Announcement

45 articles, 2016-08-12 06:00 1 PR Internship — Magazine — Walker Art Center The Walker Art Center seeks an enthusiastic and capable PR Intern to work in our bustling PR department assisting all our public relations efforts... 2016-08-12 04:30 1KB www.walkerart.org 2 faena forum by OMA nears completion in miami beach faena forum is a venue dedicated to the development of cultural programming. located in miami beach, the building has been designed by OMA's rem koolhaas. 2016-08-12 04:04 2KB www.designboom.com 3 emmett mcnamara's sauna offers atlantic views from a comfy seat the piece was developed over several months for the biennial 'drop everything' festival; an event that presents contemporary art from a remote perspective. 2016-08-12 02:15 1KB www.designboom.com 4 artists build floating freedom cove near vancouver island 'freedom cove' is a curious and colorful complex off the coast of vancouver island that floats amidst the calm waters of clayoquot sound. 2016-08-12 00:15 1KB www.designboom.com 5 rei mitsui architects adds arched-frame structure to building renovation in tokyo the arch is made of woven shapes that result from the structural analysis where the diameter of each stripe transforms smoothly to follow the internal stress. 2016-08-11 23:05 2KB www.designboom.com 6 Copenhagen Fashion Week Spotlights Sustainability A total of 29 women’s and men’s labels are showing in the Danish capital this week. 2016-08-11 23:02 2KB wwd.com 7 Wackermann Attributes Wilhelmina’s Record Revenues in Quarter to High-End Business While high-end image models are always going to be in demand for the fashion campaigns, the agency has a chance to develop its social media stars. 2016-08-11 22:11 2KB wwd.com

8 modernist brazilian architecture: 8 eye- catching examples with the rio olympics well underway, we take a look at some of the most eye-catching examples of modernist brazilian architecture. 2016-08-11 21:00 5KB www.designboom.com 9 BOOKFURNITURE flips from book to furniture in less than a second underneath the cover, BOOKFURNITURE has a durable kraft paper panel with an origami structure that makes it lightweight. 2016-08-11 19:35 1KB www.designboom.com 10 China's 105' "Multimedia Tower" Literally Looks Insane The Lake of Illusions fountain show just went up at the Happy Valley Amusement park in Shanghai. 2016-08-11 19:25 2KB thecreatorsproject.vice.com 11 Tom Ford Puts Tadao Ando-Designed Santa Fe Ranch on the Market The price is on request although it’s reported to be a cool $75 million. 2016-08-11 18:48 2KB wwd.com 12 Rihanna to Receive Video Vanguard Award at the 2016 MTV VMAs Rihanna will receive the Michael Jackson Video Vanguard Award at the 2016 MTV VMAs on Aug. 28, MTV announced Thursday. 2016-08-11 18:42 2KB wwd.com 13 mclaren 570S + GT4 poised to make their US debut mclaren 570S and GT4 models both set to showcase their true racing spirit. 2016-08-11 18:35 2KB www.designboom.com 14 Cyclas Toasts U. S. Launch With Luncheon at Bergdorf’s Bergdorf Goodman invited editors, bloggers and PYTs to a chic luncheon for Cyclas, the Tokyo-based brand founded by Keiko Onose. 2016-08-11 18:22 1KB wwd.com 15 The National Endowment for the Arts Scores an Emmy Nomination The Emmys have sprung a new category for this year's edition, and the National Endowment for the Arts is an inaugural runnerup. Here's why. 2016-08-11 17:37 2KB news.artnet.com

16 Steven Heller and Mirko Ilic Team Up for ‘Design Exposed’ Book and Exhibition Design authorities Steven Heller and Mirko Ilic are accepting submissions for research for their new book and exhibition. 2016-08-11 17:30 3KB wwd.com 17 Could You Spend 24 Years Building Your Own Island? Catherine King and Wayne Adams didn't find the ultimate escape— they made it themselves. 2016-08-11 17:20 2KB thecreatorsproject.vice.com 18 charis tsevis' mosaic murals at the rio olympics USA house charis tsevis has realized mosaic murals for the USA house at the rio olympics, adorning the roof gardens of the marble-clad building on ipanema beach. 2016-08-11 17:16 1KB www.designboom.com 19 The Hollywood Screenwriter Who's Also a Visionary Artist | City of the Seekers Emmy Award-winning TV writer Pam Douglas has made a career in Hollywood while also painting visionary art. 2016-08-11 17:15 7KB thecreatorsproject.vice.com 20 Spencer Finch Transports a Hidden Redwood Forrest to Brooklyn New Yorkers won't need to go on vacation to see the mighty redwoods of California this fall, thanks to Spencer Finch's "Lost Man Creek. " 2016-08-11 17:07 2KB news.artnet.com 21 This Mixed-Reality Gaming Gun Is Hardcore VRsenal and Invrse Studios recently teamed up to bring the VR-15 rifle controller to the sniper game ‘The Nest’. Take a look. 2016-08-11 16:50 4KB thecreatorsproject.vice.com 22 Datebook: Nicolas Party’s ‘Pathway’ at Dallas Museum of Art Dallas Museum of Art presents “Pathway,” the first solo U. S museum exhibition of Swiss artist Nicolas Party, from August 19, 2016, through February 5, 2017. 2016-08-11 16:33 1KB www.blouinartinfo.com 23 nils ferber's micro wind turbine charges your portable devices the ‘micro wind turbine’ by nils ferber, is a compact, lightweight, portable charging device that can be folded down to the size of a trekking pole. 2016-08-11 16:01 2KB www.designboom.com

24 Artist Visualizes Sound with Neon, Disco Balls, and Architecture Katinka Theis’ geometric constructions are inspired by monumental architecture and the movement of sound through space. 2016-08-11 16:00 2KB thecreatorsproject.vice.com 25 'Harry Potter' Exhibition to Enchant the British Library It's like a real-life lesson in 'A History of Magic.' 2016-08-11 15:40 2KB thecreatorsproject.vice.com 26 See the Glory of the Olympics Captured in David Burnett’s Photos Since 1984, photography David Burnett has shot every Summer Olympics, and two of the Winter Games, and the images are spectacular. 2016-08-11 15:30 2KB news.artnet.com 27 Love Is Not Enough: An Interview with Maïwenn Talking to the acclaimed French director about her newest film 'Mon Roi (My King),' which opens tomorrow in New York. 2016-08-11 14:35 5KB thecreatorsproject.vice.com 28 Andreas Slominski at Hall for Contemporary Art, Deichtorhallen Hamburg, Germany Pictures at an Exhibition presents images of one notable show every weekday 2016-08-11 14:21 3KB www.artnews.com 29 These Airplane Bubble Pods Make Futuristic Fantasies Come True The Skydeck is the ultimate window seat. 2016-08-11 14:05 2KB thecreatorsproject.vice.com 30 Get Sweaty at the Hottest Group Show in Portland 'HEATWAVE' is an ode to the simple sexy pleasures of summer. 2016-08-11 14:00 3KB thecreatorsproject.vice.com 31 Datebook: ‘Discordant Harmony’ at Kuandu Museum of Fine Arts, Taipei The collaborative project “Discordant Harmony” runs through September 18 in Taipei. 2016-08-11 13:56 1KB www.blouinartinfo.com

32 venice architecture biennale venice architecture biennale 2016: a set of installations, presented on the ground floor of venice’s ca’ tron, form part of BJDW’s ‘across chinese cities – china house vision’ exhibition. 2016-08-11 13:25 9KB www.designboom.com 33 K. G. Subramanyan’s Recent Works That Will be Remembered as His Very Last K. G. Subramanyan’s Last Solo at Aakriti Art Gallery New Delhi 2016-08-11 13:24 3KB www.blouinartinfo.com 34 Uncanny Installations Reveal Magic in Everyday Materials Artist Christophe Piallat transmits light through materials like foil and paper, altering our perception of them into something more fantastical. 2016-08-11 13:20 4KB thecreatorsproject.vice.com 35 Datebook: Traditional, Modern and Contemporary Art Sale at Larasati, Bali Traditional, modern, and contemporary art will be on sale at Larasati Auctioneers, Bali on August 21. 2016-08-11 13:18 1KB www.blouinartinfo.com 36 National Portrait Gallery Makes a Statement With the Inclusion of Freed Muslim Slave in “American Origins” A portrait of Yarrow Mamout, a freed Muslim slave, now on view at the National Portrait Gallery, is an important part of US history. 2016-08-11 12:58 2KB news.artnet.com 37 Mark Wallinger Installs Giant Mirror, New Sculpture in Freud Museum London The Turner Prize-winning artist has created a new installation, sculpture, and paintings to celebrate the 30th anniversary of the Freud Museum London. 2016-08-11 12:11 2KB www.blouinartinfo.com 38 Must-See Art Guide: Seattle This week's Seattle Art Guide features Mark Rothko, Yiannis Stylianides, Margie Livingston, and more. 2016-08-11 11:45 2KB news.artnet.com 39 In Multiple Dimensions: On Photography From Africa and the African Diaspora, in New York On Aida Muluneh at David Krut Projects, Malick Sidibé at Jack Shainman Gallery, Oumar Ly at Sitor Senghor, and ‘Disguise’ at the Brooklyn Museum 2016-08-11 11:45 9KB www.artnews.com

40 Hot Ticket Alert: Stars to Illuminate Broadway Nights This Fall The new Broadway season is studded with stars. 2016-08-11 11:08 1KB www.blouinartinfo.com 41 UK Accepts Rare Portrait by Sir Joshua Reynolds in Place of $6 Million Inheritance Tax An 18th-century Old Master portrait is donated to Tate in lieu of $6 million inheritance tax under the UK's allowance program. 2016-08-11 11:04 3KB news.artnet.com 42 Conservative Artist Re-Erects Pro-Trump Sculpture, Liam Gillick Named Artistic Director of Okayama Art Summit, and More A daily round-up of must-read news from the art world and beyond. 2016-08-11 10:20 913Bytes www.blouinartinfo.com 43 After Arson, Artist’s Pro-Trump ‘T’ Sign Reappears in Staten Island Scott LoBaido has created a 16-foot-tall "T" in support of Republican presidential candidate Donald Trump after the original was torched. 2016-08-11 10:11 3KB news.artnet.com 44 Who Will Win Vincent Van Gogh Lookalike Contest? The I Am Vincent contest, which aims to find the living embodiment of Vincent van Gogh, has produced some impressive lookalikes. 2016-08-11 10:05 2KB news.artnet.com 45 10 Influential Artists Recall Their First Exhibitions artnet News reached out to 10 artists on the experience of securing their first exhibitions. Here's what they had to say. 2016-08-11 10:04 8KB news.artnet.com Articles

