed into almost any configuration. armchair, chaise lounge, rocker, partition, stool, side table, sports equipment, and countless other possibilities, are achievable using nothing more than the basic elements and a bit of imagination. the design’s secret lies within its laborious construction. 1,260 birch plywood pieces compose each chair, all individually oil-coated and combined into long or short sections. the incredible strength of all parts translates into the overall form, which like the spine, is solid without forsaking flexibility. building ‘spyndi’ into a unique composition requires little more than a bit of planning and the time it takes to accomplish. each element has an A and B side that when laid in succession or alternated creates different shapes. for example, a curved line is made by A+A+A or B+B+B, a straight line by A+B+A, and any other shape by a combination of both. once placed, a locking mechanism (hex key) is turned to inhibit movement. whether side-table or seat, each section is capable of use indoors or out confident in ‘spyndi’, zilionis has launched a kickstarter campaign to increase production capability. though quickly-disappearing, interested parties can still snatch up the versatile piece at early-bird pricing. ‘spyndi’ comes with a lifetime warranty, and each purchase is matched with a planted pine tree. for more information, or to support the project, view ‘spyndi’ here. resembling the human spine, ‘spyndi’ can be adjusted to any individual and bear any weight the unique design has developed consistently over nearly a decade designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-11 17:30 www.designboom

21 21 Suki Waterhouse, Callum Turner Attend Burberry Bash in London The event put a spotlight on design and craft, and also highlighted the illustrations of Luke Edward Hall, whose whimsical cartoons were featured alongside images by Mario Testino in the brand’s latest ad campaign. “I was inspired by the jewel tones in the photography and the textures,” said Hall, describing his illustrations for the brand. “So it all came naturally from looking at the photography.” Going forward, the London-based interior designer and artist said he plans to focus increasingly on pottery. “I’m about to do more ceramics. I started doing these hand-painted ceramics, which I’m selling.” In keeping with the design theme, a row of craft and personalization stations were positioned on the second floor and guests were able to watch artisans hand-paint monogram initials onto bags. The event, hosted by Burberry’s chief creative and chief executive officer Christopher Bailey , kicked off a series of in-store bespoke experiences and services that will run for a month at the Regent Street flagship. Waterhouse, who recently wrapped “Future World,” where she stars alongside James Franco and Milla Jovovich, will head to Brazil next month for the opening of the Olympics. While she admits she doesn’t watch a lot of sports, the actress recalled the buoyant mood in London when it hosted the Olympic Games four years ago. “I think the countries feel so happy (when they host the Olympics) and Brazil is the best, best fun ever. That — and Glastonbury.” Turner, the model and actor who recently starred in the brand’s latest campaign alongside Edie Campbell , recalled an awkward moment during the shoot. “Mario gave the direction, and I was supposed to do something. I turned to Edie and said: ‘What did he just do?’ and she was like ‘Oh it is a thing.’ And I was like ‘But what is it? What is that?'” Turner soon discovered it was Mario demonstrating how to walk slowly towards the camera. “I didn’t know how to do that,” he said. RELATED STORY: Burberry’s Latest Campaign Embraces New Singular Label, Buy Now, Wear Now Strategy >> 2016-06-11 13:17 Lorelei Marfil

