Announcement

38 articles, 2016-06-01 12:01 1 National Pavilions at the Venice Biennale of Architecture 2016 : The Good and the Bad Highlights from the Pavilions responding to the theme "Reporting (1.02/2) From the Front." 2016-05-31 15:40 7KB www.blouinartinfo.com 2 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-31 19:23 12KB rhizome.org 3 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-31 19:20 972Bytes blogs.walkerart.org 4 student housing by agnieszka owsiany & adam wiercinski designed for students, the 83sqm space is divided into four independent rooms, with a spacious common area that includes the necessities for shared living. 2016-06-01 02:15 1KB www.designboom.com 5 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... 2016-06-01 04:23 1KB gdusa.com 6 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power... 2016-05-31 22:21 22KB www.walkerart.org 7 FOREAL's hybrid personalities for news app campaign to illustrate the functions of samsung's personalized news app upday, design studio FOREAL has created quirky visuals for its first print campaign. 2016-06-01 00:35 1KB www.designboom.com

8 Circuits of Saudade: Wind Grove Mind Alone , Night One To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-06-01 04:23 909Bytes blogs.walkerart.org 9 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker's rooftop terrace, the first of 17 new outdoor works that will be joining the newly-renovated Walker campus. The piece—Arcs fr... 2016-06-01 04:23 875Bytes blogs.walkerart.org 10 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 Minneapo... 2016-05-31 22:21 868Bytes blogs.walkerart.org 11 venice biennale: urban-think tank presents 'sarajevo now' at the 2016 venice architecture biennale, urban-think tank (U-TT) and baier bischofberger have presented a new exhibition entitled ‘sarajevo now’. 2016-05-31 23:40 4KB www.designboom.com 12 Size Matters: Finn’s New Eye of Providence Collection The collection came about after the designer’s boredom with “the small, dainty, personal jewelry.” 2016-05-31 23:35 1KB wwd.com 13 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your... 2016-05-31 19:20 837Bytes blogs.walkerart.org 14 Alicia Vikander to Front Vuitton’s ‘Travel’ Campaign The ads were shot in Rio by Patrick Demarchelier. 2016-05-31 22:22 981Bytes wwd.com 15 Esquire Undergoes Masthead Changes Under Jay Fielden Design director David Curcurito is the latest to depart Esquire. 2016-05-31 22:06 2KB wwd.com

16 Riccardo Tisci, Tory Burch, Erdem, Valentino Designers to Be Honored at FGI’s Night of Stars The Fashion Group International’s October 27 Night of Stars will toast Riccardo Tisci, Tory Burch, Joe Zee and others at Cipriani Wall Street. 2016-05-31 21:46 1KB wwd.com 17 Vanessa Williams Weds (Again) in Pamella Roland The ceremony was held on Memorial Day. 2016-05-31 21:43 1KB wwd.com 18 Natural and Digital Worlds Collide in the New Museum's Shaft Space Eva Papamargariti's 'Factitious Imprints' invites you into the twilight zone between the real and the uncanny. 2016-05-31 21:05 5KB thecreatorsproject.vice.com 19 Stitchable Circuits Weave the Future of Wearable Tech Self-proclaimed "creative technologist" Madison Maxey is changing wearable tech, one custom textile at a time. 2016-05-31 20:20 3KB thecreatorsproject.vice.com 20 20th Sydney Biennale Q&A: Robert Zhao Renhui’s Eco Audit In the interview below, Singaporean artist Robert Zhao Renhui, founder of the Institute of Critical Zoologists (ICZ), discusses his work “Christmas Island, Naturally” 2016-05-31 20:11 6KB www.blouinartinfo.com 21 Meet the Woman Behind America's Most Legendary Pinup Art We talked to the reigning queen of pinup art herself, Olivia de Berardinis, a.k.a., Olivia. 2016-05-31 19:45 7KB thecreatorsproject.vice.com 22 A New Initiative Showcases Design in Venice Concurrent with the Venice Architecture Biennale, an ambitious new initiative aims to introduce visitors to the little-known corners of Venice, and its contemporary design. 2016-05-31 18:43 5KB www.blouinartinfo.com

23 Giant Human Heads Invade Famous Galleries These faces dwarf the works of Damien Hirst, Peter Paul Reubens, and Roy Liechtenstein. 2016-05-31 18:40 2KB thecreatorsproject.vice.com 24 Christie’s Sells Most Expensive Handbag Ever Auctioned Sold in Hong Kong, the Himalayan Birkin bag set a world record. 2016-05-31 18:30 696Bytes wwd.com 25 Neon Fantasy Paintings Just Got a Whole Lot More Internet Meet Emma Stern, the artist painting surreal representations of what she calls "digital vacations. " 2016-05-31 18:15 2KB thecreatorsproject.vice.com 26 “The Bone Clocks” Author David Mitchell Turns in Book for Oslo’s Future Library British novelist David Mitchell presented his contribution to the Future Library, following in the footsteps of Canadian author Margaret Atwood. 2016-05-31 17:51 3KB wwd.com 27 Artist Darja Bajagic Alleges Censorship of Work Featuring Swastika and References to Nazism Darja Bajagić's Bucharest Molly. COURTESY THE ARTIST New York–based artist Darja Bajagić is no stranger to controversy, which is perhaps only natural. Her 2016-05-31 17:27 7KB www.artnews.com 28 Art house: Los Angeles and New York artists tackle the inequity of real estate From a crazy golf course in LA’s Skid Row funded by Mike Kelley’s estate, to New Yorkers asking Who Stole the House?, artists are addressing the cost of property 2016-05-31 16:46 6KB www.theguardian.com 29 Hirshhorn Museum and Sculpture Garden Names Daniel H. Sallick Board Chair Daniel H. Sallick. VIA LINKEDIN The Washington Post reports today that the Hirshhorn Museum and Sculpture Garden has appointed Washington-based businessman 2016-05-31 16:28 1KB www.artnews.com 30 6 Dark Mofo Events for Architecture Lovers Blouin ARTINFO has chosen six events for architecture lovers at Tasmania's Dark Mofo 2016. 2016-05-31 16:23 6KB www.blouinartinfo.com 31 Daniel R. Small Uncovers Hollywood’s Buried Myths The LA–based artist presents paintings and debris he excavated from the city Cecil B. DeMille built for "The Ten Commandments" as part of the Hammer Museum’s “Made in L. A.” 2016-05-31 15:47 10KB www.blouinartinfo.com 32 Ukrainian Collector Returns Stolen Dutch Painting After ten years with no news, another one of the 24 paintings stolen from the Westfries Museum in the Netherlands has been recovered in Ukraine. 2016-05-31 14:45 2KB news.artnet.com 33 ‘Excitement: An Exhibition by Rudi Fuchs’ at Stedelijk, Amsterdam Pictures at an Exhibition presents images of one notable show every weekday 2016-05-31 14:16 2KB www.artnews.com 34 Sneak Peek: SCOPE Basel 2016 to Celebrate 10 Years With New Venue SCOPE Basel this year is celebrating its 10th anniversary with a new location, more than 70 exhibitors and 10 Breeder Program galleries. 2016-05-31 13:53 5KB www.blouinartinfo.com 35 new rome EUR convention center by fuksas nears completion designed by studio fuksas, rome's EUR convention center is nearing competition ahead of its opening in autumn 2016. 2016-05-31 13:00 2KB www.designboom.com 36 billie tube amplifier by heaven 11 audio moving away from the trend of generic design and disposable materials, heaven 11 audio billie’s shell is made of thick, machined aluminum. 2016-05-31 12:30 2KB www.designboom.com 37 Dutch Artist Accuses Duke Riley of Plagiarism Jasper van den Brink published an idea for a project with pigeons and LED lights, and now he says Duke Riley's "Fly By Night" project is too similar to his. 2016-05-31 12:27 4KB news.artnet.com 38 M. C. Hammer Helps You Hang Your Art Rapper and producer M. C. Hammer appears in a terrific new ad for a 3M product that lets you hang art on your walls without using a hammer. 2016-05-31 12:12 2KB news.artnet.com Articles

38 articles, 2016-06-01 12:01

1 National Pavilions at the Venice Biennale of Architecture 2016 : The Good and the Bad (1.02/2) Related Events Venice Biennale Architecture 2016 Venues Venice Biennale Architecture “Architecture is giving form to the places where people live. It is not more complicated than that, but also not easier than that.” With these words, the Venice Biennale invites guests into the 15th International Exhibition on Architecture. This year, the theme is Reporting from the Front, under the curation of Chilean architect Alejandro Aravena, who is known for sensitive and innovative public housing schemes designed in his country and across South America. The Biennale looks at questions of use and problem solving, questions that may be overlooked as banal, but are in many ways to crucial to how people live. The list at the entrance to Arsenale is both excruciatingly tedious, and soberingly difficult: inequalities, segregation, migration, informality, sanitation, waste, pollution, sustainability, traffic, and so on. The National Participations have responded with thoughtfulness and style. There are gestures of surprising, matter-of-fact simplicity (look at Germany, which has opened four additional entrances to its pavilion that will not close, declaring Germany is open). There is hard research (the Netherlands). Only very rarely is the point spectacularly missed (Australia's pool being the most interesting case). Blouin ARTINFO team has put together ten of the most interesting national pavilions, from the didactic to the self-indulgent. Christian Kerez has transformed the interior of the Swiss Pavilion with Incidental Space, a cloudlike white cocoon with a cave-like interior, executed in sprayed fiber cement. The space, white and smooth, has been handmade from a small model in sugar and dust; a gesture of return to craftsmanship in architecture, in the face of modern 3D printing technologies. The result is a spectacular playground for adults, a daydreaming space resembling 1960s radical design. Four new openings in the German Pavilion have transformed it into an open house, in reference to the 2015 opening of borders, in which Germany received over a million refugees, mostly from Syria. “Germany is open”, the program declares. Perhaps by conceptual necessity, the pavilion is almost empty of objects: there is hardly a single object worth stealing. Instead, Germany presents texts, data, photographs, and ethnographic portraits of its new citizens: from temporary shelters to the transformation of its education and housing policies. This is a sober study of how to manage migration. Policy-heavy, architecture-light. The Albanian space is an unexpected delight, a highlight: tiny corner of Arsenale minimally divided with a rubber curtain, and minimally filled with some pink casts, and voices. Ten texts by contemporary authors, about the architecture of displacement – geographical, cultural – are set to music and sung by some of the last Albanian ico-polyphonic singers, a UNESCO- protected intangible cultural heritage. A longing for belonging, for the structures of culture, is beautifully evoked. United Arab Emirates has dedicated a surprisingly beautiful exhibition to sha’abi (folk) houses, modular housing designed in the 1970s to house an increasingly wealthy, but traditionally nomadic population, with no tradition of settled housing. A series of simple rooms overlooking a central courtyard, the sha’abi typology is presented in all its permutations and uses: the modernist mass-produced model has been adopted, transformed, and individualized. A tale of human hand triumphing over the machine. Japan presented an exceptional collection of housing projects intended to tackle a cluster of problems facing the country: housing unaffordability, aging society, and changes in family structure. Innovative collective housing models are presented with elegant confidence. In contrast, the unevenly balanced Danish Pavilion seems to reduce its own legacy of excellent low-cost housing to a celebration of Jan Gehl. The Copenhagen architect has defined the vocabulary of livable cities, and closed Times Square to traffic; but Danish social consciousness in architecture seems diminished overall by this star-struck exhibition. Unable to speak of either revolutions (like Egypt), social crises (Spain), world-class public housing models (like the Scandinavian countries), or enlightened social policies (like Germany), France and Belgium have presented strangely tune-deaf pavilions, austere and bleak to the point of comedy. France’s legacy public housing, and Belgium’s examples of heritage craftsmanship – what front are we reporting from? - sit oddly scaled for their oversized rooms. Is this the aesthetics of post-colonial guilt? Both Brazil and Venezuela have opted to make their contribution as ephemeral as possible: instead of focusing on models or buildings, their displays are stacks of leaflets and information posters, which visitors can take at will. In stark contrast with Russia – which has presented an oddly propagandist celebration of its own Soviet past, glossing over the dissolution of the Union, among other things – the Chinese Pavilion has put together a selection of small and sensitive interventions that build communities and preserve built heritage. Nothing exemplifies the distance that has emerged between these two former mega-socialist forces as the juxtaposition of heroic sculptures inside the Russian Pavilion with the tiny communal gardens built out of their own transportation containers by View Unlimited, a young interdisciplinary design collective that has originally used this handmade intervention as a vehicle of connecting families inside a traditional residential neighborhood. Rumor is that Australia knew what it would do before the theme was even chosen. It is a young country, it has just built a pavilion (the first 21st century addition to Giardini), and it is having a moment of burgeoning nationalism, an attempt to articulate its identity in front of the wider world: what better way to assert its youth, optimism, and care-free spirit than by building a pool at the Biennale of Architecture? Framing it as quintessential Australian public space may be read as cynical, and also, surrounded with South American slum interventions and European refugee programs, spectacularly tone- deaf. However, no other pavilion created a community space more successfully: babies splashing around, weary visitors resting aching feet, nothing fragile or breakable in sight. If Australia needs to know what it gives the world, the answer is: egalitarian comfort, as vehicle of dignity of the common man. Surprisingly on the point. 2016-05-31 15:40 Jana Perkovic