45 articles, 2016-08-12 06:00

1 PR Internship — Magazine — Walker Art Center The Walker Art Center seeks an enthusiastic and capable PR Intern to work in our bustling PR department assisting all our public relations efforts. This individual will provide critical support for distributing materials to the press and general public, assisting with mailings, filing and record keeping, press previews and other events, creating and editing content for online, and other duties as assigned. This opportunity provides practical, hands-on, good resume-building experience. Compensation: While this is an unpaid internship, interns will receive a free Walker membership, free gallery admission, and discounts in the Walker’s restaurant/café and Shop. Complimentary tickets to select events may also be available. Hours: 10-12hrs/wk minimum, schedule to be determined, some weekend hours required Duration: September 2016 through May2017 QUALIFICATIONS: FOR CONSIDERATION: Please email letter of interest and resume as MS Word or PDF attachments to [email protected]. Application Deadline is August 25th. The Walker is committed to increasing diversity in our workforce and especially welcomes applications from minority group members, women, persons with disabilities, members of sexual minority groups and others who may contribute to further diversification of ideas. We are an EOE/AA employer dedicated to fair and inclusive employment 2016-08-12 04:30 www.walkerart

2 faena forum by OMA nears completion in miami beach faena forum is a new venue dedicated to the development of cultural programming. located in miami beach, the building has been designed by rem koolhaas of OMA. once complete, the 50,000 square foot institution is intended to encourage collaborations across artistic, intellectual, and geographic divides. work on the project began in 2011, with construction now coming to a close at 33nd and collins avenue. the venue will be dedicated to the development of cultural programming in the region image © designboom OMA has designed faena forum as a series of flexible spaces, capable of showcasing new projects, commissions, and performances. the structure is divided into two distinct volumes, taking the form of both a cylinder and a cube. the cylinder is an open, soaring void rising 40 feet to a dome that features a central glazed oculus. encircling the perimeter of this volume, a walkway spirals upwards from street level, presenting a range of different perspectives. the adjacent cube features two large interlocking spaces, while the dome can be combined or subdivided to accommodate a range of installations and performative productions. construction is now coming to a close at 33nd and collins avenue in miami beach image © designboom the venue will eventually be joined by two other OMA-designed buildings along collins avenue — a retail bazaar and a parking garage. the cultural development is the brainchild of argentine hotelier and real estate developer alan faena. ‘faena forum has been designed to radiate art and ideas into the community and throughout the city,’ he says. ‘it is a new kind of cultural enterprise, one that encourages thinkers and practitioners from across a range of disciplines — the arts, sciences, technology and urbanism — to collaborate and creatively collide in ways that push their practices and produce new works, new experiences, and new ideas.’ see designboom’s previous coverage of the project here. the venue will eventually be joined by two other OMA-designed buildings image © designboom the development is the brainchild of argentine hotelier and real estate developer alan faena image © designboom the structure is divided into two distinct volumes, taking the form of both a cylinder and a cube image © designboom 2016-08-12 04:04 Philip Stevens

3 emmett mcnamara's sauna offers atlantic views from a comfy seat architect emmett mcnamara’s ‘sauna’ offered warm coastal views on the shores of inisheer, one of a small group of remote islands off the irish mainland. the piece was developed over several months for the biennial ‘drop everything’ festival held on the island; an event that presents contemporary art from a rustic perspective. the ‘sauna’ was influenced by local landmarks such as ‘currach’ and the standing stones. once visualized, construction was constructed over three months at the fire station artist studios in dublin before being shipped to the island for on-site assembly. the form is composed of modular triangles built using traditional timber framing methods. a foil moisture barrier and rock wool insulation keep the ‘sauna’ warm, and three large windows look out over the vast atlantic. the ‘sauna’ was designed by emmett mcnamara to participate at the 2016 ‘drop everything’ festival. visitors at the sauna’s second home, a local school 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. 2016-08-12 02:15 E Mcnamara

4 artists build floating freedom cove near vancouver island artists build floating freedom cove off the coast of vancouver island off the coast of vancouver island, a curious and colorful complex floats amidst the calm waters of clayoquot sound. over the last 24 years, ‘freedom cove’ has been the home of canadian artists catherine king and wayne adams, who have built a multi-room dwelling as a sustainable and self- sufficient fortress. video network great big story has recently documented the lives of king and adams at their floating paradise. a lengthy 45-minute boat ride to the nearest town, ‘freedom cove’ is tethered to shore with ropes, not anchors, making the entire habitat a buoyant and dynamic space. included in the complex is king and adam’s main living space, a dance floor, a lighthouse building and four green houses, where the couple grow their own fresh fruits and vegetables for daily consumption. a full kitchen, bedroom and multiple semi-outdoor spaces are connected by narrow wooden pathways, ladders and colorful staircases. inside, king sometimes fishes through a glass door built into the floor, where he drops down a line and hook for dinner in a dash. 2016-08-12 00:15 Nina Azzarello

5 rei mitsui architects adds arched-frame structure to building renovation in tokyo architecture in japan: tokyo- based firm rei mitsui architects was commissioned with a local project that included the renovation of a kanban-style building remaining at the nihonbashi district. this style is representative of the early showa period, the period of japanese history corresponding to the reign of the shōwa emperor, hirohito (1926-1989). the three-story structure includes a ground floor typically used as retail space with a display window at the storefront. the client’s request was simple: first, to keep the façade of the billboard architecture; second, to enforce seismic retrofit to resist earthquakes. the design aimed to preserve the original façade all images by jérémie souteyrat rest mitsui architects found the existing building to be abandoned and with disastrous damage, and although it seemed impossible, the client strongly wished for the building to remain. to do so, the firm decided to lift-up the whole building and to reconstruct its foundation and damaged elements. in order to add the earthquake-resisting parts to the structure, they used an arched frame made of ductile cast iron so that the façade wouldn’t be disturbed. the building is an example of remaining tiny billboard architecture in tokyo the arch is made of woven shapes that result from the structural analysis where the diameter of each stripe transforms smoothly to follow the internal stress. casting was the most efficient way to produce the numerous parts, especially due to its complicated and decorative shape. the material selected also has a rough and warm texture which suits the existing old timber structure. thin and light, each arch weighs only 55 kilograms woven-like shapes resulted from the structural analysis made with grasshopper 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. 2016-08-11 23:05 Rei Mitsui

6 Copenhagen Fashion Week Spotlights Sustainability Copenhagen Fashion Week, which began Wednesday and runs through Friday, is giving sustainability some good play. The event held in the wake of the Copenhagen Fashion Summit, which drew 1,250 industry delegates last May, had sustainable label Fonnesbech on its first day — Crown Princess Mary of Denmark sat front row at the Fonnesbech display — and two Swedish brands with a sustainability perspective on day two: House of Dagmar and Uniforms For The Dedicated, two newcomers to the Copenhagen calendar. “The vision is the gap that Copenhagen could fill: to take the position as the sustainability destination and bring together the brands from all over the world who want to work on sustainability,” said Eva Kruse, chief executive officer of Copenhagen Fashion Week, noting that she would like H&M to reveal its Conscious Collection during Copenhagen Fashion Week, as well as draw such players as Stella McCartney and Prada, who both have an ethical point of view in terms of production. “A lot of Scandinavian brands too are moving toward that direction so it goes hand in hand,” Kruse added. Other sustainable brands presenting this week include Barbara|Gongini. The focus on sustainability was also prevalent at the Designers’ Nest competition, whose main prize went to Shila Louise Gaonkar from the Royal Danish Academy of Fine Arts. A special mention of Eyes on Talents, the online platform for connecting brands with international design talents, went to Tobias Birk Nielsen from the Royal Danish Academy of Fine Arts for “his conscious and sustainable take on streetwear.” Danish models-of-the-moment are in town. Caroline Brasch Nielsen walks shows including Saks Potts, By Malene Birger and Ganni, while Frederikke Sofie was spotted front-row at her friend Freya Dalsjø’s show and Nadja Bender exclusively hit the Ganni runway on Thursday afternoon. Bender was enjoying the chilly temperatures in her native city: “I can wear this jacket here; it’s quite nice. In New York, you’re sweating as soon as you get outside,” she said sporting a Ganni leopard print jacket after the show. Two trade fairs — Copenhagen International Fashion Fair and Revolver — coincide with the runway shows, drawing a total of 30,000 industry professionals. Total exports of Danish fashion rose 1.6 percent to 7.3 billion Danish kroner, or $1.1 billion, in the first three months of 2016. This comes after a 6 percent rise in 2015 to 26.3 billion Danish kroner, or $3.86 billion at average exchange. 2016-08-11 23:02 Laure Guilbault

7 Wackermann Attributes Wilhelmina’s Record Revenues in Quarter to High-End Business Wackermann attributed the gain to its high-end business. “We have a model named I-Hua, who is the first global ambassador signed to Maybelline. That was a big deal here. She’s from China.” He said also said Cindy Bruna, a Victoria’s Secret model, is the new face of Ralph Lauren Collection campaign, and Francisco Lachowski is the face of Balmain. “We’ve really focused on the talent in the high-end part of our business and we’re having great success there,” said Wackermann, who started in January. As brands cut back their print campaigns, how does that impact the modeling business? “They’re doing less print, but they’re doing more digital. They want the models for their Instagrams and want to do videos behind the scenes. While one part of the business is developing at a slower rate, other parts of the business are developing at a much faster rate,” Wackermann said. While the high-end image models are always going to be in demand for the fashion campaigns, he said this gives the agency a chance to develop its social media stars. “Maybe they’re not the face of a campaign, but they’re creating content for a brand and that’s growing tremendously,” he said. Wilhelmina has always had a Curve division and launched a fitness division in 2007. “Our fitness division has been booming. There’s such a push for ath-leisure, clothes that are performance-based but can be worn on the weekends. We have a whole division of models who work on all those ath- leisure brands.” Wilhelmina opened a studio with personal trainers, who are on set, to make sure the shoots are authentic. Its celebrity division represents such people as Demi Lovato, Nick Jonas and Shawn Mendes for commercial endorsements. Asked what he considers the biggest opportunity for the agency going forward, he said, “The September fashion season we’re coming into. We have incredible new talent and new faces that people will be real excited to see.” 2016-08-11 22:11 Lisa Lockwood