22 fabio novembre lights the way for venini and kartell with muse lamp + lantern fabio novembre lights the way for venini and kartell with muse lamp + lantern fabio novembre lights the way for venini and kartell with muse lamp + lantern (above) ‘muse’ by fabio novembre for venini (design team: nicolò buratti, domenico zenone papetti); hand blown glass inside handmade steel cage; amber colored incamiciato glass, carrara marble, burnished steel; L38,9 x W20,9 x H32 cm fabio novembre is known for the cheeky way in which he approaches design, often expressing everyday objects through unconventional forms. his ‘muse’ lamp for venini and ‘lantern’ for kartell see a toned down novembre, in which the creative takes on more tranquil directions: one that recalls reflects recent changes in the italian creative’s life; and the other harking to his continued fascination with the metaphysical. designboom spoke to fabio novembre about designs for two of italy’s most well established companies, to understand his motivations for the lighting objects that are distinct in form and purpose. ‘muse’ draws on the designer’s fascination with italian metaphysical art of the early 1900s designboom: who was your ‘muse’ for this venini project? fabio novembre: since I was a student I’ve been fascinated by that group of ingenious young men that in order to escape the folly of war got hospitalized all together in ferrara. the refusal of reality led them to develop an alternative reality that they called metafisica (the metaphysical art movement). their names were: giorgio de chirico, carlo carrà, alberto savinio, filippo de pisis, and they are my muse. DB: was there a particular brief you were given for this collaboration with venini? or did you have free reign to dream-up whatever your heart desired? FN: venini does not produce functional objects. buying a venini means being aspirations, you don’t need it, you just want it. it means that designers never work for venini with a brief. that would be contradictory. venini is a blower of glass dreams, each designer brings his own. DB: could you elaborate on the formal developments of ‘muse’, and why you have chosen to employ this combination of materials into a single design object? FN: I have often perceived the aesthetics of venetian lanterns as something similar to de chirico’s heads. evolving on this input has been quite easy. and pairing venetian glass with carrara marble has been a further confirmation of the italian root of this project. DB: what are the specific difficulties you face in working with glass as opposed to other materials such as plastic? FN: each material has its own specificity. it’s like speaking different languages and I have no problem with it. contrasting ‘muse’ in its form, novembre’s portable LED ‘lantern’ for kartell is made from moulded polycarbonate, outfitted with a wireless base charger. DB: what is the concept behind ‘lantern’ for kartell? FN: I got lost in my personal life and I felt the need of finding something to light my way. something simple, iconic, durable. something to keep me company in the dark solitude. basically I ‘designed’ lantern for myself. the lantern sits on a charging base and can be moved around easily DB: ‘lantern’ seems to take on a form that is quite rigid in comparison to the more organic and playful designs we typically see from you… why the more traditional approach this time around? FN: I needed something iconic, recognizable, something retrieved from my memory. I was trying to solve a need, not to be playful or organic at all costs. with ‘lantern’, novembre was looking to design something iconic and recognizable DB: could you talk about the design development of ‘lantern’? FN: working with kartell is an experience in itself: the accuracy, the precision, the clarity of purpose is something very enjoyable and rewarding. DB: what were some of the manufacturing challenges you faced in the production of the lighting object? FN: the pattern on the surface of the lantern is not just decorative, it’s conceived to light the whole volume despite the source of light is only at the bottom. and we made a few attempts to get a good result, but we succeeded. 2016-06-11 13:15 Andrea Chin

23 Moschino’s Spring and Resort 2017 Show Brings More Color to L. A. Scene More Articles By Anyone familiar with Jeremy Scott and his work as creative director for Moschino comes to one of his runway shows anticipating colorful, playful clothes infused with happiness and cheek that leave the audience feeling uplifted, humored, or at least bobbing along with the music. That was the hope for what a major fashion show like Moschino would do for the Los Angeles fashion show scene. On both counts, it succeeded. The combined men’s spring 2017 and women’s resort 2017 show Scott presented on Friday night at the L. A. Live Event Deck was both a love letter to his adopted hometown and a boon for the city that has been winning on nearly every front of late except the runway scene. Supported by his loyal BFF Katy Perry , who said, “I’d never miss one of Jeremy’s shows,” as well as a cadre of pop songstresses and starlets including Jhene Aiko, Christina Milian, Vanessa Hudgens and Bella Thorne, plus famous LGBT faces Caitlyn Jenner, Candis Cayne, Soko and Colton Haynes, Scott created the sort of entertainment event that felt at home in a venue that also hosts musical headliners and Hollywood awards shows. RELATED STORY: Big Sean, Jhene Aiko, Soko and Liz Goldwyn Mingle at Moschino Party >> “It’s Jeremy, so only the best and most vibrant and colorful is what you expect,” said Amber Rose. “His shows are always very entertaining. That’s why I come to support; he’s a creative genius. And I don’t have to travel all the way to Paris to see him, so it’s awesome.” Indeed, most in the stable of Insta-famous models who prepped backstage to walk the show also didn’t have to travel far. Miranda Kerr, Alessandra Ambrosio, Devon Aoki and Chanel Iman live in Los Angeles, as do celerity progeny Hailey Baldwin, Anwar Hadid, Cami Morrone (Al Pacino’s step- daughter), and Presley Gerber ( Cindy Crawford ’s son). “I have to be on the red eye so many times a month that it’s always a treat to be able to do something fashion here in the city. L. A. needs more fashion people and I feel like they are starting to get the vibe that I got nine years ago,” said Ambrosio. Crawford said she was “trying not to be an embarrassing mom” when she went backstage with husband Rande Gerber and daughter Kaia to wish her son good luck on his first show (she did cause a mini-commotion for the many camera crews backstage). “I wish I could have been a fly on the wall because this is my son’s first time in this kind of environment. We live in Malibu, which is a great place to grow up, but they are both teenagers now and they are ready for more stimulation from meeting new people,” Crawford said. At 14, Kaia was waiting for her turn on the catwalk. “I want to when I’m old enough,” she said. In the meantime, she was soaking in the vivid set. “It’s so inspiring to see that,” she said. “I wish I was that creative.” For his part, Scott was the most relaxed he’s ever been pre-show. “It’s so much fun for me to show at home. First of all, I drove myself here in my own car, and I was just doing my fittings at Milk Studio, like, seven minutes from my house. It was so wonderful and peaceful for me to be able to work here.” He also noted that it was a pleasure to welcome not only his famous and fashion friends, but also “neighbors and my favorite SoulCycle instructor. It feels very loving and familiar.” He mined his surroundings for design inspiration. “I was thinking of all the different vibes I love here, from the hippie-dippy Sixties look to the multiple cultures and how we all coexist,” he said. That was evident in the Summer of Love, psychedelic colors and silhouettes — flared pants, midriff-baring corset tops, maxidresses — and the multiple ethnic embellishments such as Shisha-inspired mirror adornment and Sangallo embroideries. Even in the contemporary sportswear, sexy swimwear and sophisticated suiting, there was a riot of color and texture: fine-gauge knits, patchwork crochet, holographic floral appliqués. “I like the idea of all those different hand techniques and cultural things. I even did Pop Goths in all black with sunny embroidery or appliqués. I was trying to play with different archetypes like the cool girls who would be, like heading down Melrose totally done up in the daytime. I just played with what I think about L. A. Maybe it’s my heightened-volume, turned-up version of it, but it’s how I see it and what I love about it.” Scott also incorporated his own way of dressing, such as the multilayered beaded necklaces he’s been wearing lately, into the collection. “I hope people enjoy the show but also just enjoy the whole atmosphere.” “Empire” starlet Serayah McNeill was impressed by the lengths that Moschino went to stage the show. “I was just talking to Christina about it,” she said, glancing around for Milian, who scooted away after their photo opp together. “I’ve never been to anything so big here.” An exuberant Soko summed it up by saying, “I loved Jeremy’s show because he brings all the freaks out, all these different people whom people can relate to. It’s such an achievement, it’s a great f—ing moment for L. A. fashion.” 2016-06-11 12:54 Marcy Medina