2 On the Gaze in the Era of Visual Salamis Looking at my.pdf library I recently came across Monte Burch's The Complete Guide to Sausage Making , a book that clearly—and perhaps morbidly—describes some key features of this ancient and mysterious practice. Throughout the reading of this document I somehow realized that I had been learning not only about sausage making as such, but also the mode of existence of some digital images, with whom I coexist. How is such a leapfrog possible? In Burch’s guide, a sausage can be made by grinding and mixing “scraps and trimmings” and, interestingly enough, by also maintaining a prudent period of “seasoning and curing.” The meat’s encounter with a systematic process of recombination and extrusion, say, configures the sausages. Moreover, it is precisely their sausageness that allows us to access them according to polarized protocols: on the one hand, sausage production is analog and continuous—the more meat we add to the grinder, the larger the sausage is. Conversely, its access is developed according to a discrete, digital-like protocol: the slice. Shaping images with our digital gaze An image is no longer a singular thing, but rather it becomes dispersed , distributing its existence along paths, iterations, periplus, and versions provided by both humans and systems. In this sense, images are trajectories through media, devices…and places. Visual characteristics (namely; colors, sizes, textures, compositions, effects, texts, icons, and typographies) are subjected to a large number of recursive and combinatory operations; a memetic modality of some images that supersedes the very notion of internet meme. The world s largest sausage in Kobasicijada Festival (Turija-Serbia) in 2012 This implies that in order to access an image’s narrative, we have to retrace some of its extruded, threadlike trajectories. Our attention is not focused on a singular image, but is distributed along the image’s path. Since the versioning of an image is the image, the increasing accumulation of similar images is nurturing distributed ways of seeing. Slicing images’ sausageness Sausage-like elongation describes the way that images accumulate, but this redundancy of content is not merely piled up, but follows an extruded trajectory that creates threads of dispersed versions. Since any given sausage is not only a sausage, but also the expression of its formal mode of production, what is the shape of our engagement with it? If either sausage and image are being distributed across a potentially endless series of elongated versions, we can only access images by slicing them. Slicing Gucci Mane Capturing the environment with our digital devices creates a discrete, framed incision in our surrounding milieu. Hence, further captures within the digital realm (for instance, by copying, tagging or storing digital files) prefigure the apparition of what I would like to denominate image-slices. These slices have also something that really interests me; an intriguing ability to create their own negative imprint in the form of memory. They remind us that their status as slices conceals the almost invisible process of how our digital gaze deprives images of their own visuality in favor of their memory. If the latter is defined here as a time-based measure of the image's shifting or fading along a trajectory, visuality presents the limits of an image; the contours and deformations produced by its elongation. The shape that a sausage acquires during its extrusion—being limited or arrested by its mold or configuration process—posits visuality as the imprint of energy. The visual cohesion of images is therefore based on modulations; the development of deformations through time. As any salami knows, its own depletion measures its extinction, but its memory increases as the salami diminishes. By day seven in the fridge, the last extant sausage piece compresses a huge amount of time within a narrow meat scrap, which indicates, as if metadata were present, its very process of dwindling. The accumulation of image-slices made by our digital gaze is not indiscriminate; it overlaps and compresses nuggets of visuality seeking an array of coagulated slices, relating images by means of mnemonic paths: spaces, affections, repetition, and desire. In doing so, digital images are increasingly becoming an ancillary verification of memory's circulation through systems and users. Accelerated emblems: when memory eats image The circulation of the digital image is propelled through versioning, elongation, and indexical techniques which optimize access to it by reducing the importance of its immediate visuality. After a certain point, memory’s circulation through systems and users becomes the image’s primary index, pointing to its internal coherence rather than an external frame of reference. Certain images can therefore intertwine themselves toward total memory, devoid of any content apart from their own possible trajectories. Undermining visuality, from Egypt to my smartphone. In an attempt to domesticate the Egyptian landscape during the Napoleonic campaign in the 18 th Century, Nicolas Jacques Conté invented an engraving machine that by virtue of its accuracy brought engineers the possibility of describing the landscape in the most objective way. The free movement of the hand was replaced by up to forty-two possible sequences of lines that guaranteed not only a higher degree of precision, but a faster rendering speed. In the monumental Description de l'Égypte it is possible to find examples of these line patterns; rectangular images that visualize nothing but the expression of their mechanical production. Back in the 21 st century, this undermined type of image reappears in the screen of my smartphone. Whenever I swipe too fast over Google Images’ search results, the accelerated flux of images surpasses by far the device’s ability to display them all. I no longer see images, but an array of plain- colored rectangles. How does this situation correlate with our subtractive digital gaze? My contention is that our digital gaze wants to subsume image within a larger structure of memory. If memory is based on delay—or hysteresis—then our digital gaze must decelerate the image's elongation in order to situate it within memory. In the era of visual salamis, we are no longer pursuing images, but image-slices that allow us to reconstruct their possible trajectories. This implies that the completion of memory is based on the limitation, almost the disappearance of image’s visuality. From a computational standpoint, I imagine that this process erases the constructed distinction between software and hardware to the extent of making both indistinguishable. An example of Core Rope Memory contained in an Olympia 15 digit calculator, circa 1971 The pursuit of memory not only undermines visuality but its interfaces as well. Perhaps digital memory artifacts will no longer need visual access interfaces such as screens…but in the meantime, let us take a look on a particular prehistory of this possibility from 1960s, where NASA's Apollo Program developed a form of ROM memory called Core Rope Memory. This was produced by literally weaving a wire skein along ferrite cores. The method of weaving wires—passing or bypassing the cores—configured the software. Therefore, memory was the outcome of an entangled, self- descriptive weaving motion: memory is what happens along the ferrite cores. Contrary to RAM memory, this Core Rope Memory was a non- volatile repository which keeps all its possible tasks in advance, indefinitely, even without energy supply. David A. Mindell's Digital Apollo: Human and Machine in Spaceflight recalls how the Apollo 12 computer easily rebooted itself after lightning struck the spacecraft. Without tapes or disk drives, Core Rope Memory visually exposes its limits and functions. We can imagine it as an artifact with the ability to keep and describe the totality of its existence, not by upgrading itself further, but through total access to its finite structure. This sheer visuality of its woven core—a kind of hardware— is the software, in absence of any other intermediate symbolic interface. The Core Rope's wire paths undermine images insofar as it constitutes its own memory. To put it simply, its finite woven code exists by itself. A distinct modality of software as the human-readable aspect of the machine is no longer necessary. In the meantime, digital plein-air I have to stress that, although sausage making is a pleasant and mouth- watering activity, is not precisely exempted of risk. Whenever a meat scrap falls off the cutting table, we are in peril of getting a contaminated, even a hairy sausage. As Burch’s guide reminds to us: “the one that eats the most sausage gets the most hair.” Nowadays we are witnessing the process of subsumption of memetic images within memory, but in the meantime, we are finding memetic images in the outdoors as well. The temple of the Seven Dolls in Dzibilchaltun, Yuc. Mexico Despite the fact that the Seven Dolls Temple in Dzibilchaltun (Mexico) perhaps was never conceived as a temporal landmark, during each vernal equinox a multitude of people congregate around the temple. When the Sun emerges, its beams traverse the temple's open door towards a plethora of smartphones, digital cameras, and tablets. The sunlight is not only framed by the door; it continues its trajectory by virtue of the devices’ capturing and the images’ further circulation. After my first visit to this temple in 2012, I became increasingly interested in the particular elongated quality of this sort of memetic images. During the last three years I have been visiting several areas of Southern Mexico, finding along my way a variety of these images: digitally printed cylinders in the shore of Bacalar lagoon, fluorescent hoses in Palenque's jungle, gradient-like car reparations in Merida, polygonal paper dinosaurs in Chicxulub, to name a few. These memetic images incorporate an array of digital textures, patterns, gradients, and even moiré effects, but somehow their physicality produces an interesting disruption in its surrounding milieu. They popped out in our vision by highlighting their obvious digitalness in absence of devices, binary code, or even electricity. How is such a thing possible? If the traits of memetic images can be sustained in spite of devices —or their closeness—we must reconsider them as entities created uniquely by devices. Images linger at a certain distance of them; sometimes closer—even “within”— sometimes too far to be extant. A memetic landscape in Bacalar, Quintana Roo, Mexico. Constituted as trajectories by means of versioning, these memetic images could have existed before the advent of the internet itself. Acknowledging this fact places us in the striking situation whereby the prehistory of digital images comes after their “official” emergence as media; as if in the very moment that we relocate these images from their alleged habitat (digital devices,) devices no longer “create” images. The context of memetic images does not lie in their materiality—for example, their pre-filmic or pre- screening origin—nor in the materiality of the places they represent. Conversely, we find context in the very action of capturing and slicing images, as well as in the device's situational location. The encounter with digital, memetic images in the outdoors and their incorporation within networks and memories denotes also the uneven degree of internet implementation over the Earth. Since bandwidth speed results are affected by geography (and geopolitics!), time is the subsidiary of space. The imbalances in a memetic image's speed of elongation describes real geographical distances between captured places and access to internet networks. This produces a particular phenomenon of historical remoteness, whereby 'antique' memetic images are still in the process of being incorporated, uploaded, elongated. As if the light of a distant sun were rising, we still are receiving and unearthing images pertaining to these memetic realms. — Javier Fresneda is a San Diego-based artist and researcher. His work can be found in www.javierfresneda.com among other places. — References Burch, Monte. The Complete Guide to Sausage Making. New York: Skyhorse, 2011. Mindell, David A. Digital Apollo: Human and Machine in Spaceflight. Cambridge: MIT Press, 2008. — Share this Article — 2016-05-31 19:23 rhizome.org

3 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional contexts. The conference was held on occasion of the tenth anniversary of the Young Curators Residency Program (YCRP), which annually brings three non-Italian recent graduates of curating courses to […] 2016-05-31 19:20 By

4 student housing by agnieszka owsiany & adam wiercinski 83 square meters in a 1930s building in central poznan, poland have been given a second life due to the diligent work of architects agnieszka owsiany and adam wiercinski. designed for student accommodation, the space was divided into four independent rooms, with a spacious common area that includes both kitchen and dining area and one and a half bath. necessities of contemporary student life were carefully considered in planning, as was the historical value inherent in the building. original elements including transom doors, casement windows, and wood flooring were preserved with care, highlighted further by a limited palette of white, gray, and select splashes of color. furnishings, such as desks combined with radiator covers, small tables, magnetic boards, dining table and benches were designed in addition to the space. functional and stylish, one can only hope its tenants do their best to keep it that way. 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. 2016-06-01 02:15 Adam Wiercinski

5 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 2016-06-01 04:23 GDUSA Staff