8 modernist brazilian architecture: 8 eye-catching examples with the rio olympics well underway, we take a look at some of the most eye-catching examples of modernist brazilian architecture. from oscar niemeyer to paulo mendes da rocha, see below for a roundup of distinctive projects that have come to define the country’s dynamic urban landscape. image by paulinho muniz, courtesy niterói contemporary art museum (also main image) see more projects by oscar niemeyer on designboom here across rio de janeiro’s guanabara bay, in the municipality of niterói, a 16 meter-high saucer-shaped structure sits atop a cliff that juts out to sea. the building — which houses a contemporary art museum — was completed by oscar niemeyer in 1996, when the great architect was approaching 90 years of age. the design, which has often been likened to a UFO, is entered via a spiraling ramp lined with a red carpet. internally, the circular shape of the scheme presents panoramic views across the bay, towards the city of rio and sugarloaf mountain. image © andrew prokos see more projects by oscar niemeyer on designboom here consecrated in 1970, 12 years after construction work began, the cathedral of brasília remains one of oscar niemeyer’s most recognizable works. constructed from 16 columns, the building forms a hyperboloid structure that is intended to represent two hands reaching towards the heavens. the concrete frame supports a canopy that includes a stained glass artwork created by marianne peretti. the cathedral is one of brasília’s most frequented landmarks, with nearly a million annual visitors. image © andrew prokos see more projects by oscar niemeyer on designboom here like the cathedral of brasília, the ‘museu nacional honestino guimarães’, or the national museum of brasilia, is another impressive piece of architecture found in brazil’s federal capital. again designed by oscar niemeyer, the structure was finally completed in 2006 — when the architect was 99 years old. accessed via a prominent ramp, the domed building offers 14,000 square meters of space, hosting galleries, services, and support areas. completed by sergio bernardes in 1962, the ring-shaped ‘hotel tambaú’ borders the atlantic ocean in northeastern brazil. in total, there are 173 apartment, which either offer views out to sea or of the scheme’s enclosed internal gardens. the hotel also includes swimming pools, a wellness center, and a large auditorium with capacity for 522 people. bernardes, who passed away in 2002, worked with lucio costa and oscar niemeyer at the beginning of his career before working on a number of other successful projects. although lucio costa is best known for his urban plan for brasília, its individual buildings are usually credited to niemeyer. however, costa was responsible for the design of the TV tower sited on the capital’s ‘eixo monumental’, or monumental axis. standing as one of the country’s tallest structures, the tower was completed in 1967 at a height of 218 meters, before a further 6 meters were added in 1987. an observation deck presents sweeping views across the city. located in the southern brazilian state of paraná, the cathedral of maringá is a soaring cone-shaped structure that reaches a total height of 124 meters. standing as the tallest church in south america, architect josé augusto bellucci’s design was apparently inspired by the form and shape of the era’s soviet satellites. the cathedral is topped with a seven meter-high cross, visible from across the city. SESC – fabrica da pompeia são paulo 1977-1986 © photo: markus lanz, 2014 see more projects by lina bo bardi on designboom here completed in 1982, the lina bo bardi-designed ‘SESC pompéia’ is a leisure and culture complex in são paulo, which includes theaters, sports facilities, restaurants and exhibition spaces. when designing the project bo bardi chose to retain the existing concrete factory building, reinforcing it, and infilling it with a host of public amenities. eight walkways dramatically connect the site’s two buildings, spanning gaps as wide as 25 meters. image by LiaC see more projects by paulo mendes da rocha on designboom here also in são paulo, this cantilevered construction provides shelter and shade for commuters using the nearby the bus station. designed by paulo mendes da rocha, and completed in 1992, the project forms part of a restructuring of the public space that allows pedestrians to connect to mass transit at an subterranean level. mendes da rocha — who won the 2006 pritzker prize — is known for his work in concrete, and has completed a number of buildings in his home city of são paulo. 2016-08-11 21:00 Philip Stevens

9 BOOKFURNITURE flips from book to furniture in less than a second BOOKFURNITURE flips from book to furniture in less than a second BOOKFURNITURE has released the ‘concrete gray special edition’ of their origami structure that can transform its shape from that of a book into a piece of furniture in just a flip. the cover of this edition brings up the beauty of concrete texture. created by mark mak, a hong kong-based designer, BOOKFURNITURE is a great portable furniture that is perfect for our contemporary and compact living styles; it’s easy to store away when not in use, as you can slide it in amongst other books on a bookshelf. underneath the cover, BOOKFURNITURE has a durable kraft paper panel with an origami structure that makes it lightweight, weighing only 1.2kg. but so strong that it can hold a withstand of extreme weight up to 900kg. stack it up and make a table and chair set; add w old board on top of two of them and make a bench; stack a few layers more and it becomes a shelf. possibilities with BOOKFURNITURE are endless and can be even used outdoors. 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. 2016-08-11 19:35 Mikemak Mm

10 China's 105' "Multimedia Tower" Literally Looks Insane Photo: Julien Panie. Images courtesy ECA2 A 105' spire, armed to the teeth with stage lights, projectors, and industrial lasers, rises out an artificial body of water in Shanghai. The Lake of Illusions is a new multimedia tower that, by night, turns into a full- blown audiovisual performance spectacle. Digital characters dance, walk, and fly around the lake like an opera from the future. At one point during the show, the tower turns into a giant sword wielded by one of the protagonists. Lake of Illusions follows a captivating narrative, “a poetic tale inspired by China’s storytelling traditions,” according to ECA2 , the French large-scale multimedia production company behind the tower. The 360 degree light tower sits at center of a giant fountain not dissimilar to the one outside of the Bellagio in Las Vegas, except that lasers, projectors, and stage lights operate in tandem with it. Beams of light pass through pillars of water, and the projectors use the mist and spray from the fountain’s display as the backdrop for their projected images. ECA2 released a highlight reel that shows the production team using motion capture technology to recreate the movements of dancers and gymnasts in their particle projections. Oh, and did I mention there’s fire? Watch it, and see images of the tower in action, below: Photo: Julien Panie For more work by the ECA2 production team, head over to their website. Related: Now You Can Play a Giant Game of 'Snake' on the Fountains of London LEDs Trick Fireflies into Performing a Synchronized Light Show Light Show Turns Sound Waves into Projection-Mapped Galaxies 2016-08-11 19:25 Nathaniel Ainley

11 Tom Ford Puts Tadao Ando-Designed Santa Fe Ranch on the Market The property was listed last month and the price is on request. The Santa Fe New Mexican newspaper, citing real estate sources, said Ford is asking $75 million. Tom Ford ’s company did not respond to a request for comment on Thursday. Leading Estates put the property — a modernist low- rise structure that appears to be floating on a shallow rectangle of water — on the cover of one of its recent catalogues. It describes Cerro Pelon Ranch in Galisteo Basin, N. M., as among the largest in Santa Fe County. According to the agents, the ranch encompasses more than 20,000 acres, or 32 square miles. It says the Galisteo Creek meanders through the northern boundary of the ranch, providing “scenic vistas from open waterways to picturesque canopies of shady cottonwoods.” It adds that the land and water have been “conscientiously managed to provide beautiful grazing pastures within a productive cattle ranch” and touts the “pottery shards and Pueblo ruins” that sit alongside Ando’s “dramatic contemporary compound.” According to the Santa Fe New Mexican, the property includes staff quarters, two private guest houses, the home of the ranch manager, as well as equestrian facilities, an airstrip, and even a Western movie town originally built as a set for the film “Silverado” in 1985. The latter no doubt appealed to the cinematic sensibilities of Ford, who already has two films under his belt. His second movie, “Nocturnal Animals,” premiered at the Toronto International Film Festival, and will be in cinemas in November. In 2012, the Texas native told WWD that laying down roots in New Mexico was a big deal. “Moving to Santa Fe coming from Texas was very exotic. I mean, Charles Manson was living there. Many of the roads were dirt. There were hippie communes,” he said. 2016-08-11 18:48 Samantha Conti

12 Rihanna to Receive Video Vanguard Award at the 2016 MTV VMAs That’s one way to ensure the attendance of one of the biggest musical acts touring at the moment. On Thursday, MTV announced that Rihanna will receive the Michael Jackson Video Vanguard Award at the 2016 MTV VMAs on Aug. 28. Rihanna relayed the announcement on Instagram, writing “honored to take the #VMAsstage as this year’s Michael Jackson Video #Vanguard award recipient on August 28!!” She will also perform at the ceremony. Past recipients of the award include Beyoncé, Justin Timberlake, Kanye West, Madonna, Britney Spears and, naturally, Michael Jackson. In addition to receiving the award, Rihanna is also nominated for four Moonmen for her songs “Work” with Drake and “This Is What You Came For” with Calvin Harris. She’s previously won the VMA Video of the Year twice; in 2007, “Umbrella” took home the honor; in 2012 her song with Calvin Harris, “We Found Love,” earned the top prize. The Vanguard Award is the top honor at the MTV ceremony. The VMAs are returning to New York this and will be held at Madison Square Garden for the first time. Aside from her live performance at the ceremony, all eyes will be on what she comes wearing. Given her love of statement fashion, and the reputation the VMAs have for drawing out the more eccentric looks from stars , we can imagine the result will be much-discussed. This is, after all, the event to which Lady Gaga appeared in the meat dress. Due to her touring schedule, Rihanna has been absent from many red carpets in recent months, most notably the Met Ball in May. It was announced earlier this week that in addition to her musical pursuits, Rihanna will be appearing in the upcoming “Ocean’s Eleven” all-female spinoff, “Ocean’s Ocho .” Honored to take the #VMAs stage as this year’s Michael Jackson Video #VANGUARD award recipient on August 28!! A photo posted by badgalriri (@badgalriri) on Aug 11, 2016 at 9:00am PDT 2016-08-11 18:42 Leigh Nordstrom

13 mclaren 570S + GT4 poised to make their US debut mclaren 570S + GT4 poised to make their US debut mclaren automotive is returning to the historic monterey car week with the US debuts of the ‘570GT’ road car, the ‘570S GT4′ race car and new activations which will showcase mclaren’s strong heritage and current model line-up. this is the seventh year the luxury car manufacturer will have a significant presence at the pebble beach concours d’elegance, bringing enthusiasts and owner’s together year-after-year since 2010, when mclaren used the venue to show the concept form of its first modern-era road car. during the course of monterey week, mclaren will introduce the US to the 2017 ‘570GT’ with several examples of the car to be found around the peninsula. the car will make an appearance at mccall’s motorworks revival on wednesday evening. it will then be on display and doing drives at the ‘mclaren driver experience’ thursday — saturday, followed by a presence at the pebble beach concours d’elegance on sunday. beginning thursday, august 18, at the bernardus lodge in carmel valley, the luxury automaker will host the ‘mclaren driver experience’, providing 30 minute ‘570S’ and ‘570GT’ test drives along laureles grade road for prospective owners and enthusiasts. the lodge will also house an array of iconic heritage race cars, several of which will all have their engines started at various times during the experience hosted by amanda mclaren, daughter of founder bruce mclaren. mclaren ‘570S’ will also be available to test drive the ‘570S GT4′ race car will also be displayed for the first time on US soil. the supercar, which already has one race win to its name, is currently completing the final development stages in real-world race environments in europe and is eligible for all GT4 competition globally with customer teams for the 2017 season. this will also appear august 19 at motorsports gathering, the quail. 2016-08-11 18:35 Martin Hislop