24 Interstellar-Inspired Fractals Open Up New Dimensions Images courtesy the artist Art and computation could be a portal to better understanding the universe at large—at least, that’s what NASA and French artist Patrice Olivier Acardy are betting on. With NASA’s support and a custom- built helmet, Acardy is currently setting off on “secret explorations and missions” inside the world of fractals and documenting his voyages on Instagram. The project, titled Outre_Part , combines the French expression autre part, meaning “elsewhere,” with the adverb outre, which means “beyond, further.” Acardy’s otherworldly fractals, like the ones he released last year with visual EP Critical Density , caught the attention of someone at NASA. “For him, I was doing the same thing that the astronauts who work with them do: navigating, exploring, and witnessing the unknown.” The NASA researcher in question remains anonymous for now, and his research, which is in its early stages, is still shrouded in mystery. The overarching idea, however, is essentially the premise of Interstellar : “There must exist a multitude of universes on other planes, connected together, but elsewhere, outside of the solar system or outside of the cosmic universe as it is defined,” summarizes Acardy, who is one of several people providing data to help support this budding theory. “My job is to ‘visually’ demonstrate the existence of other forms of life, with unknown textures, materials, energies, and technologies that exist in this fractal universe.” “Why would this fractal universe not be a real place that exists in time and space? If we can generate computer images and videos of this world, it must exist materially somewhere, or be realizable,” adds the artist. “Why not dedicate ourselves to imagining this universe, and in doing so, create it?” GIF showing the process of setting the fractal’s various parameters within the grid From his home on the island of Réunion, way out in the Indian Ocean, Acardy plugs in the six USB ports that connect his helmet to his computer, and dives into the great beyond. Thanks to software he has created that groups together other fractal applications like Chaotica , XenoDream , and Apophysis , he can tinker endlessly with parameters like the size, position, texture, weight, and shape of the fractal. After adjusting the color palette, he then waits for the rendering, which can take anywhere from 15 to 1,440 minutes. In the short term, Acardy needs to finish customizing his helmet and add more VR functions. He also plans on exhibiting the work regularly, and delving into experimentations with video, sound, and 3D printing. Beyond that, he vows to post his work to Instagram for as long as he can, whether or not NASA is involved. He says, “I feel like this is the project of an entire life, and I have to share it with people.” Follow Outre_Part on Instagram , and learn more about Patrice Olivier Acardy on his website . Related: [Music Videos] Jaw-Dropping Patterns Align in a CGI Fractal Opus Tove Agélii's New Music Video is a Hallucinatory Trip Inside 3D Fractals This Is Your Brain on Fractals 2016-06-11 12:05 Noémie Jennifer

Total 24 articles. Created at 2016-06-12 12:02