6 6 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power dynamics. Void of identifying features or specific characteristics, the animated silhouette within Chan’s restive vision invites and prompts us to project possible narratives onto reduced and impoverished images. Embracing what artist and theorist Hito Steyerl has termed the “poor image” of dubious genealogy within digital culture, Chan’s series The 7 Lights (2005–2007), works with “light and light that has been struck out” to depict a shadow cinema of the sacred and profane within contemporary culture. The tangible yet pared down outline of daily life gradually loses form in the series, with lampposts, cell phones, animals, circuitry, weapons, and people slowly breaking up into fragments that have no single point of gravity. As in 6 th Light , on view, the virtual is seen rising and falling in an animated cycle of dissolution. Score for 7 th Light , the final piece of the series, pushes toward total abstraction as a musical score of shadow fragments is laid out and contained within the strictures of the music staff across composition pages, offering near impossible instructions for the as-yet- unmade final projection in the cycle. It is in Sade for Sade’s sake (2009), however, that Chan deploys his poor cinema of the silhouette to truly epic effect, creating an immersive environment of nearly life-sized animated figures engaged in various encounters of sex and violence. Interspersed with floating rectangular forms that recall redacted imagery or censored sections of explicit texts, the mood of Chan’s work speaks to the American psyche at that time. Here, the artist has added a range of toy guns to what is a highly charged site-specific installation of the work. I recently sat down with Chan to discuss this most recent iteration of Sade for Sade’s sake , on view at the Walker, in the Lower East Side office of Badlands Unlimited , the publishing house Chan founded in 2010, devoted to e-books, paper books, and artist works in digital and print forms. Curating Less Than One I noticed a subtheme in the works I was selecting: what does it mean to become American, as opposed to being American? Thinking about your work, I immediately thought: Sade for Sade’s sake needs to be shown—right now. It just felt timely. You don’t over-explain your work, but I know that at the time you were making it there was heightened attention to the extralegal situations of US policy around Guantanamo and Abu Ghraib, and some of the redacted images that were coming out from Abu Ghraib in particular resonate, I think, for a viewer who’s paying attention to these connections. So, I wanted to first just ask you how you got into the whole Sadean project. The origins of the Sade project came from my reading and thinking about Henry Darger. I did a projection piece called Happiness (finally) after 35,000 years of civilization, after Charles Fourier and Henry Darger (2003), and Sade was a part of that mix. Why was he a part of the mix? Because he was an artist and a thinker who I believe was on the same wavelength as Darger, insofar as they were both interested in the look of infinitude. Darger’s landscapes looked infinite, like a world. But what you realized if you looked a little more closely is that this world was actually composed of a finite set of elements, that he only drew something like 24 kinds of flowers, but he varied them in such a way that his landscapes were completely populated with all different kinds of flowers. It’s a basic idea of theme and variation. But he had a theme. He had, say, four types of trees, and then he varied them to a point where you couldn’t tell what was happening. And Sade, in a very similar spirit, did that in his writing around ideas and acts of sex and violence. One of the other things that I thought connected them was the spirit of escape. Darger lived a terribly lonely and isolated life in Chicago, tragic in every meaningful sense. The Marquis de Sade also led a different kind of tragic life, but it’s important for me to remember that he wrote his greatest works while imprisoned, right? The 120 Days of Sodom was written while he was in the Bastille, and the intensity and the feel of infinitude, I think, come from the desire to escape. So, Sade is a part of the mix of that early animation, but I could never make Sade fit , so I took him out and put him in the back of my mind until after The 7 Lights , when I realized, “Oh, this is a thing I should do. I should follow up with that thinking around Sade.” That’s how it came out. After The 7 Lights , I re-remembered Sade, and thinking about Sodom , and rereading it, I realized that we don’t really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people—girls and boys—to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV. They profited from the war of Louis XIV. That really struck me, because at the time that we were living, we were going through a war, the Second Gulf War. We were going through the destruction of countries in the Middle East, and we were hearing stories about war profiteering. Of your use of the silhouette form, I think of Goya and the Caprichos and other artistic approaches to the grotesquery of the silhouette as a tool for speaking to situations of power and misuse of power. In Sade , the silhouette forms are so artificial. Then the animated jitter brings them to life in a way that is artificial, and yet its artificiality prompts a disturbing effect for viewers. Can you talk about why you chose the silhouette form? I’m a terrible drawer [Laughs]. I can’t draw to save my life! And a silhouette makes it much easier. I have less to deal with! [Laugh] Just one line, really, and nothing inside. I think that’s the simplest answer. A more complicated answer may be that I may not be interested in what it is at all. I may be interested more in its movement. I’ve told this story before, but I’m nearsighted. I’ve been nearsighted since I was, like, 12. But I’m so vain that I refuse to wear glasses, and I’ve learned to live that way because I realized when I was young that I don’t have to see with clarity to know what I’m looking at. I’ve adapted, based on my vanity, so that I can recognize people and things based on their movement. So, I may not be able to tell if that’s you from your face down the street, but I’d like to think that if we hang out just a little bit more, I would know how you’d move, and I would recognize you walking down the street from a block away. That’s how I can tell people in the street since I was 15. So, to me, movement becomes the essential way in which I see things, and it may be the case that the through line for the work that I’ve done, regardless of the medium, is movement. I loved drawing the Darger stuff, the Happiness pieces. I loved drawing them all, but what I was more invested in was how they move. And so with Sade , what was important was a particular spirit or style of moving, which I call “petrified unrest.” That jittering is completely artificial, but what’s interesting is that it feels very human to me, insofar as it represents the feeling that I get when I sit in front of a computer [laughs] or when I’m anxious. That movement is the baseline for the whole piece. If you can see it musically, that jittering is the baseline. Nothing stands still; everything is moving. And even if you’re still, you’re jittery. The counterpoint, in the musical sense, is the gliding—the geometry of the squares coming from left to right. I immediately think of visual redaction. But was that tension thought of as a musical counterpart? That’s very astute. I think it’s true. I didn’t necessary think of it as redaction, but I did think of it as a counterpoint to the movement theme of petrified unrest, as the geometric shapes move qualitatively differently. They’re slow, languid, calming. Mesmeric. And I needed that, because it was too painful to watch even artificial shadows of human beings in petrified unrest. Over time, as I was making it, I couldn’t bear looking at it. It needed a counterpart. It needed something to lessen the burden. Can you talk a bit about the mood when you made the piece? My sense in working with you on this installation is that the mood has to have an update each time you install the piece. The variation includes the space itself. Yeah, I think it’s a function of the illusion of it being a shadow; that the pleasure and the challenge of shadows is that they can go anywhere. In fact, the more unorthodox a surface, the more illusionary it looks. That shadow is a sort of story. I showed some of the Lights in Europe in this institution, and because they knew that the projection would be on the floor, they assumed that the floors must look like a screen, so they cleaned the floor and painted it white and glossed it so it was like a projection screen. And it looked terrible. I told them, “It’s not a projection. It’s a shadow, and it looks better as a shadow if it functions like a shadow.” That it falls on whatever it falls on. Right. It elongates, shrinks, and expands. Right, and I think that’s the spirit in which Sade was made. The spirit of The 7 Lights transfers over to Sade insofar as it needs an unorthodox surface for it to give it the mimetic sense of it being a shadow. For the Walker installation, being able to use the former installation walls and pallets and things that call to mind almost a non-space, or a space in between modes, is just so effective, in particular in counterpoint to the kind of mesmeric left-to-right of the geometric movement. Then there are the toy guns. Can you talk about adding the toy guns? Sure. When I found out you guys were installing Sade , I thought it was great, and I knew that we were in conversation about an unorthodox projection surface. At the time, news of guns was in the air—who has a right to own them, who does not—and I thought, “If we need an unorthodox projection surface, why not have the surface be guns?” That’s when I put in the request to just buy guns. [Laughs] It brings to mind a very particular American conundrum, which is the right to bear arms and the inevitability that every decade guns are more and more an issue in American culture. And in some ways, that extends to how guns are mixed with sex, violence, and celebrity, as well as economic inequality in American society, not to mention questions around what police presence and the consideration of what a “police state” might mean in this country. These things really intermingle in ways that are very powerful. To overlay that on the piece itself in Sade , was in some ways directly responding to this moment. I think so. It’s nice to know a work can do that, and I think I’m just taking advantage of how the works are made. Sade needs an unorthodox projection surface. I don’t say what that unorthodox projection surface is, so the opportunity is always there when people install Sade to interject, to intervene in that space, to give it a kind of presence that it may not have had otherwise. I think of that old Chinese adage that the strongest force in the world is water. I think part of the pleasure of the shadow works I’ve made is precisely that they sort of “bend” themselves. There is no ideal situation for how they’re shown. They actually need a less-than-ideal space. The Lights : they need a dirty floor. Sade : you need an uneven surface. It’s almost like a dare. It’s like, “I dare you.” I remember thinking this with Sade : “I dare you to do this. I dare you to project on a brick wall in Venice.” “I dare you to project on the wall that no one uses at Carol Greene’s gallery.” I think it’s pleasurable. Do you think that less-than-ideal aesthetic is perhaps also a way of prompting or working through philosophical ideas? That philosophical engagement, or political-philosophical mix of concerns, has to have, in some ways, a less-than-ideal aesthetic to be able to actually have something to it, rather than just be a declaration or a position? I love that explanation, and I will use that from now on, because what I’ve used is that I’m an asshole. [Laughs] That’s it. We are beholden to our temperament, I suppose. I am. Whether I want it or not, whether I like it or not, my temperament is: I would rather work in less-than-ideal situations. I need it, in fact, for me to think and to feel and to work at the highest level that I think I can. Because at the end of the day, I don’t think I’ve ever been in an ideal situation for anything. And I may not have the temperament to make it, so if that’s the case, I’d rather work with what I’m willing to take. So, there is real pleasure for me in seeing the Lights projected on a dirty, wet floor. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, “Oh, that’s right. Yeah, it can survive here.” Yeah, I think of it like a dare. I think of it like those weeds that you see in concrete. Like, it’ll grow anywhere. You know, you don’t have to give it much. It’ll grow anywhere. I like works that are resilient and tough. We just closed a show with German artist Andrea Büttner. Oh yeah, she’s great. I love her. She introduced a boulder as part of her exhibition and asked us to gather all these mosses that grow in Minnesota, and then we had to let it take hold for about four months before the show. For Andrea, she talks about mosses as being cryptogamous. Their sexuality is not clear, in biological or specialist terms, but also that they can survive all kinds of strange scenarios, resilient and tough. So, we had this really interesting moss garden in the gallery that made it all the way through the show. We brought in a grow light at night and things like that. I bring up the moss garden because of your Schaulager show, I sent Andrea a picture early on in the moss garden process, and I was like, “Man, check out Paul’s moss piece!” [Laughs] And she’s like, “Oh, my God. How did he do that?” “What an asshole.” Something like that. Actually, she was like, “It’s really beautiful.” I thought that was just really a powerful piece in your exhibition at Schaulager. That strikes me as something along the same lines as what you’re referring to: daring something to survive in a certain situation. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. I guess it’s no more different than whatever else we find pleasure in doing. The history of philosophy, for me, is a history of great comedy and drama. There’s nothing funnier and more tragic than reading men and women who think they can figure it out. Like, you read Augustine, and it’s like, “You really think you’re going to get it all, don’t you?” Or Plato. Spinoza. It’s moving to me to imagine someone out there thought once, and perhaps will think again, that they’re going to figure it out. I like that. I’m not going to do it, but I’m glad they are. [Laughs] And I like reading about it; to me it’s very pleasurable. Oddly enough, ironically enough, it’s also given me a kind of intellectual and aesthetic and maybe even emotional sustenance to deal with being on Earth, because it’s terrible here! [Laugh] Just the worst! And whatever sustenance we can find to give ourselves just a little bit more endurance and resiliency is necessary. Some people take steroids. Some people take HGH [human growth hormone]. I read Spinoza, and I think it works for me. I also think of [Giorigio] Agamben , as somebody who writes about religion and the transition from the 20th to the 21st century with an earnestness and not a kind of dismissiveness, though not necessarily as a believer. Your work has a kind of recurrent liturgical aspect to it. Can you talk about that? I think it connects a lot to philosophy. There is no history of philosophy without history of religion. Philosophy is an outgrowth of the history of religious thought in the West. So, you can’t have the one without the other. You may think that we can, but as Agamben shows, we really can’t, historically speaking, at least. He is definitely someone who understands that interrelationship between the history of religion and the history of philosophy and how they entangle each other over time, right up to now. And I think, you know, like we talked before about war. Our time involves seeing the emergence of a new religiosity in the US that, I think, has surprised everyone. Who knew in the 21st century we’d have to think about that again? I didn’t. And who would’ve thought that religion would continue to be such a mobilizing force, socially and politically? I didn’t think it was going to happen, but here we are. So, even just as a person curious about politics, I feel like it’s incumbent upon me to be open and to be curious about religion in all its aspects. I think a lot of it comes from my political work. When I was in Baghdad, religion played such a large part in social life there that it really changed my views. It was after my trip to Baghdad , my experience doing anti-war work in Iraq, that I realized I needed to learn much more, and just be familiar with it. Interesting. Roberto Calasso—you ever read him? He runs the Adelphi Publishing House in Italy, but he’s also a writer and specializes in Vedic traditions. He studied at the Warburg Institute at the same time as Agamben, so he has this kind of intermingling curiosity. And he also talks very much about how philosophy and literature cannot extract themselves from moving toward and away but also around the consideration of God or religion. What Agamben shows is the clarity with which we can look at certain aspects of contemporary culture if we allow ourselves a religious vantage point. That if the goal is to see things with a certain kind of clarity, then seeing it from an aspect that can be considered religious is an important component to that clarity. To me, you can’t understand Jeff Koons except through religion. It gives him a kind of clarity that no other outlook can give you. Same thing with the religious right, the Tea Party. If you look at it purely from a kind of secular, capitalist, class, or geographic standpoint, you can get some semblance of clarity, but not all of it. An outlook that allows religion in is, to me, a kind of greater clarity about certain aspects of contemporary life—which, again, is shocking to say because this is 2016. One of the really interesting responses to the Sade piece is— “Is he on drugs?” [Laughs] No rather a response to violence being mesmerizing in the piece. It’s disturbing in terms of a kind of artificial violence, but it also is incredibly mesmerizing. It really draws you in, and you kind of hang out with it. There’s actually a lot of engagement with portraying violence in your work. Is that just, again, a kind of gravitational pull? Maybe the simplest way of saying it is that I think violence is mesmerizing. And we have an example of this right now insofar as we hear Trump’s rhetoric. There’s a violence and aggression to it that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us. You see? I think part of the appeal of belonging to something that shows those kind of tendencies is the belief that if we belong to it, it will protect us—that that aggression and that violence will protect us because we have identified with it. And if we identify with it, it may identify with us and see us as being a part of it. So, I think part of the mesmerizing-ness of it may be this. I don’t know what it is, but I think that’s the dynamic of it. I think that’s part that is the aesthetics of violence. I recently read a journalistic piece tracing a certain kind of populist American demagoguery, from Huey Long to [George] Wallace, to Trump, where this kind of appeal, as you say, is made to a protectiveness through violence, or, a promise of protection through courting a violent aesthetic. It is really sort of shocking to see it be so unfettered in 2016. It’s true. And I think it shows how powerful and compelling that draw is, that pull of violence, and how it echoes with a kind of air of authority that people feel like they ought to belong to if they want to be protected because of the precarious nature of contemporary life—which we all know and feel. I mean, talk about petrified unrest. “I would rather work in less-than-ideal situations. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, ‘Oh, that’s right. Yeah, it can survive here.’” “There’s a violence and aggression to Trump’s rhetoric that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us.” Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016. Photo: Gene Pittman, Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel Collection Walker Art Center Courtesy the artist and Greene Naftali, New York © Paul Chan. Photo: Tom Bisig, Basel Courtesy of the artist and Greene Naftali, New York Photo: Gene Pittman, Walker Art Center Courtesy the Artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel © Paul Chan. Photo: Tom Bisig, Basel Photo: Gene Pittman, Walker Art Center 2016-05-31 22:21 By Fionn

7 FOREAL's hybrid personalities for news app campaign samsung’s personalized news app upday is a popular digital tool that aggregates content from brands and bloggers into a unique and simple format. the platform works by asking users about the specific topics they are most interested in, then brings everything together in one content stream. to illustrate the functions and features of the app, creative agency cheil germany commissioned design studio FOREAL to create the visuals for its first print campaign. representing the program’s accumulation of various interests and ideas, the team envisioned a sequence of characters based on elements that represent multiple sections of the news. politics, pop culture, sports, technology and music come together to form hybridized personalities — from a portrait of american president barack obama as rock legend david bowie, to entrepreneur donald trump sporting a virtual reality headset. the humorous cast of characters — likening themselves to the results of a surrealist game of ‘exquisite corpse’ — symbolizes society’s great range of newsworthy curiosities and quirks. users interested in soccer and photography are represented in the campaign the sequence of characters are based on elements that represent various sections of the news politics, pop culture, sports, technology and music come together to form hybridized personalities 2016-06-01 00:35 Nina Azzarello

8 Circuits of Saudade: Wind Grove Mind Alone , Night One To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Jesse Leaneagh shares his perspective on Friday night’s performance of Devendra Banhart […] 2016-06-01 04:23 By

9 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker’s rooftop terrace, the first of 17 new outdoor works that will be joining the newly-renovated Walker campus. The piece—Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black […] 2016-06-01 04:23 By

10 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 […] 2016-05-31 22:21 By

11 venice biennale: urban- think tank presents 'sarajevo now' urban-think tank presents 'sarajevo now: the people's museum' at venice biennale urban-think tank presents ‘sarajevo now: the people’s museum’ at venice biennale image © daniel schwartz / U- TT at ETH at the 2016 venice architecture biennale, urban- think tank (U-TT) and baier bischofberger have presented a new exhibition entitled ‘sarajevo now’. a collateral event of the 15th international architecture exhibition, the display examines the role of the museum in the 21st century — focusing on ‘the people’s museum’ in sarajevo, bosnia and herzegovina. alongside architectural proposals, the exhibit also incorporates screenings of the film ‘1395 days without red’ by artist anri sala, photography by charlie koolhaas and jim marshall, and a retrospective of U-TT’s projects and research. the display examines the role of the museum in the 21st century image © daniel schwartz / U-TT at ETH founded in 1945 as sarajevo’s ‘museum of the revolution’, the current modernist shell of ‘the people’s museum’ opened in 1963. today, a building that once embodied the era’s utopian socialist dreams has become a ruin. located just meters away from the siege frontline, its façades bear the traces of shelling and grenade blasts — standing as a national symbol of resistance and resilience. starved of funds and abandoned by the government, citizens have been invited to activate the space themselves. the result redefines the museum as a catalytic urban environment, rather than an institution dedicated purely to the display of objects. projecting an oppositional message, the existing structure is contained within a transparent vinyl skin — leaving the decay of the original building intact as a preserved artifact. photographs of ‘the people’s museum’ in sarajevo image © daniel schwartz / U-TT at ETH ‘suspended on scaffolding, the skin represents a first move towards stabilization of the degrading structure and a no-budget base for future repairs,’ explains urban-think tank. ‘it seals the site against the weather, and allows for simple heating.’ however, the architects claim that the intervention also gestures to something more profound. ‘the museum is in a process of opening itself up to the city,’ continues U-TT. ‘it operates fluidly in the face of frozen politics. it is playful though bearing the weight of a painful past. covering the current structure will create new spaces of engagement and interaction, while drawing in the people of sarajevo as a center of possibility.’ in this way the exhibition seeks to support an alternative model of urban regeneration. ‘sarajevo now: the people’s museum’ remains on display at venice’s arsenale until june 30, 2016. it will then relocate to sarajevo. the presented scheme redefines the museum as a catalytic urban environment image © daniel schwartz / U-TT at ETH the existing structure is contained within a transparent vinyl skin image © BBA/U-TT the decay of the original building is preserved image © BBA/U-TT site plan illustrating the proposal in more detail (click for larger version) image © BBA/U-TT the museum’s location within the city of sarajevo image © daniel schwartz / U-TT at ETH the current modernist shell of ‘the people’s museum’ opened in 1963 image © daniel schwartz / U-TT at ETH a building that once embodied the era’s utopian socialist dreams has become a ruin image © daniel schwartz / U-TT at ETH ‘sarajevo now: the people’s museum’ remains on display in venice until june 30, 2016 image © daniel schwartz / U-TT at ETH sarajevo now: the people’s museum alfredo brillembourg, hubert klumpner, nina baier-bischofberger, florian baier curator: haris piplas local curator: elma hasimbegovic project managers: rebecca looringh van beeck, helena muñiz muñoz, senka ibrisimbegovic production: fernande bodo, gianmaria socci, hamdija kocic, arley kim, amy rusch, carolina giraldo nohra, carla ferrer raventos, andrea waldburger diaz, giulia tigliè, marie grob sarajevo research and model: sabina biser, mersel bujak, masha aganovic graphic design: claudia wildermuth editorial manager: alexis kalagas photography: charlie koolhaas, daniel schwartz, jim marshall film: anri sala, michael waldrep, daniel schwartz structural engineering: omar diallo administrative support: nadya vonmoos 2016-05-31 23:40 Philip Stevens