14 Cyclas Toasts U. S. Launch With Luncheon at Bergdorf’s Onose recently renamed the brand Cyclas, which refers to a type of tunic worn during the Middle Ages, and the past year has been something of a new beginning for the label. Made in Japan from luxe fabrics which Onose sources globally, the label has expanded globally to retailers including Canadian e-tailer Ssense.com, Blake in Chicago and Bergdorf Goodman in New York, and will hold its first presentation during Paris Fashion Week in October. “I have been committed to the women’s international fashion ready-to-wear business for 25 years…on different ends of the industry, starting my career as a buyer for a retailer; launching my store, and now designing this collection,” Onose said during her toast to the room. “Cyclas launched because I wanted to create a sophisticated, modern and sensible wardrobe that catered to the lifestyle of the multifaceted woman.” The label’s fall collection, which was displayed alongside Altuzarra on the third floor, featured refined, understated wardrobe staples, including crisp, striped shirting; creamy knits; an elegant wrap dress, and a double-faced cashmere camel coat trimmed with mink fur. 2016-08-11 18:22 Kristi Garced

15 The National Endowment for the Arts Scores an Emmy Nomination The independent, federally- funded agency known as the National Endowment for the Arts (NEA) is up for a Primetime Emmy Award in a brand new category called “Outstanding Short Form Nonfiction or Reality Series,” and they seem pretty excited about it (as evidenced by this tweet): The NEA turned 50 last year, and marked its golden anniversary with an ambitious digital story series called “ United States of Arts.” Replete with mini documentaries that illustrate select milestones, a host of downloadable facts and statistics sheets , and even an interactive timeline that delineates the organization’s history since its inception in 1965, the project is, more or less, a glorified (and well-deserved) self-promotional extravaganza. As curious as this may seem (and there have been plenty of curious previous Emmy winners ), the NEA’s nomination isn’t exactly a surprise— especially in light of recent honors. In June, for instance, the agency scooped up a special Tony Award for its “unwavering commitment in paving the road between Broadway and cities throughout the US,” a task that chairwoman Jane Chu has clearly taken to heart since claiming the helm in 2014. It would warm our hearts to see the humble NEA prevail over its glossier competitors. The other nominees in the category count NBC’s Jay Leno’s Garage ; Time’s A Year in Space ; History’s A New Vision ; and FX’s Inside Look: The People vs. OJ Simpson (a behind-the-scenes look at the mini-series, which is nominated for 22 Emmys overall , and so couldn’t possibly need this one). Will the NEA take home the top honor? Find out on September 18. In the meantime, enjoy the clip about the arts of New York state, above, or check out stories from all 50 states, on the “United States of Art” website. 2016-08-11 17:37 Rain Embuscado

16 Steven Heller and Mirko Ilic Team Up for ‘Design Exposed’ Book and Exhibition The working title is “Design Exposed” and the book builds upon Heller’s and Ilic’s two other works — “Anatomy of Design” and “Icons of Graphic Design.” Their next one will also include a traveling exhibition, which was also the case when the two men teamed up for “Presenting Shakespeare: 1,100 Posters From Around the World.” That was published last fall by Princeton Architectural Press. Heller, The New York Times ’ former art director, cochairs the School of Visual Arts’ MFA Design Program, and Ilic, a Bosnia-born designer and illustrator whose work can be found in MoMA’s permanent collection, has his own New York agency. Heller said he “tends to get involved with the writing and the analysis” and “when Mirko does his research, he’s just a dogged obsessionist. He just tries any source that will reveal this material.” With about a month to go before their Sept. 16 deadline, submissions include one from Ogilvy & Mather’s Beijing office for a 2006 Reebok PlayDry poster campaign of nearly naked male model. Another contribution is from designers António Queirós, Jorge Almeida and Ciro Romualdi whose 17-foot image for Portugal’s 2012 Design and Decoration Objects Fair was meant to “stop the traffic.” The designers said “it was not easy to convince the mayor’s office” to use their image of a chair and a bare bottom. But “after 20 days of discussing,” the traffic department green- lighted the artwork to be shown at the exhibition building, which had been redesigned by Pritzker-winning architect Eduardo Souto de Moura. Regarding “Design Exposed,” Heller said, “The fashion industry is going to play a large role. Fashion is a lot about sensuality. What we don’t know yet is how much of it is sensuality and how much of it is sexuality.” Heller added that the difference between the two can be tied to how something is presented in ways that are meant to be prurient versus aesthetically pleasing and alluring. All of that stuff has things to do with the way that society broke down some of its taboos and built up other taboos — to the extent that now there are very few taboos, if you look at HBO. “Sensuality has a certain premeditated inherent kind of desire,” Heller said. “There was once a mag called Eros that was published by Ralph Ginzburg who actually went to prison for publishing it. If you were to look at it now, you would think this thing is so much tamer than anything that’s being published on mass newsstands. It’s so beautiful, so alluring. That’s why he called it Eros, and not Sexos or not Bang. I worked for Screw and Screw was the exact opposite of Eros. It wasn’t about sensuality, which allows for suggestion or a little bit of art to come through. Sexuality is more of an overt use, it’s not necessarily bad, of what we seem to find prurient in many ways.” Regardless of the sensuality-sexuality debate, there is a still the value of shock, Heller said. “People still are shocked by certain things. You have to go a long way to make something that’s shocking, but there is always a need in the communications business whether it’s at Women’s Wear Daily, at The National Enquirer or The New York Times , where I was for 33 years, to have something that’s going to appeal to the eye, and now to the clicks. Shock is one of those things.” 2016-08-11 17:30 Rosemary Feitelberg

17 Could You Spend 24 Years Building Your Own Island? Screencap via For two artists living in a remote area of Canadian forest, the ultimate getaway isn't a luxury vacation—it's the floating home they built themselves. Catherine King and Wayne Adams have spent the last 24 years constructing a million-pound, unanchored floating island, which they call Freedom Cove. To realize theri monumental vision, the artists have become a regular Swiss Family Robinson with DIY solutions to life's daily problems. For example, Adams built every structure in Freedom Cove himself. "Everything is done with a handsaw and hammer. No power tools. I know every board and nail by name," he says in a new video from Great Big Story. Each building is distinctly recognizable as Adams' handiwork, and he decorates the floating compound with hand-carved sculptures. "I was hoping to make a lot more money as an artist, so subsistence living was our only opportunity to have anything as artists," Adams reveals. "We could never afford real estate, so we had to make our own. " Four of the buildings on the island are greenhouses, in which King cultivates a variety of vegetables. Combined with the fish Adams catches in the biomass-heavy waters of Vancouver Island's Clayoquot Sound, they have all they need to persist on their homemade island getaway. There are no roads to Freedom Cove, only waterways, giving the couple the privacy need to lead their off-the-grid lifestyle. New York artists seeking greener pastures in LA, or vice versa, why not head to the wildnerness instead? Courtesy Great Big Story See more videos like this on Great Big Story's website. Related: The Desert Island Aqua-Mansion Private Floating Islands Are The New Luxury Megayachts Ditch Civilization for One of These Perfect Cabins 2016-08-11 17:20 Beckett Mufson

18 charis tsevis' mosaic murals at the rio olympics USA house charis tsevis has realized a series of mosaic murals for the USA house at the rio olympics — home to the team’s athletes throughout the duration of the games. three tiled compositions featuring portraits of competitors adorn the roof gardens of the seven-storey, marble-clad school building on ipanema beach. tsevis’ work pays homage to rio’s public and urban interventions, and its centuries long tradition of portuguese and brazilian ceramic art. commissioned by the united states olympic committee and its sponsor citibank, tsevis has created portraits of team USA’s star athletes from graphic pieces of patterned tiles. the outdoor wall mural placed on the roof garden spans more than 13 meters long and depicts eight champions from USA’s olympic and paralympic teams. inside, two more compositions show eight athletes in action, decorating the covered wall of the roof garden where athletes can relax and take in views of ipanema beach. 2016-08-11 17:16 Nina Azzarello

19 The Hollywood Screenwriter Who's Also a Visionary Artist | City of the Seekers Waves of Change, 2016 In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self-proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical- minded artists and writers then became part of the Los Angeles landscape. City of the Seekers examines how creative freedom enables SoCal artists to make spiritual work as part of their practices. To call Pam Douglas "multitalented" would be an understatement. A veteran TV writer, she's won multiple Emmys; authored a book called Writing the TV Drama Series ; acted as a member of the Board of Directors of the Writers Guild of America, West; and is a professor at the USC School of Cinematic Arts, where she’s chair of the screenwriting division's TV track. Yet, while she's obviously "made it"—even by Hollywood standards—Douglas is first and foremost an accomplished artist, with her subtly majestic paintings appearing in such well-lauded arts institutions as LACMA and the California African American Museum, just to name a few. Texture of a Heartbeat, 2016 Before she came out west, Douglas spent her formative years in New York City visiting the Museum of Modern Art, where she discovered abstract expressionism. She studied art at Vassar College and earned her Master's degree at Columbia University. "But it wasn’t until I graduated that I found my inspiration in ancient Asian painting reflected through contemporary sensibilities," she tells The Creators Project. "Since then, much of my work pays respect to Zen artists of the first millennium who believed in using their instincts more than their brush, and for whom paintings were poetry. " Letting Go, 2016 Douglas' describes her own style as "conceptual abstraction," since her imagery is comparatively intellectual and not purely the result of subconscious impulses. "That isn’t to say that I don’t improvise or paint from feelings," Douglas contends. "But in my work I reach for an additional layer of significance. " For Douglas, this technique arises partly from her immutable attraction to ancient Asian paintings such as the scrolls by contemporaries of the Chinese philosopher and founder of Taoism, Lao Tzu. "That influence may not be visible in much of my work, but it’s my inner guide," Douglas explains. Mandala, 2016 In her earlier art, Douglas used inks and water-based media on raw linen, which resulted in delicately nuanced, mostly monochromatic works. She has since moved to creating more elaborate, complex pieces. Her method has expanded to include nontraditional media such as thread, twine, rope, and sand, which she uses to "draw" on clear plastic and raw silk, as well as on canvas. "The textures that evolve from those combinations suggest depths beyond the obvious, as I hope the works themselves do," she says. The Pulse of Our Time, 2016 When painting, the surfaces of Douglas' artworks usually lie flat as she applies her media, and she works silently and alone, often outside. "My aim is to empty the space of distractions for the images to come through," she describes. "Discovery and exploration are senses I bring to work. It’s never a question of meeting any outside expectation or standard, and is the opposite of imitation. Often I’ll bring a question to a piece such as the essence of a sound wave or the impact of crisis on a heartbeat or what happens at the end of life. Sometimes a literal interpretation of that idea is apparent, as in The Pulse of Our Time , where I cut newspaper headlines in the shapes of birds and had them flock across an EKG grid. That’s an example that veers closer to concept, though in other pieces the pure abstraction of movement or progression is more evident. " Origin, 2014 As someone who grew up "cold and poor" in New York City, Douglas wanted to flee her environment as soon as possible. "Like many other young people, I chased a dream of palm trees and possibilities. So, straight out of school I arrived with only a winter coat, a typewriter (in a time before everyone had a laptop), one small suitcase, no money, and not a single human contact [in LA] except for a sketchy job offer. I moved into a tiny apartment in Hollywood and took a job at an indie television station that went under three months after I arrived. The road from then to now was full of adventure, and I relish every step. " Heartbeat, 2012 Douglas describes Los Angeles as a multicultural hub in which creative energy is transmitted through art. "A feeling of excitement is palpable in some new experimentation and interpretation, whether that emanates from street art or comic books, or videos or performance," she says, while careful to add, "However interesting some of that liveliness might be, and however enthusiastic the raw vigor may feel, we shouldn’t lose sight of the many older artists who are doing the best work of their lives. To me, the work of Ed Moses at 90 years old is more insightful and interesting than the 16-year-old with a spray can, though both are valid expressions of our time. One question is where the many different kinds of art converge to create LA art that is more than a fad or product of media hype—great art that lasts. " Water Blessing, 2011 Douglas believes that the opportunity to investigate unorthodox tenets with support from likeminded communities in Los Angeles is definitely an uplifting and encouraging aspect of the city. But for her, being authentic with oneself is what's most important. "An artist is a vessel to manifest images, sounds, movements or stories that may not be visible to others until he or she brings them into this plane," she says. "The clearer the artist, the more those images are recognized as true, or give an insight into some aspect of truth. " The Source Within, 2014 4 Phases, 2014 In Her Own World, 2015 Juggling Galaxies, 2015 Pam Douglas' show, Rhythms , runs from August 30 through September 24 at TAG Gallery in Santa Monica. Visit her website here. Related: Goth-Inspired Paintings Blend Surrealist Dreamscapes with Nature | City of the Seekers Sisterhood and Spirituality Come Alive in Oil Paintings | City of the Seekers Welcome to the Hieroglyph of the Human Soul | City of the Seekers 2016-08-11 17:15 Tanja M

20 Spencer Finch Transports a Hidden Redwood Forrest to Brooklyn A tree grows in Brooklyn. Actually, make that many, many trees. Brooklyn-based artist Spencer Finch is set to recreate 790 acres of California’s Redwood National Park at a 1/100th scale for Lost Man Creek , an installation for the Public Art Fund . Related: The Public Art Fund Brings Digitally Manipulated Sculpture to City Hall Park The miniature forest will feature about 4,000 young Dawn Redwoods, all between one and four feet tall, as compared to the full-grown 98- to 380-foot behemoths out west. The art installation, which will be the Public Art Fund’s longest-term project to date, will be planted in a 4,500-square-foot area of the eastern triangular lawn of MetroTech Commons in Downtown Brooklyn. Finch will employ a special irrigation system designed to ensure that the trees thrive in the urban environment. “ Lost Man Creek reflects Finch’s fascination with activating the imagination through observation of natural phenomena,” said Public Art Fund director and chief curator Nicholas Baume in a statement. “For many years he has explored the ineffable qualities of our ever-changing natural world through wide-ranging mediums, but this is his first use of living trees.” Related: Adrian Cheng Joins Board of Directors at New York’s Public Art Fund Finch has worked closely with the Save the Redwoods League in planning the unusual piece. Lost Man Creek will recreate the exact details of the topography of the forest floor and the height of the tree canopy, thanks to information provided by the conservation organization. The work is based on a section of protected, inaccessible forest. This isn’t Finch’s first public art project in New York. Until recently, Finch’s The River That Flows Both Ways , a 2009 project with Creative Time , was installed on the High Line in the Chelsea Market Passage, with the panes of various windows evoking a pixilated image of light reflecting off of water. Due to light exposure over the years, the carefully-calibrated shades of blue had faded over the years, and the work finally came down in June. “Spencer Finch: Lost Man Creek” is on view at MetroTech Commons, Downtown Brooklyn, October 1, 2016–May 13, 2018. 2016-08-11 17:07 Sarah Cascone

21 This Mixed-Reality Gaming Gun Is Hardcore Images courtesy of Invrse Studios Last weekend at VRLA , game designers Invrse Studios , creators of the VR sniper game The Nest , demoed a new and striking rifle controller. Created by VRsenal , part of the parent company Primestone, the aptly named VR-15 looks the part of a real rifle. It has been designed, as VRsenal’s Ben Davenport tells The Creators Project, “to add substance and weight to an experience composed of little more than sights and sounds”. “The VR-15 was designed to drag reality into virtual reality,” Davenport says. “It was built to increase immersion—to blur the line between where one world ends and another begins.” VRrsenal worked hard to give the gun peripheral ergonomics that made it feel right in the hands of users. The VR-15 is made entirely of engineering- grade nylon, then hand-finished with a worn metal patina. It is also outfitted with a fully adjustable stock, real weighted trigger pull, and four ambidextrous analogue thumbsticks. The VR-15’s weight also mirrors its real life counterparts, from the haptic and ejectable magazine clip that carries batteries instead of bullets to the glass optics in the scope. The haptic feedback also simulates the recoil and shock of an actual rifle. A HTC Vive controller is mounted into the rifle “scope” upside-down and backwards to maximize the tracking sensors. This, however, makes the trigger and buttons inaccessible, so a custom bluetooth interface is used to communicate trigger pulls and button inputs to the game engine. Two analog joysticks on the side of the front grip can be programmed for any number of inputs, and these are mirrored on the other side for a total of four joysticks, all accessible by the wielder's off-hand. The Nest uses the joysticks to zoom in and out by pushing them forward or back, and other joysticks will likely be mapped to radial weapon-select menus, firing grenades and more in future versions. “When using the VR-15, the gun that users see in their hands as they crouch in the bell tower of The Nest , is the exact same gun they feel themselves gripping in the real world,” Davenport explains. “It looks cool and it feels cool. No FPS game developer in his right mind would ever put a gun into his game that looks like the Hello Kitty PSVR Aim controller.” Davenport says the big problem with peripheral manufacturers is that they continue to insist on producing guns that belong in a toy box, not on a battlefield, whether VR or otherwise. VRrsenal believes that the disconnect between painstakingly designed visuals and the tactile breaks immersion instead of enhancing it. The VR-15 is designed to remedy this problem by, as Davenport says, “confirming to the mind—through senses not seen or heard, but felt—that the virtual is indeed reality.” “The necessity of realistic props in VR becomes obvious the instant you try to wield a two-handed using only a one-handed Vive controller,” Invrse Studios’ Craig Helm tells The Creators Project. “The simulation loses credibility when the object in your hands is physically very different from the controller, and things like a sniper rifle are harder to steady when you can't use a second hand. There have been add-on peripherals since the days of the Nintendo Zapper, but with VR, the experience can now be virtually perfect.” While the VR-15 is integrated with The Nest , its current build quality and price point limits it to police and military training, VR arcades and, for those who can afford it, the high-end luxury market. But as the installed base of VR headset grows, VRrsenal will be looking closely at a high-volume version for the consumer market. They are also currently in integration talks with various other VR game developers for VR arcade installation. Currently VRrsenal has Unity, Unreal, and Cryengine plugins for their peripherals, and are working to make it easy for game developers to integrate their products into their VR worlds. Click here to learn more about The Nest . Related: Vrse to Drop "VR" Name, Opts to Look 'Within' Cinemagraphs and Clones Create a 360° VR Music Video [Premiere] Mr. Robot's VR Simulcast Gets in Your Head 2016-08-11 16:50 DJ Pangburn

22 Datebook: Nicolas Party’s ‘Pathway’ at Dallas Museum of Art Related Venues Dallas Museum of Art Artists David Hockney Dallas Museum of Art presents “Pathway,” the first solo U. S museum exhibition of Swiss artist Nicolas Party, from August 19, 2016, through February 5, 2017. Party, who was a graffiti artist active in the 1990s, creates playfully surreal works, including mural-interventions and refined pastels on canvas, that draw inspiration and appropriate from such artists as David Hockney and Matisse. For “Pathway,” he has created an all-over mural on the walls and ceiling of museum’s central corridor. 2016-08-11 16:33 BLOUIN ARTINFO

23 nils ferber's micro wind turbine charges your portable devices the ‘micro wind turbine’ is a compact, lightweight, portable charging device, designed by student nils ferber, at the école cantonale d’art de lausanne (ECAL) in switzerland. the device which weighs less than one kilogram, operates day and night, and can be folded down to the size of a trekking pole. after repeatedly running out of batteries during long trekking tours, nils feber wondered how professional adventurers dealt with the situation. this led him to contact a number of mountaineers, climbers, film-makers and expedition leaders to ask them questions about their experiences, requirements and the typical weather conditions that they had endured in remote locations. feber says that ‘all of them told me they use solar panels to recharge, but being entirely dependent on sunshine is a huge problem – sometimes putting them out of work for several days.’ the ‘micro wind turbine’ provides the perfect solution to these problems and has already received an overwhelming positive response from professional trekkers. the device is 40% lighter than its closest competitor and packages in a bigger rotor, enabling a high output even at low wind speeds. a prototype has already been constructed and will be presented at the global grad show during dubai design week from the 24th to the 29th of october 2016. the ‘micro wind turbine’ allows you to charge your portable USB devices far from civilization 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. 2016-08-11 16:01 Dubai Design

24 Artist Visualizes Sound with Neon, Disco Balls, and Architecture Katinka Theis, Resonating of Space, installation shot. All photos courtesy of the artist and Scotty Enterprises. Visualizing the way that sound moves through space, German artist Katinka Theis’ installation, Resonating of Space , at Berlin’s Scotty Enterprises, is an exploration into sound by means of monumental architecture. The exhibition is given the aforementioned English title, but its German name, Raumschall , is perhaps more fitting: in English, it means “room sound,” and while there’s no actual sound in the exhibition, it is sound waves that inspired the three works that comprise the show. In the fore of the storefront gallery is a geometric installation in black and shades of blue, in the vein of Thies' previous works in painted cardboard , but of a larger scale, creeping up the corner of the gallery and onto the windowsill. In the center of the room is a white linear installation, illuminated in pink from a glowing neon light hanging on the back wall. The piece is made of hundreds of square wooden rods cut to different sizes, and has the effect of multiple Soundcloud song visualizations smashed together in different directions. Finally, on another wall is a projection of a slowly- rotating disco ball, halfway covered in black, as if dipped in paint. Together, the works offer three visual interpretations of the immaterial resonation of sound: in one sense, sound can slowly yet bulkily overtake a room; in another sense, irregular sine waves can translate sound into vision; while the disco ball represents, besides the go-to decoration of a nightclub, the way that sound reflects off objects and back into the space around it. Scotty Enterprises is an artist-run project space that promotes contemporary art and experimental media. The gallery is a Kunstverein , a registered art association that has no explicit connection to the art market. It is run by 15 artists whose work is regularly shown there, but they also invite unassociated artists, like Theis, to show their work. Resonating of Space is on view at Scotty Enterprises until August 13, 2016. Find out more information on the gallery’s website. Related: Here’s How You Turn Sounds Into 3D Sculptures The Science of Sound Gets Visualized in This A/V Experiment Quayola Sets a New Standard for Visualizing Sound 2016-08-11 16:00 Alyssa Buffenstein