12 Size Matters: Finn’s New Eye of Providence Collection Finn designer Candice Pool was getting bored with “the small, dainty, personal jewelry” for which her brand was known. So she started thinking bigger by revisiting jewelry classics such as Van Cleef’s Alhambra collection and Cartier’s Trinity rings. One day, she was scouting stones with her gem dealer — who presented her with a box that, according the Pool, “looked like it [had been] there since the Seventies.” It turned out to be filled with mismatched gems, mainly from engagement ring side stones returned from clients over the years. Pool laid the gems out and in a few days developed her “Eye of Providence” collection of one-of-a-kind rings and necklaces created from the mix-matched rocks — pieces bolder and larger than typical Finn designs. Sometimes, bigger is better. 2016-05-31 23:35 Danielle Gilliard

13 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-05-31 19:20 By

14 14 Alicia Vikander to Front Vuitton’s ‘Travel’ Campaign The actress will be featured in Vuitton’s end-of-the-year “travel” campaign and stayed in Rio for the shoot on Monday. Patrick Demarchelier shot the ads. Nicolas Ghesquière, Vuitton’s artistic director of women’s collections, staged the brand’s cruise show on Saturday at the Oscar Niemeyer-designed Contemporary Art Museum (MAC), a white modernist structure that looks like a flying saucer. In addition to Vikander, the show drew celebrities Jaden Smith, Zendaya and Catherine Deneuve, as well as Brazilian models Alessandra Ambrosio and Isabeli Fontana. 2016-05-31 22:22 Miles Socha

15 Esquire Undergoes Masthead Changes Under Jay Fielden Esquire ‘s masthead is slowly changing under new editor in chief Jay Fielden. Sources told WWD that design director David Curcurito is the latest top- level editor to leave the magazine. Curcurito spent 11 years at the men’s title. He confirmed his exit, but declined to further comment. He hinted via social media that he would leave in the coming months. Via Instagram, he posted a photo of Esquire’s latest cover of Viggo Mortensen, which is also Fielden’s first issue as editor in chief, and said: “1 of 4 covers before I split and knock some other things on their a–.” Esquire confirmed Curcurito’s departure, adding that he will leave the company in August to work with his wife at their new company called “Works Well With Others Design Group.” “We wholeheartedly wish Curcurito all the best with his new venture,” a spokesman from Esquire said. “We will announce a replacement soon.” Other senior staff who have left the magazine include deputy editor Peter Griffin and senior editor Ross McCammon, both of whom are said to have been let go, as well as senior editor Richard Dorment and senior fashion editor Wendell Brown. Dorment left Esquire for Condé Nast’s Wired , and Brown departed for a creative director job at The Daily Beast. The semantics related to the departures in the halls of Esquire are touchy, to say the least, and left intentionally blurry. Insiders cautioned that some of the editors were not exactly laid off, but instead offered severance packages as incentive to leave. Sources with knowledge of the situation explained that Fielden is making significant changes to the masthead, and that more departures are expected soon. Although a changing of the guard is underway, Fielden is said to still be searching for new blood to replace many of those who have left. Esquire did not comment on severance packages, layoffs or impending changes. But Fielden also has bolstered the title, a spokesman said, offering that former Harper’s editor Christopher Cox, who was dismissed by the magazine’s president and publisher in February, is joining Esquire in a freelance capacity. Fielden, who succeeded David Granger after nearly two decades at the helm, also made his first big hire in April when he tapped ex-GQ editor at large Michael Hainey as executive director of editorial, a new role. 2016-05-31 22:06 Alexandra Steigrad

16 Riccardo Tisci, Tory Burch, Erdem, Valentino Designers to Be Honored at FGI’s Night of Stars More Articles By Set for October 27 at Cipriani Wall Street, the gathering will give the Beauty award to Pamela Baxter, outgoing president and chief executive officer for perfumes and cosmetics Americas at LVMH Moët Hennessy Louis Vuitton and president of Christian Dior Couture, who plans to exit in July. Levi’s Brand executive vice president and president James Curleigh will accept the Brand Heritage award for Levi Strauss; The RealReal’s founder and ceo Julie Wainwright will receive the Innovation in Retail e- commerce award; the Interior Design honoree will be Bunny Williams, and the Media prize winner is Joe Zee , editor in chief and executive creative director of Yahoo Style. H&M ’s president of North America Daniel Kulle will accept the Sustainability award, while Tommy Hilfiger and Dee Ocleppo Hilfiger will receive the 2016 Humanitarian award. FGI’s president and ceo Margaret Hayes described each of this year’s honorees as “a true nonconformist” in his or her own way. Simon Doonan will once again serve as master of ceremonies while Ruben Toledo will create the invitations’ artwork and commemorative journal. Sponsorship has been secured from Arcade Beauty, Givaudan, Hearst Magazines, LIM College and Lord & Taylor, the last of which will reveal its Oracle winner at a later date. 2016-05-31 21:46 Rosemary Feitelberg

17 Vanessa Williams Weds (Again) in Pamella Roland Vanessa Williams got married over Memorial Day — to her husband. The actress and singer, who wed businessman Jim Skrip last summer, held a Catholic church ceremony on Monday. She wore a white sleeveless Pamella Roland gown with a light pink sash and flower appliqué for the occasion. Getting married twice has its perks. Roland shared a photo of the couple on Instagram, writing: “Such an honor to have been a part of your special day @vanessawilliamsofficial! Congratulations to both you and Jim! Wishing you many years of happiness and love to come.” Her wedding gown wasn’t the only thing Williams showed off at the wedding: Her daughter, Jillian Hervey of the musical duo Lion Babe, also captured footage of her mom’s dance moves. Williams launched a fashion collection of her own, V. by Vanessa Williams, on Evine Live earlier this spring. The highlight of my weekend was being able to see my Mom glow with love! She really is the most generous person I know, she has always deserved an amazing life which she worked very hard for, and I am SO happy to see her with a man she loves. Congrats again to her and Jim for tying the knot! Here she is doing the stanky leg in her gorgeous @pamellaroland gown! The badass bride! Love you mama! @vanessawilliamsofficial #family #marriage A video posted by LION BABE (@lionbabe) on May 31, 2016 at 8:40am PDT 2016-05-31 21:43 Kristen Tauer

18 Natural and Digital Worlds Collide in the New Museum's Shaft Space Images courtesy the artist Uncanny landscapes, both artificial and organic, emerge in the works of London-based Greek new media artist, Eva Papamargariti. By merging computer-generated textures and elements, 2D and 3D, with both phone and camera-captured matters, she deconstructs and rethinks notions of motion, shape, and reality. As part of the New Museum’s ongoing Stowaway Series , Papamargariti unveils the new episode, Factitious Imprints , to investigate the conflicting boundaries between our past, present, and future realities. "The Stowaway Series is a constellation of episodic projects and spontaneous interventions in spaces throughout the New Museum," Helga Christoffersen, assistant curator at the New Museum tells The Creators Project. Papamargariti's work thus fits snugly within with the program's efforts to showcase the cream-of-the-crop in terms of emerging artists. As with many bright, young new media stars, Papamargariti has no problem juggling a wide range of tools to make her work. “Making use of time-based mediums to explore the relationship between digital images and our material reality, Eva has made a site-specific installation in which her video work expands into the staircase space of the New Museum,” Christoffersen explains of Factitious Imprints . The work continues Papamargariti's exploration into the twilight zone where the synthetic meets nature. To learn more about Factitious Imprints, The Creators Project asked the artist a few questions. The Creators Project: Hey Eva, can you tell us how you found yourself working with the New Museum? Eva Papamargariti: I met the curator Helga Christoffersen within the context of the preparations of The Equilibrists exhibition that is going to happen in Athens in June. It will be a collaboration of the New Museum and Deste Foundation , presenting the work of 33 young Greek artists. Apart from my participation on this exhibition, I was invited to create a site- specific installation at Shaft space in the New Museum. The collaboration was really interesting, especially the conversations I had with the curator, quite eye opening in many ways. What were your inspirations while creating Factitious Imprints ? The main idea that revolves around the project is the way we perceive and control nature right now and specifically through the idea of the surface, the terrain of earth that gets manipulated and imposed to intense modification through human attempts. I assume that your creative process is a bit different for this piece, right? The tools I used are similar with what I usually use, but apart from softwares like 3ds max or After Effects and Real Flow for example, this time I used recording tools, sound composing software, and I created a lot of the textures from scratch, so I could say it is a more elaborate and multi- sourced effort. What will the viewer experience while watching Factitious Imprints ? The viewer will watch an almost 9 min. video piece with sound, in which I am exploring the notion of layering and traces as a mechanism of creation but also an indication of destruction. The video is a combination of images, animated material, and footage from handheld recording devices. The viewer can dive into this continuously altering artificial landscape, watching images ranging from close ups to my own skin to distant edited footage from my cellphone camera and sound field recordings. Parts of those images have been rebuilt and printed on synthetic fabrics, each one of which has characteristics that 'resist' the idea of nature. Can you tell about the convergence between Factitious Imprints and your practice at large? I usually consider each project as a separate piece of work which is always linked through to the wider context of my practice. This project is site- specific, which is something I haven't done much in the past, so in a way it is different; also it contains both physical and digital objects. Despite that, I consider both the fabric prints and the video to be actually one piece. Even though the methods of production are different, the actual objects are connected like fragments of a single artifact. To take a closer look at Factitious Imprints , check it out at the New Museum between the third and fourth floors until June 19, 2016. See more of Eva Papamargariti's work on her website. Related: No Sense Of Scale Is Necessary In Morphological Film "New Nosthetics" The Psychedelic Language of Dreams in a Digital Exhibit The New Museum Enters a New Dimension | Insta of the Week 2016-05-31 21:05 Benoit Palop

19 Stitchable Circuits Weave the Future of Wearable Tech Photos by Spencer Kohn, courtesy The Crated Wearable technology is on the rise , and designers now face the challenge of creating original and marketable products within this new powder keg. Self-proclaimed "creative technologist," and one of our Trailblazers , Madison Maxey is one of the young minds pioneering the trade, exploring new ways designers can convert the surface of their textiles into working circuit boards. Last week, in collaboration with StrongArm Technologies , Maxey and her design and engineering studio The Crated premiered Armor , a new prototype vest that monitors the wearer’s body temperature, posture, and bodily stress level. The vest operates through a system of textile circuitry that’s printed onto the fabric using custom formulas and machinery developed by The Crated. Maxey is looking towards what she calls the second wave in wearable tech, where hardware is embedded into textiles themselves. But herein lies an issue: there aren't any factory-fitted machines to produce these items on an industrial scale. In a new video profile , Maxey gives a tour of her studio at the Autodesk Pier 9 Residency , and shows off some of the tools she’s been experimenting with. Says Maxey, “The trouble with textiles is that they’re really delicate, they’re stretchable, they’re flexible, they're unpredictable. If you need to make a lot of them, and you need them to be robust, there is just not really the tools out there for it.” P9 AiR Profile: Maddy Maxey from Pier 9 on Vimeo . Maxey has been experimenting with different machines and chemical formulas to develop a conductive material that is malleable enough to affix and mold to the textile itself. She’s been working on synthesizing conductive nylon by mixing different nanoparticles like graphite and silver nano-powder. In the short video, Maxey also showcases some of the prototypes she’s been developing for machines that would help deposit her conductive materials on to the fabric. The Armor vest runs a printed graphene temperature sensor constructed by Bon Bouton. It was designed and fabricated using The Crated’s own textile circuitry technology, INTELLiTEX. Armor ’s press release says the aim of the prototype is to help make e-textiles softer, accessible, and more utilitarian: “The Crated hopes that more companies collaborate with others to create unique products that are beautiful and functional.” Madison Maxey is Founder and President of The Crated. Check out their website and keep up with more work by Maxey and here team, here. Keep your eye out for more more projects coming out of the Pier 9 residency here. Related: The Young Entrepreneur Stitching Beauty with Fashion & Tech Trailblazers New York City: Fashioned By Instinct Announcing The 10 Finalists Of Intel's Make It Wearable Challenge We Tried the Wearable Tech That is Augmented Reality for Your Ears 2016-05-31 20:20 Nathaniel Ainley