25 'Harry Potter' Exhibition to Enchant the British Library Image courtesy The British Library It's no castle, but the British Library will channel its inner Hogwarts next year with a collection of enchanting books and artifacts from the wizarding world of Harry Potter. The exhibition, announced on the heels of Harry Potter and the Cursed Child 's sold-out theatrical debut, will coincide with the 20th anniversary of Harry Potter and the Philosopher's Stone. “We at the British Library are thrilled to be working with J. K. Rowling and with Bloomsbury... to inspire fans with the magic of our own British Library collections,” says Jamie Andrews, Head of Culture and Learning at the British Library. The goal is to transmute the lore for which Harry Potter fans have shown an unquenchable thirst with the mythological elements of humankind's actual past. The London institution says they will showcase "an extraordinary range of wizarding books, manuscripts and objects, and combine centuries- old British Library treasures with original material from Bloomsbury’s and J. K. Rowling’s archives. " Design Week reports that the British Library is seeking an exhibition designer who will be programming original artwork for the show, but the call for entries has not yet been announced. Below, see images of both the Hogwarts castle at Universal Studios and the British Library. If you squint, they both look pretty magical. Wikimedia Commons The British Library exhibition, which has not yet been named, will run from October 20, 2017 through February 28, 2018. Related: 13 Artists Cast Magical 'Art Spells' in a Mysterious Group Exhibition Wingardium Leviosa! | GIF Six-Pack Christmas Dinner at Hogwarts' Great Hall 2016-08-11 15:40 Beckett Mufson

26 See the Glory of the Olympics Captured in David Burnett’s Photos Olympic athletes, with their incredible feats of strength, speed, and general physiques, are captivating in action. Photographer David Burnett , whose work is the subject of “ Man Without Gravity ,” an exhibition at New York’s Anastasia Photo, has been charged with capturing that magic at every summer games since 1984. Related: Two-Ton Kinetic Sculpture Mesmerizes Crowd at Olympic Torch Lighting Ceremony It was at those games, in Los Angeles, that Burnett began to focus on athletes in motion. Rather than waiting with the other photographers at the finish line of the women’s 3,000-meter race, Burnett found a seat along the track. There, he was uniquely-positioned to capture the dramatic fall of American track star Mary Decker in her showdown with the UK’s Zola Budd, who ran barefoot. “It’s about being lucky and not screwing up, and trying to be ready for some moment if you happen to be the right place,” Burnett told the New York Times in 2012. Since taking those career-making images, Burnett has become a fixture at the games, from the Winter Games in 2002, in Salt Lake City, and again in 2014, in Sochi, Russia. Related: Painting for Gold Medals: When Art Was an Olympic Discipline His images are taken from the vantage point of the crowd, as if he were just another fan enjoying the competition. “I have the luxury of never having been the photographer who was relied upon to get the winner in that victorious pose,” Burnett explained in a statement , noting that like much of the audience, he rarely sees these sports outside of an Olympic year. “My mission, I feel, is to study the sport, the motion, the players and to get pictures that spectators may never witness by simply sitting there observing the games,” Burnett added. See more photos from the exhibition below. “David Burnett: Man Without Gravity” is on view at Anastasia Photo, 143 Ludlow Street, New York, June 7–September 25, 2016. 2016-08-11 15:30 Sarah Cascone

27 Love Is Not Enough: An Interview with Maïwenn Courtesy of Film Movement “A relationship is like a human being,” Maïwenn explains to me over the phone. “You can be in love with someone, and he can be in love with you, but you are not in love with the relationship.” She pauses. “Do you see the difference?” Mon Roi (My King) , the French director’s latest film, opens tomorrow in New York, and on August 26th in Los Angeles. The film begins at the end of a love story—after marriage, parenthood, and separations (plural) —in a rehabilitation center in Southern France. Here, up-and- coming lawyer Tony (Emmanuelle Bercot) hobbles around on a knee injured in a brutal skiing accident while on vacation with her husband Georgio (Vincent Cassel) and their son Simbad. During her time in the facility, Tony reflects upon her tumultuous love affair with her alluring, addictive, and deeply troubled husband. Courtesy of Film Movement “The knee is the only part of the body that has a relationship with the past,” the director tells The Creators Project, “because it is the only part of the body that goes forwards.” Mon Roi , which also features Louis Garrel, comes nearly a decade after Maïwenn, who entered the industry at a young age as an actress, launched her career as a director with semi- autobiographical feature film, Pardonnez-Moi (Forgive Me). The 2006 film stars the director as Violette, a documentarian on the verge of marriage, who turns the camera towards her own, highly dysfunctional family. This first film was soon followed by the director’s 2009 mockumentary, All About Actresses , and her award-winning 2011 work, Polisse. Yet in a sense, Mon Roi predates all three of these films. As Maïwenn tells me, she was originally struck with the idea for this latest work over ten years ago. “I waited so long to make this movie, because I needed to get distance from life, my story as a mother, as a woman, as a director,” she says. Even during her film’s belated production, the director took extra strides to maintain a distance that had taken her ten years to achieve: Mon Roi marks the first time the director has not acted in her own film. “I made this decision because [Tony’s] character has completely abandoned herself,” she explains. “And I said to myself, ‘I can’t make a movie, have all my energy be on the set, and drive the crew, while also crying all day and feeling abandoned.’ The energies were too opposite.” Courtesy of Film Movement This is not to say that Mon Roi is Maïwenn’s own story, though the director has not, and does not, shy away from integrating autobiography into her work. She even divulges that, when her ex-husband saw the new film, “He cried so much. He was saying, ‘Forgive me, I love you, please come back!’ He was all melted.” Nevertheless, as with all her movies, she explains, “It’s not a recipe. It’s not like 20% butter, 40% flower. It’s all melted. I don’t have the control over what is personal and what is not.” “I’m doing a job where I need my emotions, otherwise I’m not connected with my work,” she adds. “And I’ve understood many things since I’ve done the movie and I’ve understood more things from people talking about my movie.” She continues, “I had so many letters from women, and they all told me: ‘This is my story!’ ‘This is my ex-husband!’ ‘This is my boyfriend!’ And I realized, the more personal we are, the more we are talking about other people.” Director Maïwenn (C) with actors Louis Garrel (L) and Vincent Cassel (R). Courtesy of Film Movement Perhaps the relatability of Maïwenn’s story is its refusal to oversimplify. While the story is told from Tony’s perspective, Georgio’s hurtful deviances into drugs and women do not demonize him. “I didn’t want to say to the audience, ‘Ok, this is the monster and this is the good girl.’ Because life is not like that,” she says. “To make a good movie, you need to love your characters.” But everyone has favorites, and Tony is Maïwenn’s. “Notice that at the end of the movie, she is not the same woman,” she explains. “She is much more powerful, much more clever than he is. She knows where she wants to go. She knows why she loves him, but her love moved away.” “I think love is forever, but your mind has to be much cleverer than love,” Maïwenn explains. “Love is not enough. Love is not enough.” Courtesy of Film Movement Mon Roi (My King) opens in New York theaters tomorrow, August 12th, and in Los Angeles theaters on August 26th. Find more information on the film here. Related: This Female-Led Estonian Film Reveals the Dark Side of Motherhood [Exclusive] A Farting Corpse Love Story: TCP Meets the Daniels Cate Blanchett Stars in a Massive Art Installation Coming to New York 2016-08-11 14:35 Sami Emory

28 Andreas Slominski at Hall for Contemporary Art, Deichtorhallen Hamburg, Germany Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Andreas Slominski: Das Ü Des Türhüters” (“The O of the Door”) is on view at the Hall for Contemporary Art, Deichtorhallen in Hamburg through Sunday, August 21. Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, Zuneigend (Inclining), 2016, plastic, rivets, metal, and toilet. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, Big Ben , 2016, plastic, rivets, metal, and engine, installation view. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, The Night (interior view), 2016, plastic, rivets, metal, and toilet paper. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Installation view of “Andreas Slominski: Das Ü Des Türhüters,” (The O of the Door), 2016, at Hall for Contemporary Art, Deichtorhallen Hamburg. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, Untitled , 2016, plastic, rivets, and metal. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, UVW , 2016, plastic and metal. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, The Toilet Paper Hat , 2016, wool, toilet paper, plastic, rivets, and acrylic glass. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, Throat , 2016, plastic and metal. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI Andreas Slominski, L’Etranger , 2016, toilet paper, plastic, metal, and acrylic glass. TOBIAS HÜBEL, DEICHTORHALLEN HAMBURG/©2016 ANDREAS SLOMINSKI 2016-08-11 14:21 The Editors

29 These Airplane Bubble Pods Make Futuristic Fantasies Come True Images courtesy of Shakil Hussain at Windspeed Technologies LLC In every bottle of Perrier, there are countless bubbles.

Together, #ExtraordinairePerrier and The Creators Project celebrate "the extraordinary" behind some of the most fascinating artists pushing boundaries through their chosen medium, technique, and perspective. This is an ongoing series exploring those artists. Designed to sit atop airplanes and private jets, the Skydeck is a Jetsons- style viewing bubble that offers 360-degree views 35,000 feet in the air. When Windspeed Technologies , a Washington state-based aerospace engineering company, filed a patent for the Skydeck late last year, the Internet freaked out. Now in partnership with a major Boeing supplier, Windspeed Technologies’ is currently offering the Skydeck to high-end aircraft owners and airlines. And though the Skydeck may seem like a far out idea for a far off future, similar canopies have been in use by the military since World War II. Many of the design challenges Windspeed engineers had to contend with could be remedied with solutions from military aircraft. “[As in fighter planes] there is UV film that goes with the Skydeck canopy and will protect anyone who’s in there from harsh UV light,” says Windspeed Technologies CEO Shakil Hussain. In addition to UV light, noise was another factor needed to be considered. Hussain tells The Creators Project, if the sound gets to a level where it’s not comfortable then what we’ll do is have the two passengers communicate with each other through noise suppressing headsets.” To learn more about Thirst for the Extraordinary click here . Related: 360-Degree Bubble Lets You Ride Atop a Plane Turning Airplane Seats Around with a New Design Take a Mind-Bending Plane Ride That Never Leaves the Ground 2016-08-11 14:05 The Creators

30 Get Sweaty at the Hottest Group Show in Portland This article contains adult content. All images courtesy of the artists. Monica Kim Garza The group exhibition HEATWAVE brings tan ceramic butts, a painting of a lesbian threesome in the grass, and an illustrated pyramid of nude sun- worshippers to Portland, OR. It is hot in every sense of the word—viscerally connecting to “sun, surf, and skin,” as the show's description puts it. The yellows, reds, and blues of summer echo throughout the show, at Stephanie Chefas Projects , while the styles and media shift from artist to artist, emphasizing the feral side of human nature. Kate Klingbeil ’s orgiastic Making the Barren Fruitful Again and Monica Kim Garza ’s private Cake Con Leche depict intimate embraces, passionate and sweaty. Klingbeil’s painting is rife with movement, from a body contorted in ecstasy to tall swaying grass. Garza’s work is more still, with a woman’s closed eyes and parted mouth, making the piece profoundly intimate. Kate Klingbeil Adding to the theme of nudity is Meegan Barnes ’ Dripping In Gold Booty , which inverts the work of Klingbeil and Garza, removing any hint of passion and turning the butt into an ironically fetishizied object, placed next to a tube of sunblock and pair of sunglasses. Meegan Barnes Symmetry reigns in Laura Berger ’s geometrical piece, which depicts women arranged in a pyramid shape below the glowing orb of the sun. Meanwhile, serenity is captured in Nathan Mckee ’s simple and colorful depiction of three surfers. The pieces evoke the simple pleasures of summer, emphasizing the natural elements. Laura Berger Summer gets abstracted in Heather Day’ s Stacks At Home #1 and Kelly Ording ’s visual ode to the sun and ocean, Paloma. Similarly abstract is Kelly Allen ’s piece Ejszaka which seems to depict a sunrise and a starry sky created from fabric; ejszaka means ‘night’ in Hungarian. As clothing is normally shed in the summertime, Ejszaka imagines the night sky as a kind of cloak, a collection of discarded clothes. The piece is lovely and odd, adding to the many fascinating depictions of summer at HEATWAVE. Heather Day HEATWAVE is open from Friday August 12th until September 3rd at Stephanie Chefas Projects . Related: A Pop Art Arcade Pops Up At The Beach Strapping A Camera To A Drone Results In The Most Insane Surf Video Night Surfing Looks Even Better With Light-Up Waves 2016-08-11 14:00 Francesca Cacapossela

31 31 Datebook: ‘Discordant Harmony’ at Kuandu Museum of Fine Arts, Taipei Related Events Discordant Harmony Venues Kuandu Museum of Fine Arts Artists Koki Tanaka Chen Chieh-Jen The Kuandu Museum of Fine Arts in Taipei is showcasing a collaborative project entitled “Discordant Harmony” through September 18. The exhibition centers on the experiences of establishing a new cultural platform, exploring how curators, institutions, and artists from four diverse regions can collaborate and discuss various social and historical issues pertaining to the Asian subcontinent. The exhibition aims at challenging postcolonial theory-rendered images of domination, disaster, and confrontation, and present the idea that art can also be used for development and creative methods. Artworks by Taipei- based Chang Wen-Hsuan and Chen Chieh-Jen, and Japanese artists Chiba Masaya and Tanaka Koki, among others, are featured. 2016-08-11 13:56 BLOUIN ARTINFO

32 venice architecture biennale venice architecture biennale 2016: a series of installations, presented on the ground floor of venice’s ca’ tron, forms part of BJDW’s ‘across chinese cities – china house vision’ exhibition. the showcase — hosted by chengdu media group and developed by beijing center for the arts (BCA) — presents the work of japanese architect kengo kuma, alongside projects by MVRDV’s winy maas and food critic au yeung ying chai. the three schemes consider the cultural dimension of food- making, investigating the relationship between public and private realms. these large scale installations include both object-based and multimedia presentations that form the first findings of an ongoing multidisciplinary program. at the exhibition, which runs until september 30, 2016, italian architect and freelance-writer laura sattin spoke with kengo kuma, who discussed his installation in more detail. read the conversation below. as a japanese architect, you have been visiting and practicing in china for a long time, how does this country influence your work? my first project in china was the bamboo house: it was about 15 years ago. it was not an easy project, because many things in china, such as the construction quality and materials, are very different from japan. a big difference is that in japan everybody tries to control everything, but in china people do not want to control everything, to the point that uncontrolled materials are arriving at the construction sites. at the beginning, working on my first project, I was very disappointed to see this kind of ‘no-control’, but time by time again I began to understand it as a kind of generosity, one which is actually at the base of chinese culture. japan is a small country and people live there as you would in a small village, very structured and organised, but china is a combination of very different people, cultures and lifestyles: diversity is at the base of chinese culture. for the installation in venice, I wanted to show this kind of diversity of cultures and its dynamics within one single country. for achieving this purpose, I tried to aggregate many different daily items, to show the cultural strength of daily life in china. the design investigates the relationship between public and private realms image © julien lanoo you are accumulating different traditional objects in order to show the richness of their diversity. I know your projects have been tackling the issue of linking tradition and innovation for a long time. the exhibition brief was about using the kitchen as a symbolic theme for reflecting about the future of the living environment: how do you perceive the presence of tradition in this sense? about tradition, I would like to say that, traditionally, the kitchen is a very exciting space, because we can see it as a collection of food, of tools… and all the kind of things which used to be the protagonists of the kitchen. in the 20th century cleanness became the goal of kitchen design. in the industrial era people liked to create very standard, systematic, monolithic spaces, somehow hiding the exciting aspects of the traditional kitchen. I think this is a real pity for our lives, because living things should always have the central role: during the 20th century, we killed those kinds of lives. with ‘the floating kitchen’ I wanted to show those exciting elements and give the impression of a kitchen which is very different from the 20th century one. the large scale installation includes both object-based and multimedia presentation image © julien lanoo you designed this installation through a very poetic approach, different from the usual way of exhibiting architecture. which way do you think is most effective for exhibiting architecture? what did you want to conceive with this kind of artistic installation, what did you want to express to the public? ‘the floating kitchen’ is a kind of message to the public that can be adapted to, but also overcomes architectural design: it is not a proposal for a new kitchen, it is a proposal for a new approach to design. my message is: in architectural design, the living elements should always be the protagonists. in the 20th century, architects wanted to become the only protagonists, they wanted to control everything and tried to kill every living element in their design: it was a big mistake of 20th century architecture and I want to find a different way of expressing architecture. as in many previous works of yours, you seem to be dissolving architecture into a very light and permeable structure. does this have a connection with your understanding of architectural design in relation to what is nowadays referred to as ‘the noisiness’ of cities? I mean, in your opinion, is the presence of people and objects overcoming the framework of architecture? yes, I want to dissolve the architectural shape and frame. I like to activate people’s and objects’ daily lives. this is a kind of a new trend, but in the future I think architecture will dissolve and the relationships between people and objects will be viewed as architecture. so, you are saying that the architect is going to design possible situations rather than finite structures. this seems to be contrasting with the installation by winy maas, which looks as a rather definite and sharp solution. on the contrary, your installation is open to several interpretations. an aspect that I think might be in common between the two installations is the search for transparency: where you are dealing with transparency in a more conceptual and cultural way, thanks to a permeable and changeable arrangement of objects; he is achieving transparency differently, through the transparent material the kitchen is made of. do you see any similarities between the two installations or do you only see contrasts? winy maas’ ‘infinity kitchen’ is beautiful: I feel like he is trying to control everything in a very transparent way, but still, in his kitchen, the standard frame and setting remain. my kitchen is going towards a different direction, trying to destroy the frame, the structure, just as in my architecture I try to destroy structure and regularity. there is a big difference between his work and my work. I was curious about the topic of the kitchen as a starting point for researching and inspiring new modalities of conviviality and of social and spatial forms in both the private and the public realms. what are your thoughts on the relation between food and space design? the kitchen as a starting point: for you, is food important in design? I think that food is the prime and main thing of our daily lives. people are talking a lot about how to relate to nature and the environment: actually, I think that this happens in the space of the kitchen. the kitchen is the real interface between nature and our lives. therefore, this is the most important space in the house. people misunderstand the living space as the most important, but I do not think so: I think the kitchen is the most important one, because it is where we can define the relationship between nature and humans. especially for chinese people, food is very important: chinese people understand the value of food in life. I respect their kind of lifestyle and with my installation I want to show my respect for this culture. the exhibition is on display in venice until september 30, 2016 image © julien lanoo as a japanese architect working in china, you are trying to express your respect for the long history of china, which is actually at the origin of the japanese culture. so, to conclude, may you say a word about the chinese region of chengdu? on the occasion of this installation, you have been researching and personally collecting objects there: could you tell us what you found was particularly interesting from that region, was there something that impressed you? chengdu is one of my favourite places in china because the nature and the city are very integrated: the river and the mountains are very close to the urban area, so the vegetation is very luxuriant; it makes for a very active interface between nature and humans. lastly, chengdu’s food is still very specific to the region: strong, spicy and tasty. I like this food and I like the landscape of chengdu, with my installation I want to pay an homage to the culture of chengdu. 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. 2016-08-11 13:25 Laura Sattin