20 20 20th Sydney Biennale Q&A: Robert Zhao Renhui’s Eco Audit Related Venues Carriageworks Biennale of Sydney Artists Robert Zhao Renhui The 20th Biennale of Sydney “The future is already here – it’s just not evenly distributed” presents more than 200 works by 83 artists from 35 countries across seven venues or “Embassies of Thought” as well as multiple “in-between spaces” around the inner city. Curated by Stephanie Rosenthal, Chief Curator at the Hayward Gallery, the 20th Biennale of Sydney is on show from March 18 – June 5, 2016. Throughout the duration of the Biennale, BLOUIN ARTINFO will feature a series of interviews with participating artists. In the interview below, Singaporean artist Robert Zhao Renhui , founder of the Institute of Critical Zoologists (ICZ), discusses his work “Christmas Island, Naturally” ( more info here ) 2016 at the Embassy of Disappearance at Carriageworks. Continuing his ongoing investigation into the relationship between humans and animals, Renhui explores the unique situation of the external Australian territory of Christmas Island where the island’s biodiversity continues to be threatened by invasive species. “Christmas Island, Naturally” consists of three related sculptural works that focus on Christmas Island’s disappearing or extinct species. While I was visiting Christmas Island to look at its historical connections with Singapore, I noticed that there were very little cats on the island. Later I learnt that as part of a conservation program, there is an ongoing island wide campaign to eradicate feral cats on the island. Cats are known to be one of the many causes of native species decline and extinction on Christmas Island. There are also black rats, centipedes, wolf snakes, yellow crazy ants, etc. A lot of effort is put into removing these alien species. There is also a refugee centre on the island. News of the island has been centred on the refugee detention centre lately, much more than the annual crab migration that Christmas Island is supposed to be more famous for. The amount of effort spent to protect native species and the conserve the ecology of the island is admirable and monumental. There has been several animal extinctions lately. For example, the famous Gump, a Christmas Island Forest Skink that went extinct in 2014 and the Christmas Island Pipistrelle, that was not last seen, but 'heard' in 2009. Only an audio recording remains of this tiny bat. It is against this backdrop that I created my project, 'Christmas Island, Naturally'. The title is taken from an existing book of Christmas Island that was published in 1981. The book focused on the natural biodiversity of the island. What I did was to create a book that focused on the invasive species on the island, man's traces and impact on the island and also imagined a possible situation where humans volunteered to leave the Island in the name of conservation. The island was only occupied in 1888 and in a short period of time, men has caused a significant change on the island. We are trying our best to reverse this change. The project looks at the extinctions on the island, not just the native species that went extinct, but also the alien species that are being eradicated quite successfully. The latest conservation project consists of introducing a tiny Malaysian wasp to control the population of yellow crazy ants on the island. I have always been interested in the relationship between humans and animals. Christmas Island is a suitable island for me to carry out these investigations. Walking around the island, you feel you've stepped into a place like Jurassic Park. Some of the animals shows little signs of fear for people. The keystone species of the islands are crabs. You see crabs everywhere, especially during the annual crab migration period. Millions of red crabs swarm towards the sea during the migration, blanketing the island and the inland forests in a carpet of red. I guess this unique spectacle is one of the reasons why we should protect the ecology of the island from being overrun by alien species. In the course of my research, I read somewhere that this migration might not be 'natural'. The many red crabs we see today may be caused by the introduction of the black rat. The black rat was first introduced on Christmas Island possibly in 1899. It is believed that the black rat caused the extinction of the endemic Maclear’s rat with a disease. The Maclear’s rat might have kept the population of the Christmas Island Red Crabs in check, as early inhabitants of Christmas Island rarely mentioned these crabs or their mass migration to the sea. It is possible that the present large population of crabs on Christmas Island is partially caused by the extinction of the Maclear’s rat. These are just theories but it's interesting for me to think of the red-crab migration as a man-induced phenomenon, in that sense. For the embassy of 'disappearance', I looked at the extinctions happening on Christmas Island and the conservation efforts that wildlife officials are carrying out on the island. This involves the eradication of alien species on a large scale. I also tried to imagine a conference that would lead up to the eventual relocation of all residents on Christmas Island in my work to imagine a space without humans. This is very fantastical but I wanted to see what it would look like if we were to leave a space and let nature figure her way out. Conservationists would possibly argue that we will always need to intervene to keep alien species in check. I just wanted to see what it would look like in the form of a book. I chose parts of the Island that has been abandoned to 'imagine' this situation. In my work, I presented ideas of several scenarios that might play out in the future on Christmas Island in the form of photographs and sculptures. The ideas involved in our relationship with nature. 2016-05-31 20:11 Nicholas Forrest

21 Meet the Woman Behind America's Most Legendary Pinup Art This article contains adult content. “Here’s Looking at Me,” © Olivia De Berardinis. All rights reserved by artist. From its modern origins in traditional French erotic postcards, antebellum American mail-order catalogs, and glamor photos of early Hollywood starlets, the "pinup" grew into an art form by World War II, when images of women were often painted onto planes and making their way into men's magazines like Playboy. The legacy of the unmistakably American genre today lives on through the art of one woman: Olivia De Berardinis, a.k.a., Olivia . At first glance, American pinup photographs and paintings of the late 30s through World War II seem like benign, quaint relics of Americana, items that are usually appreciated for their sweet, apple-cheeked, all-American female subjects—and little else. Although the pinup often evokes a viewer's sense of nostalgia as well as appealing to individual aesthetics and sexual appetites, the importance of the American pinup exceeds its originally ephemeral nature. American pinups tell a larger story of changing dynamics in fine art: a new kind of popular culture in the US, one that created a space for commercial artists to paint the female form. "Don’t Tread on Me" feat. Bettie Page, 2001. © Olivia De Berardinis. All rights reserved by artist. Long before Olivia, one of the most prolific pinup artists was also a woman. Zoë Mozert, the only female World War II artist to have contributed as many pinups as her male counterparts, studied under figure painting instructor Rolf Armstrong. Mozert gained some inspiration for her pinups after working as a portraitist for Hollywood starlets. Through painting the female form, Mozert and her colleagues contributed to an emerging pocket of popular culture, the erotic imagery also known as “cheesecake” and “borderline material.” By doing so, pinup artists revived a more traditional interpretation of the female form as defined by earlier European artists, while appealing to the libidos of American soldiers and raising morale during WWII. In the case of Mozert, pinups allowed a woman to participate in combat not only through sex appeal, but through artistic talent as well. Nevertheless, pinup painting has always remained a predominantly male profession, one that seemed to reach its apotheosis with the art of Joaquin Albertos Vargas y Chavez , who created the pinup which came to be known as the “Varga Girl.” Following the war, his art began to appear in the pages of Playboy— that's where Olivia came in. Zoom Magazine covers © Olivia De Berardinis. All rights reserved by artist. Just like Vargas, Olivia's work with the famed men's magazine helped solidify her reputation as one of the most prolific and collectible artists working in the genre to-date. For three decades, Olivia's artwork was used in various projects for Playboy , including dozens of invitations to parties at the Playboy Mansion. Beginning in 2003, she had a page in Playboy nearly every month, with captions by Hefner himself. Though she stopped creating for the magazine a few years ago, she's still the most exhibited and sought- after pinup artist working today. But Olivia’s career began long before her work regularly appeared in Playboy. After art school in the early 70s, Olivia was making minimalist works while living in SoHo and waiting tables in the Village. In 1975, frustrated over not being able to have her art shown in galleries, she began to support herself by doing illustrations, thinking she'd come back to making her fine art later. She began making explicit drawings for adult magazines such as Club , Hustler , and Penthouse , relocating from New York to Los Angeles in 1987. "Tongue Lashing" and all related characters and elements copyright and trademark of DC Comics. © Olivia De Berardinis. All rights reserved by artist. Since then, she's had numerous international one-woman shows. "When the fine art world was too hard to maneuver, my contrarian streak took over and [I] decided to do erotic work for men's magazines in the sexually 'liberated' world of the 70s," Olivia tells The Creators Project. "When I started working for the men's mags, I was titillated by being in a man's world. I just wasn't supposed to be there, since women weren't supposed to have a sexual appetite or express it. I was supposed to be married and be home with kids. I liked drawing aggressive, dominant women, everything that I wasn't. This was my personal rebellion. I thought I would play at this and then go back to my 'real' art. But I quickly learned it's tough to make a living as an artist and without realizing it, my path was being cemented. " Because of her gender, it's reasonable to question if this means the artist believes she's better suited at capturing the female form. "Not to diminish the breathtaking pinups that men do, it's just logical that I have a different viewpoint," Olivia responds. "Men rent; I own. Pinup is all about the wink and the nod—how's a guy gonna know exactly how that feels? " Wildcat and all related characters and elements copyright and trademark of DC Comics. (s16) © Olivia De Berardinis. All rights reserved by artist. When asked why the pinup has become such an enduring genre, Olivia answers, "The body will always be fascinating to portray. Views of what constitutes beauty constantly change, so there will always be a need for some form of pinup. " After painting professionally for 40 years, Olivia says that her favorite creations are the ones that take on lives of their own. "I see it reflected in women who walk toward me at my openings; I see it in their fashion, and as tattoos worn on their skin," Olivia explains. "The best paintings, the ones that most resonate with my fans, live on in popular culture, in movies, on ephemeral objects. I see military people hang on to these objects as symbols of life and love. People tell me they've had fun through the fantasies I portray in their sexual lives, and some had enough fun to say they made babies—a few named Olivia. " “Masuimi Diablo,” © Olivia De Berardinis. All rights reserved by artist. As to whether she'll ever return to making fine arts, Olivia says. "I have dreams like everyone else to be able to make relevant art. I keep working with hopes that some great revelation will happen. But as many seasoned artists have found, you have to work, constantly work, for inspiration to find you. And ultimately, the process of working becomes an end in itself. " “Powderpuff,” © Olivia De Berardinis. All rights reserved by artist. Olivia's artwork will be featured in a show at the Oceanside Museum of Art from October 18 to November 19, 2016. In the meantime, see more of her artwork here. Related: A Rare Work of Japanese Erotic Art Hits the Auction Block Sorayama’s Sexy Cyborg Pin-Ups Do Vegas [NSFW] Jonathan Leder's New Polaroids of Powerful Women 2016-05-31 19:45 Tanja M

22 A New Initiative Showcases Design in Venice Related Events Venice Biennale Architecture 2016 Venues Venice Biennale Architecture A labyrinthine medieval metropolis, today’s Venice is a challenge to navigate even for the visitors content to limit their explorations to the big-ticket landmarks: the Giardini della Biennale, the Galerie dell’Accademia, the monumental Arsenale. Yet, concurrent with the Venice Architecture Biennale, an ambitious new initiative aims to introduce visitors to the little-known corners of Venice, and its contemporary design. Curated by Francesca Giubilei and Luca Berta, the founders of the Veniceartfactory initiative, Design. Ve is a sort of Fringe Festival to the Venice Architecture Biennale: an independent design showcase that puts on one map a number of small galleries and exhibitions throughout the city. “We have two main goals,” says Ilaria Ruggiero, who makes part of the Artistic Committee of Design. Ve. “The first is to bring high quality design to Venice, because nobody else does it – not craft. The other is to improve the spaces in Venice that are dying. We have a problem in the city: it’s becoming very expensive, and residents are leaving. We miss vibrancy. This is why the festival takes place all around Venice.” Design. Ve weaves pathways through the narrow calli that hide exquisite craftsmanship and discerning galleries, often lost in the noise of cheap tchochke that line the main tourist routes. More than 80 design projects are mapped across Castello, Dorsoduro, and San Marco – in the less busy corners of the city, yet still located near the main attractions – taking place in spaces that range from historical palaces and ancient cloisters, to old warehouses and temporary shops. The program showcases some exceptional Venetian crafts, such as the chandeliers by Murano master glass blower Fabio Fornasier, produced by the family-run Vetreria Fornasier Luigi, or Tobia Scarpa’s Occhi series, produced for Venini, both exhibited as part of the In the Mood for Glass exhibition, tucked behind Arsenale in Castello. However, Design. Ve is neither limited to traditional crafts, nor to Venetian artists. Adornment is a curated exhibition of contemporary artist jewelry in a small exhibition space on Corso Garibaldi near the Giardini, bringing together the graduates of the respected Alchimia Contemporary Jewelry School in Florence, and established artists. The Bowl Chair by Italian- Brazilian architect Lina Bo Bardi, an iconic piece of 1950s design can be seen exhibited at Caigo da Mar, a luxury specialty design store hidden behind Campo San Stefano in San Marco. Palazzo Loredan, the Veneto Institute for Science, Arts, and Humanities, houses the centerpiece of the initiative: the collective show Wood Obsession. The opulent rooms on the second floor, with elaborate wall and ceiling decorations in stucco (part of the 17th century baroque renovation), and wall bookshelves in precious timbers, are a stunning backdrop for a selection of some very fine pieces of contemporary design that brings to the fore the qualities of wood. Edgy contemporary pieces, such as a sculptural wave-like wooden table by Maarten de Ceulaer for the Belgian Victor Hunt Designart Dealer, or the Patterned Pallet Chairs by the Koreans Craft Combine, sit side by side with the stately pieces designed by Ron Arad, Front, and Zanellato & Bortotto for the historical Friuli furniture brand Moroso. The most striking may be Bubble Console by glass artist Simone Crestani: a timber console balancing on an almost invisible structure of fragile glass bubbles, and the Molecule Vases by Pascal Smelik, which appear to be progressively smelting from white porcelain into bubbly black molecules. Downstairs from Wood Obsession, a small exhibition brings together a refined selection of limited edition design objects, including the Silent Cupboard by Mimmo Paladino and Alessandro Mendini, and ceramic objects by Ettore Sottsass of Memphis Group. The project Design. Ve aims to become an annual event, accompanying both the Architecture and the Art Biennale in the years to come; though the organizers note that the years of the Biennale of Art will bring a cost increase that may be an added complication. “After eight years of working for the Venice Biennale, in contemporary art, I decided to work more in the applied arts, and to focus on contemporary jewelry,” says Ruggiero. “It’s a really dynamic sector, internationally, and Venice is a beautiful place to bring awareness about contemporary design.” 2016-05-31 18:43 Jana Perkovic

23 Giant Human Heads Invade Famous Galleries Images courtesy the artist Seeing a giant human head dwarfing the works of Damien Hirst, Roy Liechtenstein, and Peter Paul Reubens is thrilling and perplexing, especially once you realize they're real. At a glance, Tezi Gabunia 's Put Your Head into Gallery looks like a series of massive, impossibly hyperrealist sculptures installed in famous museums and galleries. A few more seconds you realize that the heads aren't larger than life—the galleries are tiny. Gabunia invited visitors to participate in his spoof of scale, sticking their faces and heads into exquisite miniatures of the Louvre, Gagogian Gallery, Tate Modern, and his own show at Saatchi Gallery—which is fictional. He and collaborators Andro Eradze, Saba Shengelia, Chipo Pelicano, Giorgi Machavariani, and Ani Beridze photographed the result. Gabunia, a co-founder of CopyPaste art collective, refers to his style as "Falsification," dealing specifically with the way information gets distorted in the virtual world. Put Your Head into Gallery is a perfect example of how stripping the metadata from an artwork can change its meaning and interpretation. Check out the images and a video explaining how the photos were captured, below. See more of Tezi Gabunia's work on his website . Related: "What Is This, A Gallery For Ants? " Yes. Miniature Artists Explain Why They Love Making Tiny Worlds Enter the Tiny World of Grandmondo Miniatures 2016-05-31 18:40 Beckett Mufson

24 24 Christie’s Sells Most Expensive Handbag Ever Auctioned True to handbag auction standards, the purse’s original owner was not revealed — as it’s understood that provenance does not add to the value of post-market accessories. The bag’s new owner wished to have their identity concealed. 2016-05-31 18:30 Misty White

25 Neon Fantasy Paintings Just Got a Whole Lot More Internet Images courtesy the artist A vibrant condensation of fantastical figures, nude humanoids, and a unique brand of web-enabled surrealism only begin to characterize the paintings of Emma Stern. Only a few years out of her BFA program at the Pratt Institute in Brooklyn, Stern already seems to have a focused and distinct style and approach to making her work, which involves creating renderings in digital sculpting programs like Cinema 4D and translating her creations into painted renditions. Although her work functions well as a cohesive whole, it also begs the question of what inspires her to paint such disparate figures like melting flamingos, a close-up detail of someone with braces, and her repetitive use of hairless, nude women donning devil horns and elongated tails. “I am in many ways making paintings about my experience using the Internet,” Stern explains to The Creators Project. “I like to fall down these deep digital rabbit holes surfing the Web, and while I’m down there, I like to collect ephemera, to bring back artifacts in the form of downloaded .jpegs and 3D .obj files. The flamingo and the image of the braces are examples of ‘souvenirs’ I’ve brought back with me from my digital vacations.” But the aforementioned hairless, horned woman bares a different and special significance to Stern. She is “a generic protagonist I created to live in the spaces I make. I’ve begun affectionately referring to her as Lava Baby because she can take any form; sometimes she has horns, sometimes a tail, sometimes she is more than one figure and sometimes not a figure at all,” Stern remarks. “I’m sure the idea of her stems from an interest in transhumanism, but Lava Baby is not so much a human as she is an embodiment of the limitless potential of the digital realm.” Perhaps Lava Baby is also an embodiment of the artist herself, who can be found on Instagram under the same pseudonym, @lava_baby. Check out the rest of her oeuvre on her website. Related: This Artist Is Teaching Neural Networks to Make Abstract Art Artist Brings Finger Paintings to Life, Harry Potter-Style Large Scale Prints Blur the Lines Between Painting and Photography 2016-05-31 18:15 Andrew Nunes

26 “The Bone Clocks” Author David Mitchell Turns in Book for Oslo’s Future Library Literally following in the footsteps of Margaret Atwood, who did the same a year before with her text “Scribbler Moon,” Mitchell presented his work to artist Katie Paterson, the creator of the Future Library Project. Initiated last year, the program will accept one text each year for 100 years, the premise being that none will be read until 2115. In a video interview with Paterson, Mitchell said it took him two or three months to come back to her with a yes, because his first reaction was, “That’s just mad. I write something and nobody gets to read it.” Mulling over the invitation, he said he liked the idea of contributing to slow art . (Like the slow travel and slow food movements, slow art is gaining ground, with more than 200 institutions expected to take part in next year’s global Slow Art Day.) Before he finished “From Me Flows What You Called Time” for the Future Library, Mitchell said, “It was a daunting prospect to write something that needn’t be ashamed of itself after Margaret Atwood’s book….but that’s exactly why it’s worth doing. If I don’t have to bleed for it, then I shouldn’t be doing it. Readers just know. A lot of books I read are fine but there’s an absence of blood, sweat and tears.” Having the leeway of writing something that would not be read for 100 years had its advantages, according to Mitchell, who said he didn’t have to worry about copyrights if he wanted to quote a Beatles song or having a character who was “quite sweary.” More artistic was the design Paterson created for his work. Enlivened by the fact the Future Library Handover Ceremony was scheduled for a Saturday, which meant schoolchildren could attend the walk through the Nordmarka forest that ended with attendees having coffee or hot chocolate prepared over an open fire, Mitchell said he liked the idea that a two-year-old attendee might one day ready his work at the age of 102. With two children of his own, the Ireland-based writer said the project is “a vote of confidence in the future.” Imagining that the project will become more widely known with each passing year, “The Bone Clocks” author continued, “I can’t imagine that it will be forgotten. That’s the future. If you can see it, it’s not the future you’re looking at. Perhaps, it’s actually your own hopes or fears.” As part of the centennial undertaking, Paterson worked with foresters from Oslo’s Agency of Urban Environment to plant 1,000 Norwegian spruce trees for the Future Library forest. Under the design instructions of Atelier Oslo and Lund Hagem Architects, the new Oslo City Library will open in 2019 and house the Future Library. This futuristic thinking has been adopted for commercial pursuits. Louis XIII Cognac recruited director Robert Rodriguez and writer/actor John Malkovich to create the “100 Years,” a movie that viewers will never see. 2016-05-31 17:51 Rosemary Feitelberg

27 Artist Darja Bajagic Alleges Censorship of Work Featuring Swastika and References to Nazism Darja Bajagić’s Bucharest Molly. COURTESY THE ARTIST New York–based artist Darja Bajagić is no stranger to controversy, which is perhaps only natural. Her work includes images of women performing in pornography sourced from the Internet. The threat of violence is more than implied in her art—blood from cows appears in her canvases, and weapons are not an uncommon sight. According to Bajagić, when she studied at the Yale School of Art, Robert Storr, who was then the head of the art department, told her she was crazy and that Yale would pay for her therapy sessions. Now Bajagić is claiming one of her works has been censored from an upcoming show in Romania. The artist announced, via a Tumblr post , that a new wall sculpture she made will not appear in an upcoming group show at Bucharest’s Galeria Nicodim. That work, titled Bucharest Molly , is a motion-activated fountain that features a woman wearing jeans that have the words “ HEIL HITLER ” written on them, and who holds a red teddy bear with a swastika on it. A small hole in the bear’s stomach oozes black liquid. According to Bajagić’s statement, Mihai Nicodim, the gallery’s owner, refused to show the sculpture, despite the fact that she didn’t even create the image—she found it online. Although Bajagić redacts the name of the show and its curator in her statement, the artist confirmed in an email to me that she was referring to “Omul Negru,” which focuses on the aesthetics of evil and paranoia and includes a host of well-known artists, from Mike Kelley to Jamian Juliano-Villani. According to Bajagić, Aaron Moulton, an exhibition programmer at Gagosian Gallery’s Beverly Hills space and the show’s curator, reached out to the artist in March, asking if she was interested in being in “Omul Negru.” After agreeing to be a part of the show, Bajagić worked with Moulton to produce Bucharest Molly . “I was so excited about [the show], and wanted to make something especially for it,” the artist said in an email. Asked over email why the work was removed from the show, Moulton said, “Darja Bajagić[‘s] use of the term ‘censorship’ is inaccurate. There is a changing list of 40+ works in the exhibition. ‘Censorship’ describing a show that hasn’t opened misunderstands the editorial process.” He also said that Bajagić’s claim in her statement that Philip Morris was a corporate sponsor for the show was “incorrect as they did not sponsor the exhibition. They had at one point been underwriting the opening event but had no role in the content of the exhibition. This exhibition is fully funded by Nicodim gallery.” Bucharest Molly is currently sitting in a crate, in Bajagić’s studio, the artist said. Bajagić’s statement appears in full below. I wanted to personally reach out to you in regards to your decision to last- minute refuse my Bucharest Molly in ***** *******’s exhibition surveying evil – an artwork that was made directly in response to the show’s proposing text, especially for the context of this exhibition. I had been in touch with ***** on a consistent basis since mid March, when he proposed my inclusion in the show. *****’s exact words, copied from his initial e-mail, were that the show’s aim is to be “an anthropology of the varied notions of the boogeyman,” and that “the theme is looking at the many faces and facelessness of the boogeyman and the aesthetics of paranoia and evil across a spectrum of cultural skeletons from the self and your neighbor to stereotypes and dictators ” (italics added for emphasis). It appears that, regardless of your effort to silence my artistic expression and freedom, my Molly ends up to be a perfect visual rendering of *****’s proposal, meeting the limits of it, and inciting real paranoia on your end, and a kind of evil as well, in your act of censorship; faithlessness in the [full] potential of art; and your unwillingness to allow art to exist as a safe-space and vehicle for the Truth of the world. It’s quite sad, too, that you, yourself, failed to fulfill one of your [unwritten] responsibilities as the self-appointed dictator [of this project] and contact me so to have an open dialogue about Molly. I would have been happy to share a conversation(s) with you, tell you about her in depth, and whatever else–but, assuming [it] as a result of your faint-heartedness, you didn’t. It appears obvious that you desired to leave not a single trace of your backward actions. Of all of the artists, artworks in the show, you found quite a serious issue with Molly–why is that? Was it the swastika? Molly’s pretty, ominous face? Though I am curious to learn what it was, exactly, that irked you to such a degree, that prompted your feelings to be so hurt, I do not expect an honest reply from you, based off of your behavior(s) thus far. If your act of censorship was less a result of your feelings, more a result of your fearing the loss of a corporate sponsorship–from Philip Morris, of all corporations–I pity you equally. It wouldn’t be so bad an idea to replace my empty seat in the show with theirs: a solid representation of the boogeyman, if I do say so myself. You choose to leave in “Germans Are a Bit Scared of Me,” a film about a Kosovar who claims to be Hitler ; dirt from Gacy’s burial pit(s)–a monster who sexually assaulted and murdered at least 33 teenage boys and young men … but Bucharest Molly, a[n Internet-sourced image of a] smirking blonde, clutching a teddy bear with a swastika printed on its belly, wearing homemade-printed “Heil Hitler” jeans offends you, incites panic. Absurd, is it not? Bucharest Molly is as much anthropology as it is art. I assume that you’ve learned of the full story [of the artwork] via *****, so it is, likely, unnecessary to repeat it, but I invite you to read the press release text for my upcoming show at the Künstlerhaus, Halle für Kunst & Medien, Graz (I’ve produced other iterations of Molly for this event), We live in a world where more than ever lies are masqueraded as truth. Whatever the media says people blindly accept and follow without question. A world where speaking the truth could send you to prison or the cemetery. The truth isn’t popular. It’s almost always hard to swallow. One who searches for truth and the reasons for this decay will certainly find an incredible and insurmountable darkness. But the answers are there, and they are not found in any controlled media outlet. The Internet is both a trove of knowledge and a heap of garbage. But invaluable to those who are persistent in seeking the truth. In our contemporary, global political state, seeing the overwhelming rise of the far-right, the growing, daily advocacy everywhere for hatred and intolerance, Bucharest Molly stands simply as a reflection; both a window and a mirror onto and of the world; a manifestation of the act of facing what is Real; and most importantly, as a Truth onto itself, that you, in your fright, chose to stifle. Your evil act of censorship justifies exactly what it is that Molly is reflecting. Your unwillingness to allow a light to be shone onto a looming darkness gives life to the very darkness you desired to repress. 5/31/2016, 6:35 p.m.: Post has been updated with comments from Aaron Moulton. 2016-05-31 17:27 Alex Greenberger

28 Art house: Los Angeles and New York artists tackle the inequity of real estate T he residents of Los Angeles’s Skid Row have faced many perils. Yet they haven’t, up until now, had to contend with golf-related injuries. This may change in a little over six months’ time, when a new nine-hole course is scheduled to open in this Los Angeles neighbourhood, home to as many as 6,000 of America’s homeless. These urban fairways are not the work of some misguided sports-facility developer, but a collaboration between local artist Rosten Woo and the Los Angeles Poverty Department (LAPD), a performance art and activist group based in the area. Woo intends to create The Back 9, a playable course of nine holes inside LAPD’s Skid Row History Museum and Archive , as a way of addressing Skid Row’s current and historic zoning issues. “The city is trying to redesign its entire zoning code,” says the 37-year-old artist, “and there’s a desire among a good number of people with power to have Skid Row rezoned.” While Woo hasn’t settled on any clear designs for his course obstacles, he hopes his project, which recently received $50,000 from the Mike Kelley Foundation , will help Angelenos understand the way LA organises itself. “The holes will require certain types of decision making,” he says. “There will be multiple ways to get through the course. As players navigate through the course, they will also run through the history of zoning in this area.” And what a crooked history it is. Some believe the preservation of Skid Row, a 50-block district in downtown LA which has over the past half century offered low-cost single-occupancy dwellings, not only stymies local development, but also traps its residents in poverty. Others, such as Woo, argue the area actually serves as a kind of safety net. “Skid Row is a recovery community,” he says. “It provides mustering of social services, when you are lost in need of some assistance; it’s a place where you can go to get back on your feet.” Whether you agree with Woo or not, it’s hard to deny his place alongside a number of contemporary artists seeking to address real-estate issues through their art. New Yorkers Jennifer Dalton and William Powhida are currently in the closing stages of their Month2Month project, a series of public art events held in private residences across New York City, about how class, wealth and social mobility affect people’s ability to prosper in the city. The pair have worked together in the past and produce paintings, drawings, photographs, installations and other works individually too. However, since 7 May they have hosted a wide range of social gatherings, including a champagne reception featuring an address by the economics journalist Felix Salmon on the New York housing market; a night of communal real estate confessions, entitled Gentrifiers Anonymous ; a murder mystery game called Who Stole The House?; and a remarkably modest gala dinner for developers and real estate professionals, held in Powhida’s own two- bedroom Brooklyn railroad apartment. Month2Month is a response to the way contemporary artists are sometimes employed, unwittingly, as tools of the real estate industry. “There’s often an attempt to do art projects in areas that are being prepared for the next level of gentrification,” says Dalton. Powhida and Dalton acknowledge that their series of open-access discussions is part of an ongoing tendency in contemporary art, sometimes described as “social practice” or “relational aesthetics”, wherein artists present novel social relationships as art. “I think the idea that relationships between people can be art is really becoming more acceptable,” says Powhida. The duo are also alive to the work of other artists, such as Theaster Gates in Chicago and Rick Lowe in Houston, both of whom have sympathetically redeveloped rundown housing in their respective cities as part of their artistic practice. However, these New York artists also understand the ways in which an open-minded discussion of local real estate gossip can lead on to larger topics. “It is a way in for talking about larger inequality issues,” says Powhida, “housing becomes a lens of segregation in this country.” “At one of our talks someone said if we don’t resolve the legacy of racial discrimination we’re not going to be able to house everyone adequately,” Dalton says. “It went pretty deep.” Perhaps, in an age when protest marches and protest songs may not be as effective as they once were, artists such as Woo, Powhida and Dalton are finding new ways to approach social problems. “I don’t think we’re reinventing any great model, but we’re not standing on a corner and shouting about something,” says Powhida. “Contemporary art is about ambiguity and open-endedness. If you present a talk as art, people might be a bit more willing to listen.” Just where that conversation will go is unclear. Artists like Woo, Dalton and Powhida might be turning to housing because, in a nation where, despite growing inequalities, it is still moderately unacceptable to discuss wealth redistribution, real estate is an easy way to get less palatable and less tangible subjects on the table. “You don’t see the people making your shirt or picking your food,” says Woo, “but you can see inequality really clearly when your neighbours change, or you yourself having to leave your apartment. It’s not the worst aspect of our particular moment in capitalism, but it is the most visible. People want to talk about it, but it’s not where I think the conversation should end. I think it does suggest it’s a way into a much larger phenomenon.” We will have to wait and see if LA’s more open-minded golfers agree. 2016-05-31 16:46 Alex Rayner

29 Hirshhorn Museum and Sculpture Garden Names Daniel H. Sallick Board Chair Daniel H. Sallick. VIA LINKEDIN The Washington Post reports today that the Hirshhorn Museum and Sculpture Garden has appointed Washington-based businessman and art collector Daniel H. Sallick as board chairman. Sallick will be replacing Peggy Burnet, who has stepped down as chairwoman but will continue to serve as a trustee. In an interview with the Post , director Melissa Chiu called attention to the fact that Sallick will be the first locally-based board chair in twelve years, adding, “He knows Washington and we’re interested in expanding our Washington audience. About 20 percent of [our] audience is local, and that’s high for a Smithsonian [museum] but we’d like to expand it.” The museum’s board now totals 24 members. This number has doubled since Chiu arrived as director in October 2014, according to the Post , which further reported that museum patrons J. Tomilson Hill and Janine Hill—former board chairman and current board member, respectively— have donated $500,000 to the institution in support of Sallick’s election. 2016-05-31 16:28 Hannah Ghorashi

30 6 Dark Mofo Events for Architecture Lovers Related Events Dark Mofo Venues Museum of Old and New Art- Hobart Artists Mike Parr A celebration of the winter solstice, Dark Mofo is an eerie, but not grim, art festival that takes place over the Antipodean winter months in Tasmania, the southernmost state of Australia. Organized by David Walsh’s spectacular Museum of Old and New Art (MONA), and now in its fourth year, Dark Mofo is a counterpart to MONA FOMA (endearingly abbreviated to MOFO), the longer-running festival of art and music that takes place in the summer months. Historically favoring music and visual art – in particular, the bleak, macabre kind, as befits both the time of the year and the curatorial tastes of David Walsh – Dark Mofo tends to be seen as a spectacle of immersive sound art and Scandinavian heavy metal. Which it, to some extent, is. However, its exploration of the macabre and the transgressive is thought-provoking and substantial, underpinned by a keen curatorial intelligence. In particular, over the years Dark Mofo has profiled itself as a festival which takes seriously the texture of space and place: from the eerie landscapes of Tasmania to the industrial pockets of its biggest and oldest city, Hobart. This year, those interested in architecture will be able to experience tours of an abandoned mental hospital, light installations that transcribe wind patterns around MONA, and much more. Here are our picks for Dark Mofo 2016. Australian Mike Parr is an important performance artist, whose work has consistently explored memory, subjectivity, and physical limits of one’s body (Parr was born with a misshapen arm). At Willow Court in the Derwent Valley, Parr will create installation works in response to the site of a historical mental institution dating from 1827. Video and sound works, objects, and interactive performances, will be used to try to understand the experience of standing in places such as the former “Female Maximum Security Ward for the Criminally Insane” - places seeped in violence and grief. After-hours tours will also be possible, for those who really want to test their nerves. Cameron Robbins says he “harnesses the randomness of natural forces”: his artworks are installations created from mechanical instruments powered by the natural elements. He is the artist to whom the big winter exhibition at MONA is dedicated. A cavernous underground gallery carved into a cliff, that connects, like a secret passage, two of Tasmania's important mid-century Modernist houses, MONA is a miraculous and fragile building. Its founder, David Walsh, once said that rising ocean levels would likely claim it in the none- too-distant future. In response, Robbins has gathered half a ton of water from the Derwent River beneath the gallery floor, utilizing powerful hydraulics to trace the tidal rise and fall with a pen, creating a drawing of the rhythm of the ebb and flow under the museum. Other artworks will include huge drawings that transcribe 12 months of wind patterns around MONA. Dark Park will be Dark Mofo’s adult playground, situated in the industrial Macquarie Point on Hobart’s docks: immersive and interactive public art installations will run nightly throughout the festival, ticketed and unticketed: from the UK-based United Visual Artists’ grid of pendulums suspended in a huge warehouse, via Patrick Hall’s hundreds of faces illuminated inside upside-down bottles, to Cameron Robbins’s Anemographs, LED light drawings that transcribe wind patterns, to Christian Wagstaff and Keith Courtney’s kaleidoscopic House of Mirrors. Tina Havelock Stevens’s unmissable Thunderhead will improvise to a video of the perfect storm along Highway 54, in Texas. A road trip by proxy. Site-specific exhibitions will open up some of Hobart’s strangest locations to visitors. Neither Here Nor There will occupy the pedestrian tunnels under the Railway Roundabout with the works of five artists and an architect, engaged in long-distance collaborations. “There may be romance. There may be Satanism. There may be dancing,” say Constance ARI, the curators of the exhibition. The two contrasting exhibitions, Undergrowth and Overgrowth, bundled together as Night Garden, promise a “cinematic exploration of dark psychological terrain”, shown inside and outside various buildings on two distinct locations: the town of Triabunna and the Hobart central business district. Dark Mofo Films, curated by Nick Batzias and James Hewison, is a motley selection ranging from atmospheric horror to devastating visions of the global refugee crisis. Included in the unsettling selection is “High Rise,” the film adaptation of JG Ballard’s eponymous novel about the breakdown of social order in a luxury high-rise, a dystopian novel that captured the disillusion with Modernism of the mid-1970s; and “Suburra,” which traces the descent into war when a gang tries to turn a small Italian town waterfront into a new Atlantic City. We were not going to pass up on this, no. What has it got to do with architecture? Well, to quote Louis Kahn, who knew a thing or two about what is important: “I sense Light as the giver of all presences, and material as spent Light.” “Let your bits flap in the breeze” is the laconic, one-sentence official invitation to Dark Mofo’s signature event, which takes place on Long Beach on the morning of the longest night of the year, as the sun rises. A contemporary ritual of welcoming back the sun, the event is a ritual of passage, not a spectator sport. A tip given by one of last year’s attendees: “Once you're in, just swim and scream!” 2016-05-31 16:23 Jana Perkovic

31 Daniel R. Small Uncovers Hollywood’s Buried Myths Related Events Made in L. A Venues Hammer Museum Artists Sir Edward John Poynter D Small The vast team of fabricators, mostly locals from Guadalupe, California, building the "Ten Commandments" set, ca. 1923. Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away. “Ozymandias,” 1818 —Percy Bysshe Shelley In the Guadalupe-Nipomo dunes on the central California coast, the ruins of an ancient Egyptian city lie moldering beneath the sand: the human faces and leonine bodies of more than a dozen sphinxes, an ersatz temple of Amun Ra friezed and towering, the fists of the pharaoh clenched in defiant strength against all who might oppose the king of kings and conqueror of conquerors. It’s a fake Egyptian city, but a real ruin. Iconic American film director Cecil B. DeMille built the city of Pi Ramesses, the alleged setting for the primary action of Exodus, as a mise-en-scène for his 1923 silent epic, "The Ten Commandments. " He allegedly demolished and buried the set after shooting for reasons that vary by account, the most likely being that DeMille didn’t want anyone else to use it after him. It was the biggest movie set ever built at the time, and the budget for the film ballooned from $750,000 to $1.4 million. Able to secure extended financing, DeMille made up the difference with the $4 million box-office take. "The Ten Commandments" served as a high mark for the director, who bookended his career with a remake of the movie in 1956, his last. Los Angeles–based artist Daniel R. Small uncovered this story in 2010 and began to track the movements of the legend in various objects and artifacts, embarking on an archaeological mission to uncover the destroyed set depicting a place that perhaps never truly existed. Small uses the methodologies of a historian to tell imaginary histories, producing exhibitions, billboards, and objects. He joined excavations of the Guadalupe-Nipomo site in 2012 and 2014 and gathered relics from the sand dunes, along with numerous other artifacts, including set paintings drawn from the cinematic iconography in the Luxor Resort and Casino of Las Vegas’s own quasi-Egyptian decoration. In his research he collected stories — and there are many — that slowly accumulated around this legend, from a Rosicrucian archaeologist’s technological breakthrough to a local country club’s temporary reclamation of two sphinxes for its entrance. After some disagreement with Egypt’s antiquities department (according to Small and executives who, when interviewed, cited a move away from cartoonishly themed resorts in general), the Luxor, built in 1997, stripped most of the Egyptian references from the casino in its 2007 renovation — barring, of course, the resort’s pyramidal shape — and donated much of its set dressing to the Las Vegas Natural History Museum, from which its large-scale paintings depicting scenes of the pharaohs found their way into Small’s hands. The artworks from the Luxor represent some of the more ridiculous historical rewrites of these myths, mimicking in one a lineage of imagery going back all the way to the 19th-century orientalist paintingsof Sir Edward John Poynter, cinematically referenced by DeMille in his film’s opening sequence. Caucasian pharaohs aside, the painters mixed into the hieroglyphics images representing playing-card suits, space aliens, the coming of Christ, and numerous personal messages. These found paintings will appear alongside debris excavated from DeMille’s destroyed city as part of the Hammer Museum’s locals-only biennial “Made in L. A.,” curated in this edition, which opens June 12, by the museum’s Aram Moshayedi and Hamza Walker of the Renaissance Society in Chicago. Such an exhibition poses the question of what makes Los Angeles particular for artists, although Moshayedi and Walker make few curatorial claims beyond a commitment to producing a series of interlocking solo exhibitions, rather than a more conventional group show with some kind of theme. But Small’s work investigates the mythology that builds up and disappears in California, the site of the American movie industry and its concomitant stories, scandals, and legends, as well as a place packaged and sold as a developer’s advertisement. Los Angeles was only ever a place carved out of the fields and built to be whatever it could be sold as, from idyllic Spanish mission to agricultural mecca to Hollywood dream factory. Although a certain degree of ruin lust gathers on this particular destroyed Egyptian city in the California dunes, its recovery gives form to our own attempts as a people (and a place) to find some semblance of history within the cheap façades and superficial dreamscaping that made this place what it is. The early Hollywood years found their strongest force in an aesthetic of distant iconographic power, actors like statues standing in for our most potent myths. As Roland Barthes wrote in “The Face of Garbo,” from "Mythologies," 1957, it was a time “when the face represented a kind of absolute state of the flesh, which could be neither reached nor renounced.” From the earliest motion pictures to the latest CGI blockbuster, the history of the world and its collective legendarium finds shape in the movies spun out by Hollywood. These first films, including "The Ten Commandments," however, invented an iconography on the fly, borrowing from visual art, historical accuracy not even a passing feint. When DeMille made “Egypt,” he borrowed from the paintings of Poynter (among others) and invented with his crew much of the rest. Ancient Egypt has dazzled Western tourists and story makers for centuries; the occult necropolises of its particularly legacy-obsessed people make romantic backdrops for oriental fantasies. The movement to historicize Hollywood still feels inchoate (the excavation of DeMille’s Pi Ramesses stalled for years for lack of even modest funding), but the industry finds its past shrouded in similarly arcane rituals, mysterious knowledge, scandals, and secrets quickly forgotten and remade with each passing generation. (One of the excavators of DeMille’s set, Lambert Dolphin, joined the Rosicrucians and hoped to discover the legendary Akashic records, which exist on the astral plane, with radar technology during an excavation funded by psychic Edgar Cayce’s foundation.) A decade doesn’t go by without some kind of Egyptian-myth story tumbling out of Hollywood, each built on false and imagined imagery of an Egypt that never existed except in these movie fantasies. Outside the Bible, the exodus itself has little historical or archaeological record, and thus the details surrounding this foundational moment of Judeo- Christian faith can be cinematically created only with a lot of guesswork. The opening sequence of "The Ten Commandments" is based on Poynter’s 1867 painting "Israel in Egypt"; among this painting’s early detractors was its first purchaser, who complained about the obvious historical inaccuracy of the depiction, saying that way more slaves would be required to pull the granite lion than were in the picture. (To appease his client, Poynter added many more slaves to the painting.) DeMille’s depiction wholly invents its Egyptian setting, and found among the ruins of the set were numerous anachronisms, including a facsimile of the Narmer Palette (a relic from around 3000 B. C. containing early hieroglyphics, in no way associated with the exodus and never seen in the film) and faux Roman coins stamped 45 B. C. It’s worth noting that, besides the difficulty of dating things before the birth of Jesus, which demarcates the Western calendar, the exodus is thought to have happened around 1440 B. C. Both the Palette and the coins will be on display at the Hammer, along with a number of artifacts on loan from the town of Guadalupe’s unlikely and unofficial history museum, housed in a NAPA Auto Parts store. One of the town’s few surviving businesses, it sells auto parts alongside a makeshift museum in an old post office that does its best to preserve the town’s history. The labels at the Hammer will likely be the first ever to read “Courtesy NAPA Auto Parts.” The set of Pi Ramesses was mostly built by local workers, including a number of Japanese immigrants who were later rounded up into internment and labor camps during World War II. The opening sequence in DeMille’s movie cites World War I as a compelling reason to revisit the commandments, a return to the rule of law that keeps humans from committing such atrocities. Included in Small’s particular archive are pictures of Japanese laborers posing like Grand Tourists in front of the plaster movie sphinx. Each of the background stories makes these relics of a history in passing, reflecting back on itself as it gets repeated through time. Even in the modern era, these ancient mythologies trickle in. The Hollywood and Highland Center shopping complex (where the Academy Awards ceremony takes place at the Dolby Theatre) has as its centerpiece a three- story courtyard inspired by the Babylon scene from the D. W. Griffith film "intolerance. " The developer of the shopping center built part of the archway and two pillars with elephant sculptures on the capitals, just as seen in the film, to the same scale. But even with so much made by computers, one doesn’t doubt that Hollywood builds and destroys city-size sets every year, many bigger, to be sure, than DeMille’s. Per industry standards, the sets have to be destroyed — not just buried in the sands — denying us the dream of playing archaeologist. Small’s collection reads something like a historical survey. However, the history he tells is not one of a place but of a modern mythology, how this cinematic creation captures our shifting fantasies. Jean Baudrillard once wrote that Disneyland exists to hide the fact that all Southern California is a simulacrum. DeMille’s ruins, as excavated by Small, provide us with another simulacrum, one of history, allowing us the feeling of discovering a mythical past, even if one of our fairly recent invention. 2016-05-31 15:47 Andrew Berardini

32 Ukrainian Collector Returns Stolen Dutch Painting A Ukrainian art buyer has returned one of 24 paintings that disappeared from the Netherlands' Westfries Museum during a 2005 robbery, reports Agence France Presse. An unnamed Ukrainian resident brought one of the works to the Dutch Embassy in Kiev. "The man had brought in the painting in good faith and with a certificate of authenticity," said Marieke van Leeuwen, spokesperson for the Netherlands's Hoorn municipality, home to the museum, in a statement. The canvas is the fifth piece stolen during the heist to be successfully recovered. In December, the Organization of Ukrainian Nationalists, a militant group, demanded a €50 million (about $55 million) ransom for their return. The Ukrainian government pledged that the works will be handed over to the Netherlands. The Dutch government is eagerly anticipating the return of the four canvases seized from the militant group. "We hope to put them on display by the end of the summer, but first we need to see what restoration they would have to undergo," Van Leeuwen noted. The missing 18th-century painting, Isaak Ouwater 's Nieuwstraat in Hoorn (1784), is thought to be worth around €30,000 ($33,400). The other stolen artworks are by lesser Dutch Golden Age artists such as Jan Linsen and Jan van Goyen. When the robbery occurred over a decade ago, the paintings were valued at a total of €10 million ($11 million). The heist also targeted 70 pieces of silverware. Another batch of stolen Old Masters, taken from Verona's Castelvecchio Museum in November 2015, also turned up in Ukraine in recent months. The paintings, by such artists as Peter Paul Rubens , Andrea Mantegna , Giovanni Francesco Caroto , Hans de Jode , Jacopo Bellini , and Jacopo and Domenico Tintoretto , were discovered near the Moldovan border. Follow artnet News on Facebook. 2016-05-31 14:45 Sarah Cascone

33 ‘Excitement: An Exhibition by Rudi Fuchs’ at Stedelijk, Amsterdam Bruce Nauman, Seven Figures , 1985. COLLECTION STEDELIJK MUSEUM AMSTERDAM Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Excitement: An Exhibition by Rudi Fuchs” is on view at the Stedelijk Museum in Amsterdam through Sunday, October 2. The exhibition presents works selected by Rudi Fuchs, the former director of the Stedelijk and of the Van Abbemuseum in Eindhoven. Bruce Nauman, Seven Figures , 1985. COLLECTION STEDELIJK MUSEUM AMSTERDAM Piet Mondrian, Ruitvormige compositie met twee lijnen , 1931. COLLECTION STEDELIJK MUSEUM AMSTERDAM Tracey Emin, You Forgot to Kiss My Soul , 2001. COLLECTION STEDELIJK MUSEUM AMSTERDAM A. R. Penck, Olé njet , 1995, acrylic on canvas. COLLECTION STEDELIJK MUSEUM AMSTERDAM Jan Dibbets, Perspective Correction – My Studio II , 1996. COLLECTION STEDELIJK MUSEUM AMSTERDAM Katharina Sieverding, Steigbild II , 1997. COLLECTION STEDELIJK MUSEUM AMSTERDAM Daan van Golden, Study Pollock ’91 , 1991. COLLECTION STEDELIJK MUSEUM AMSTERDAM Damien Hirst, Waste , 1994. COLLECTION STEDELIJK MUSEUM AMSTERDAM Arnulf Rainer, Kreuz , 1984–91. COLLECTION STEDELIJK MUSEUM AMSTERDAM Sol LeWitt, Black Cubes , 2000. COLLECTION STEDELIJK MUSEUM AMSTERDAM Donald Judd, Zonder titel , 1987. COLLECTION GEMEENTEMUSEUM DEN HAAG Imi Knoebel, Ohne Titel , 1978. PETER COX/COLLECTION VAN ABBEMUSEUM EINDHOVEN Gerhard Richter, Abstraktes Bild (nr. 421) , 1977. PETER COX/COLLECTION VAN ABBEMUSEUM EINDHOVEN Kurt Schwitters, Isle of Man , 1941. PETER COX/COLLECTION VAN ABBEMUSEUM EINDHOVEN Daniel Buren, Peinture angulaire. Les deux bandes blanches extrêmes sont recouvertes de peinture blanche , 1975. PETER COX/COLLECTION VAN ABBEMUSEUM EINDHOVEN 2016-05-31 14:16 The Editors

34 Sneak Peek: SCOPE Basel 2016 to Celebrate 10 Years With New Venue Related Events SCOPE Basel 2016 Venues SCOPE Artists Andy Warhol Banksy Russell Young Yayoi Kusama Faig Ahmed Ai Weiwei Antoine Rose Art Basel, which runs from June 13 through June 18, has a huge range of offerings to explore. To help visitors navigate both the main event and Basel’s satellite fairs, we’ve put together a series of previews that delve into what’s new at this year’s edition of each event. Here, we take a sneak peek at SCOPE, which retains its emphasis on the best emerging talents among artists worldwide, along with introducing more established international galleries that deserve wider recognition. SCOPE Basel this year is celebrating its 10 th anniversary with a new location just three blocks from Messeplatz and more than 70 international exhibitors, alongside 10 in the “Breeder Program” for new galleries to watch, now and in the future. SCOPE – which regards its Basel event as its “jewel in the crown,” alongside the Miami and New York fairs, says the rooftop Clarahuus venue gives it a magnificent view over the city center ready for the VIP opening on Tuesday June 14. The previous riverside location was accessed by a shuttle bus but the new venue is much more central, according to the organizers. The Credit Suisse-owned building now being used had been lying fallow for some years. It has been transformed into a high-end exhibition space, with visitors going to the 5 th floor to a “Castle in the Sky” with the aisles constructed to allow views of the skyline. According to the SCOPE president Alexis Hubshman, “The new location is certainly extraordinary - there is no doubt that proximity is a great thing, but the space itself is wonderful.” The event aims to make maximum use of the vistas over the Messe and elsewhere, with a VIP lounge offering free coffee, soup and other refreshments – SCOPE is working with well-known Basel restaurant Volkshaus - sophisticated low-energy lighting and air conditioning. Exhibitors come from four continents and more than 20 countries, including China, South Africa, Ukraine, Korea, Italy, Russia, France, Brazil, the Netherlands, Norway, Switzerland, Germany, the UK, and Spain. SCOPE organizers are convinced its format offers visitors a view of the contemporary-art world not available anywhere else, especially with its long- established Breeder Program, celebrating its 16 th year of introducing new galleries and emerging work to the market. The Breeder Program this time, carefully picked by a curatorial committee from galleries which have been in business less than five years, includes Beta Galeria, Anna Zorina Gallery, Orlinda Lavergne Art Gallery, Andrea Rehder Arte Contemporanea from Latin America and Galeria Katapult GmbH of Basel. The Breeder booths are not grouped together but denoted on the floor plan and show guide with marked signage. The Breeder program is the backbone of what the fair does, Hubshman says. SCOPE often works with galleries not just as a one-off show but aims to develop them over a full one-year cycle. An important part of the fair is its friendly and intimate atmosphere, which Hubshman says started from its early days, when he staged events in hotels. Some galleries have “graduated” from the Breeder program to the main event, such as Wunderkammern of Rome and Milan. This time it has a one- person show by artist Jacopo Ceccarelli, better known as 2501, who has developed his graffiti to nature abstracts. Kir Royal Gallery of Valencia, Spain, is highlighting artists such as Keke Vilabelda, who has staged solo shows in Poland and London as well as at Kir Royal itself. The Public House of Art of Amsterdam, the Netherlands – which champions affordable art under the slogans “we believe art is for all” and “art is to disrupt, not bankrupt” - showcases Rajni Perera, who was raised between her homeland Sri Lanka, Australia and Canada, and whose images blend hyper-realistic portraits with abstract forms. Other Breeder Program alumni include: Peres Projects, John Connelly Presents, Galeria Enrique Guerrero, Daniel Reich Gallery, Bischoff/ Weiss, INVISIBLE-EXPORTS, SEVENTEEN, ROKEBY, Taxter Spengemann, Magical Artroom and Spinello Projects. Among other galleries and artists worth watching: VERTES MODERN - Andy Warhol , Banksy , Russell Young , and Yayoi Kusama ; Montoro12 Contemporary Art - Faig Ahmed and Nicholas William Johnson; Being 3 Gallery - Ai Weiwei and Ju Anqi; Victor Lope Arte Contemporaneo - Salustiano and Johan Barrios; Lawrence Alkin Gallery - Damien Hirst and Lucy Sparrow; OSME Gallery - Helmut Grill and Nicolas Pol; French Art Studio - Antoine Rose ; Mario Mauroner Contemporary Art - Alfred Haberpointer and Fred Eerdekens; and Laurent Marthaler Contemporary - Nicals Castello and Thierry Feuz. SCOPE has organized more than 75 art fairs spanning 15 years and says it has achieved cumulative sales of much more than $1 billion and attendance of some 1.2 million visitors. 2016-05-31 13:53 Mark Beech

35 new rome EUR convention center by fuksas nears completion designed by studio fuksas, rome’s new convention center is nearing completion ahead of its opening in autumn 2016. located in EUR, a historic district of the italian capital located south of the city core, the project will total 55,000 square meters. the design is composed of three distinct architectural gestures: the ‘theca’ — a longitudinally- oriented steel and glass box; the ‘cloud’ — a geometrically undefined shape positioned inside the ‘theca'; and the ‘blade’ — an autonomous edifice containing a 439-room hotel. the focal point of the scheme is the ‘cloud’, a steel-ribbed structure covered with a translucent curtain measuring a total of 15,000 square-meters. this part of the design exists in direct contrast with the rational building that surrounds it, containing an auditorium for 1,850 people and various support services. a parking garage for up to 600 cars is found at the complex’s underground level. the focal point of the scheme is the ‘cloud’ once complete, the flexible building will host a range of events, including conferences and exhibitions. an eco-friendly approach underscores the design, with an integrated climate control system that allows optimal energy use. the building’s façade incorporates photovoltaic panels that not only help produce energy, but also protect the building from overheating through the mitigation of solar radiation. see designboom’s previous coverage of the project here. the ‘cloud’ exists in direct contrast with the rational building that surrounds it once complete, the flexible building will host a range of events the convention center is set to open in autumn 2016 2016-05-31 13:00 Philip Stevens

36 billie tube amplifier by heaven 11 audio locally built billie tube amplifier by heaven 11 adds analog smoothness to any digital library locally built billie tube amplifier by heaven 11 adds analog smoothness to any digital library all images courtesy of heaven 11 audio named after jazz icon billie holiday, the heaven 11 audio ‘billie’ amplifier plays every type of music source, whether it’s from a phone, television, spotify or vinyl. moving away from the trend of generic design and disposable materials, ‘billie’s’ shell is made of thick, machined aluminum. the simplified casting details are balanced by warm, crafted hardwood knobs all crafted in canada. ‘our goal is to go beyond soundbars and bluetooth speakers, back to how music was meant to be experienced.’ explains itai azerad, heaven 11 co- founder and designer. ‘we believe that the stereo system is still the best way to experience that ‘live in the room’ feeling. we’re not about ‘multi-room’, we’re about ‘in the room’.’ combining the detailed sound staging of digital to the round, analog smoothness of tubes, ‘billie’ features ICEpower amplification by bang & olufsen. it comes with a custom-built tube preamp and a powerful headphone amp for added flexibility. the amplifier can also connect to a pair of headphones ‘we designed something for the pragmatic audiophile because we couldn’t find it out there,’ continues azerad. ‘we built an affordable high-caliber amp that plays all of your music collection – be it vinyl, hi-res digital, line or wireless. design is not just aesthetics, it’s how we use an object, what the object communicates to us and about us. I believe a stereo’s design ought to be closer to an electric guitar than a cable box -what most stereos look like these days. an electric guitar is quite a functional tool, -not too many useless knobs on there- but it’s also such an intimate object, there’s a mystery about it, you gotta feel a connection, you gotta want to touch it.’ heaven 11 audio is a montreal-based company founded in 2015 by itai azerad and andre keilani, two product designers with a lifelong passion for music. the flexible form can be placed anywhere in the home the ‘billie’ also comes in black aluminum 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. 2016-05-31 12:30 Itai Azerad

37 Dutch Artist Accuses Duke Riley of Plagiarism New York artist Duke Riley has gained widespread attention for Fly By Night , his current project with Creative Time. For the piece, he conducts a sort of symphony in light over the Brooklyn Navy Yard by herding thousands of carrier pigeons with LED lights attached to their legs in a dance in the evening sky. But Dutch artist Jasper van den Brink says Riley's idea is "identical" to one of his own, and he's got a publication , in a 2006 issue of the New York magazine Cabinet , to prove it. Van den Brink wanted to attach LED lights to pigeons' legs and release a flock of them into the night sky above Stockholm, Sweden. Van den Brink also hints darkly that someone from Riley's team may have contacted him under a false identity. "It might be pure coincidence, but I received a strange email two months ago inquiring about this project and the sender cannot be traced," says van den Brink in a statement sent to artnet News. The email came from someone identifying himself as Brooklyn artist David Weiser, he says, and requested permission to perform van den Brink's project. Van den Brink says he can find no such artist. In the end, Van den Brink never did execute the pigeon dance. "Unfortunately, I ended up canceling the project," van den Brink writes in the Cabinet article. "It turned out that pigeons cannot easily find their way home in the dark because they navigate by the sun. " He added that his research was ongoing, but apparently has not borne fruit in the decade that has passed since then. Van den Brink also observes that Creative Time artistic director Nato Thompson published an essay in the very issue of Cabinet in which his project appeared. "I have immense respect for Cabinet , as I do for the numerous other magazines and journals I have contributed to over the years," Thompson said in a statement to artnet News. "It's a reality of the rich ecosystem (and unstable finances) of arts publications that a writer has to write for many at the same time. While I wish I could say that I remember the content of all that I've contributed to, it'd simply be impossible. " A representative of Creative Time points out that Riley's project was announced in February and that plans were well under way before the supposed email, adding that Riley would have no need of logistical advice or permission from someone who had never actually executed the project. Riley has executed pigeon-related projects for years, the representative points out, while keeping pigeons himself all along. When Van den Brink heard about the project, the artist says he had his legal advisor contact Creative Time in an attempt to reach a "friendly solution. " In her reply, Creative Time executive director Katie Hollander denied any connection between the projects. Since Van den Brink never got his piece off the ground, one intellectual property expert says, he doesn't have a case. "You can't copyright an idea," New York University professor Amy Adler told the New York Times . “If you allowed anyone with an idea to stop other people from making work, creative expression would grind to a halt. " Riley says he was unaware of Van den Brink's work. "In my years and years of my researching for this project, I have never, ever, ever come across anything to do with this guy," Riley told artnet News Tuesday. "I don't read Cabinet ," he added. "I read pigeon magazines and I know a lot about ‘em. I don't read too many art magazines. " Riley's project continues on weekends through June 12. Follow artnet News on Facebook. 2016-05-31 12:27 Brian Boucher

38 M. C. Hammer Helps You Hang Your Art When you're hanging your art, rapper M. C. Hammer wants it to be, well, not hammer time. Hammer, né Stanley Kirk Burrell, appears in a new commercial for 3M's Command Picture Hanging Strips, which let you hang your art using easy-to- remove adhesive affixed to the back of your pictures. In the hilarious ad , Hammer pops out of a toolbox to assist a woman installing framed art in her home. "Stop hammer time! " says the rapper. "This Hammer hates nails! " Sporting his trademark loose-fitting trousers, modeled on harem pants, along with a bright yellow jacket, Hammer inspires his hostess's amazement when he demonstrates that the strips don't damage the walls. “Hammer don't hurt ‘em," he explains. Known best for hits including “U Can't Touch This" (1990), “Please Hammer, Don't Hurt ‘Em" (1990), and “Too Legit to Quit" (1991), Hammer also starred in Please Hammer, Don't Hurt ‘Em: The Movie (1990), which earned him a Grammy Award for best long-form music video. His most recent LP is DanceJamTheMusic , from 2009, although he has released a handful of stand-alone singles in the years since. For his new celebrity-spokesman gig, Hammer also appears in a series of instructional videos. They're equally hilarious. In one of them, focused on the strips' capacity, he explains that various models have different weight limits, using a strip with a 7.5-pound limit as an example. Holding up a ten-pound weight, he quips that with that particular model, "U can't hang this. " Follow artnet News on Facebook. 2016-05-31 12:12 Brian Boucher

Total 38 articles. Created at 2016-06-01 12:01