33 33 K. G. Subramanyan’s Recent Works That Will be Remembered as His Very Last Related Artists K G Subramanyan K. G. Subramanyan, one of the most revered Indian artists, a beloved teacher and a guide to several generations of artists who followed him, must have had a special association with Vikram Bachhawat’s Aakriti Art Gallery. He inaugurated the gallery at Kolkata more than a decade ago, and his last solo — though it was not meant to be such — is currently on view at the gallery’s Delhi space in Lado Sarai. The show, titled “Sketches, Scribbles, Drawings and Recent Works by K. G. Subramanyan,” was planned long ago. Comprising an exhaustive display of works from his own collection spread over two floors of the gallery, the show has now become historic because Mani Da, as he was fondly addressed by the art fraternity, passed a month before its inauguration on July 30, at the age of 92. “The timing has been such that many thought it is a remembrance show. But we had been working on it for so long and he would have come to inaugurate it. Just a month prior to that, on June 29, he passed away. We were actually in a dilemma whether to go ahead with the exhibition or not, but Uma (his daughter) asked us not to postpone it. She said that Mani Da too would have preferred the same,” shares Vikram Bachhawat, the gallery director. The legendary artist passed away in Baroda, a city that had become his home when he was invited by the Department of Fine Arts of the M. S. University to teach in 1951. The most outstanding aspect of the exhibition is that it beautifully showcases the prolific oeuvre of Mani Da. His distinctive palette that fuses unusual colors in a purposefully incongruous melange draws the onlooker and leads into the profound career of the man who is a legend for diminishing barriers between various genres of art — Subramanyan produced equally profusely as a painter, sculptor, printmaker, muralist, terracotta artist, and writer. Not many are known to have handled pink and blue, turquoise and red, ochre and purple, green and brown and such combinations with as much finesse and grace as comes across in his work. Of special interest are his reverse paintings, a genre that he started experimenting with in 1970s and continued to work in right till the very end. Examples from 2015 are aplenty. Juxtaposed are the ink on paper drawings and gouache on paper drawings in a smaller format. The ones that he made after a visit to China are an ode to the traditional Chinese ink paintings. The exhibition is a rare opportunity to understand K. G. Subramanyan’s art and why he was held in such high esteem by anyone with whom he came in contact. One feels inadequate even attempting a review because his career — and the impact he had on the artists of succeeding generations — were attributes that cannot be summed by any glowing prose. It would be worthwhile to pick up some of his writings that are on display and sale at the exhibition. Subramanyan, who wrote abundantly, penned timeless pieces on various issues that concern the world of art. Most of his books were published by Seagull Books that has also helped in presenting the current exhibition with Aakriti Art Gallery through The Seagull Foundation for the Arts. 2016-08-11 13:24 Archana Khare

34 Uncanny Installations Reveal Magic in Everyday Materials What Lies Inside, Stays Inside. Christophe Piallat. Photo courtesy of the artist Aluminum foil, butcher paper, wood, and painters plastic aren't the most fantastical of materials, but in the hands of New York-based artist Christophe Piallat , they become terrains and otherworldly landscapes. These organic- looking facades are the outward-facing parts of more complex infrastructures contained within, strange lands that seem like they have somehow sprouted incongrously inside the places where they're situated. Upon contact with their surfaces, external lights transform them into something entirely alien and mysterious. This technique is used for his current exhibition, What Lies Inside, Stays Inside, which turns an abandoned extension of an iconic record shop, the Canterbury Records storefront in Pasadena, California, into a gleaming, extraterrestrial world. The title itself refers to the process behind the work, while the process—a complex interior supporting a glistening, molded façade—is a metaphor for how we project ourselves. "Glossy and flashy but perhaps not always revealing what is inside these vessels of ours," is how Piallat describes it to The Creators Project. What Lies Inside, Stays Inside. Christophe Piallat. Photo courtesy of the artist To find the right materials for his works and the right approach to sculpting them, Piallat creates a glass photo station so he can investigate their properties, both inside and out, using light. He then builds models, testing light sources and their proximities to the materials. Some lights need to be particularly close, while others depend more on their colors and intensities. Piallat then plans the pieces according to their specific locations, playing with the contours of his spaces and their existing light sources while sketching a path for the sculpture to follow. What Lies Inside, Stays Inside. Christophe Piallat. Photo courtesy of the artist "I look for interesting architectural elements that allude to a natural formation growing off these elements," says Piallat. "Once the infrastructure is built and the outer 'skin' is ready to be applied, I usually move very quickly, not thinking too much about design, but more how to surprise myself. Each piece of material applied must be done so with spontaneity, balance, and risk. Similar to jazz music, you go out on a limb, not sure it will hold, but it hangs by a thread and transmits the feeling you are looking for. " The results are a curious hybrid of the organic-looking made with the inorganic, of exacting planning and improvisation, of illusion created from commonplace materials—which are then rendered into something other and far-flung through light. What Lies Inside, Stays Inside. Christophe Piallat. Photo courtesy of the artist "Light is how we perceive the world’s contours," notes Piallat. "Depending on how an object transmutes the light it receives, it can create different dimensional planes and emotional responses. Nature too informs my work. It is finding the balance of the internal world of the body and the geologic world of landscape. I always try to make something that is both and alive and dead, strong yet fragile, and feels like fire and ice. I like organic forms that are not alive. I like landscapes that I have never seen. I am inspired by science fiction, astronomy, and distant frontiers. Basically I look for magic in everyday materials. " What Lies Inside, Stays Inside. Christophe Piallat. Photo courtesy of the artist What Lies Inside, Stays Inside is on now until October 2, 2016 at Canterbury Records Cornerstore 805 E. Colorado Blvd. Pasadena, CA 91101. Visit Christophe Piallat 's website here. Related: Industrial Materials Become Organic Forms in ‘Garden of Humans’ Bronze Crustaceans and Giant 'Pink Lady' Sculptures Go on Display at Storm King An Audio-Visual Installation Grows Like Insect Shells In Nature 2016-08-11 13:20 Kevin Holmes

35 Datebook: Traditional, Modern and Contemporary Art Sale at Larasati, Bali Related Venues Larasati Auctioneers - The painting "Penari Bali" by I Nyoman Gunarsa, a watercolor on paper work measuring 74 x 56 cm. Painted in 1993, the artwork is signed on the lower left side. (Estimate: Rp 8,000,000-11,000,000) - An acrylic on canvas painting called "Berenang di Laut" by I Dewa Putu Mokoh, with dimensions of 120 x 80 cm. (Estimate: Rp 18,000,000- 22,000,000) - A painting called "Epos Ramayana dalam Sepotong Kain" by artist Ngurah Arya Arnawa, which is an acrylic on canvas work measuring 100 x 70 cm. (Estimate: Rp 6,000,000-8,000,000) 2016-08-11 13:18 BLOUIN ARTINFO

36 National Portrait Gallery Makes a Statement With the Inclusion of Freed Muslim Slave in “American Origins” The National Portrait Gallery in Washington, DC, has added a portrait of Yarrow Mamout (ca. 1736–1823) to its display of “ American Origins, ” an exhibition meant to tell the story of the country. Who is he, and why is he significant? Mamout was born in Guinea in West Africa; was brought to the United States in bondage at the age of 14; lived to be freed at the age of 60, in 1796; and died in relative prosperity as a member of Georgetown’s small community of free blacks. He also happens to have been a practicing Muslim, and the portrait depicts him in a kufi , a hat worn by African Muslim men. Related: Earliest Known Portrait of an African-American Slave Comes to US To give a sense of the figure he cut in his day, Mamout’s obituary in the Gettysburg Compiler read, in full: Formal portraits of African Americans were rare in the early 19th century, but Mamout sat for two. Charles Willson Peale , one of the most celebrated painters of the period, created a portrait which today is a highlight of the Philadelphia Museum of Art collection. The one on view at the NPG (on loan from the Georgetown Branch of the DC Public Library) is a more folky canvas by the relatively obscure James Alexander Simpson. It is worth noting how recent the renewed interest in Mamout is. Just 10 years ago, in a long essay called for the Washington Post “ The Man in the Knit Cap ,” James H. Johnson wrote of being captivated by the Simpson portrait—but having to “sift through government records, manuscripts, books, and newspapers, and take oral histories to reconstruct his life and legacy in detail.” Johnson went on to write From Slave Ship to Harvard: Yarrow Mamout and the History of an African , published in 2012 by Fordham University Press. Related: Michael Jordan Donates Record $5 Million Gift to New Smithsonian Museum The inclusion of the portrait at the NPG is a step towards presenting a more complex idea of what the exhibition title, “American Origins,” means. The ongoing installation is described as a “conversation about America,” and comes at a time of particularly poisonous anti-Islamic rhetoric, so it can’t help but make a point. “His portrait reminds us that Muslims have been a part of the fabric of this nation since the beginning,” NPG director Kim Sajet said in a statement about the inclusion. 2016-08-11 12:58 Ben Davis

37 Mark Wallinger Installs Giant Mirror, New Sculpture in Freud Museum London Related Events Mark Wallinger: Self Reflection Venues Freud Museum London Artists Mark Wallinger Louise Bourgeois As part of a long-running series of artist commissions at London’s Freud Museum, Turner Prize-winning artist Mark Wallinger has created a new permanent sculpture for the museum’s garden. He has also installed temporary artwork in the famous psychoanalyst's study, involving a giant mirror placed across the entire ceiling. The two works, entitled “Self Reflection” and “Self” respectively, have been placed within the museum and its gardens to celebrate the dual milestone of the 30th anniversary of the opening of the Freud Museum, and the 160th birthday of Freud himself. “Self,” the garden sculpture, consists of a large letter “I.” It can be seen from Freud’s desk, at which he wrote many of the works that lead to a better understanding of that simple letter and its relationship to our internal identity. The artwork inside the house — a space that has previously seen pieces by artists such as Tracey Emin, Louise Bourgeois , and most recently, Gavin Turk — is a pun on the idea of “self-reflection,” with Wallinger literally reflecting the room, and anyone looking up at the ceiling (potentially from the famous analyst’s couch), back on themselves. Wallinger, who beat Zarina Bhimji, Nathan Coley, and Mike Nelson to the Turner Prize in 2007, notes in a press release that “the relative posture of the sitting analyst and the recumbent analysand are latent in Freud’s chair and the couch. We can easily imagine his patient’s self-reflection.” Fitting with the concept of the self, and the Freud Museum as a place where this self was routinely questioned for decades, Wallinger is showing a selection of his “Self Portraits.” These also feature the single letter “I” — works that within the context of the museum become laden with ego, superego, and id. 2016-08-11 12:11 Samuel Spencer

38 Must-See Art Guide: Seattle Well Seattle, it looks like you’re going to have a rare week of gorgeous, sunny weather unencumbered by your chronic plague of rain. Warm August days like these call for hikes along the Pacific Crest Trail, beach trips, and ventures to the top of the Space Needle (if you dare). However, in between your summer adventuring and dips in the ocean, be sure to check out the hidden gem that is Seattle’s art world. The Seattle Art Fair may be over, but there are still several galleries and museums that have running exhibitions well into the end of the month. Stop by Third Avenue to check out the Greg Kucera and Foster/White Galleries, both of which are showing contemporary female artists with an abstract twist. The Seattle Art Museum is a must-see too—Modernist fans will love the “Art After 1945” exhibition, which prominently features Mark Rothko. And of course, don’t forget to visit the unique EMP (Experience Music Project) Museum. Though not exactly an art institution, the pop culture museum features dynamic collections that range from Jimi Hendrix to Star Trek. What’s not to love? If all else fails, hey, you’re in the home city of Starbucks. There’s nothing a flat white can’t fix! Exhibition: “ Margie Livingston: Too Soon for Hindsight ” When: July 7–August 20, 2016 Where: Greg Kucera Gallery , 212 Third Avenue S., Seattle, WA Exhibition: “ Gary Hill: Dream Stop ” When: July 14–August 26, 2016 Where: James Harris Gallery, 604 2nd Avenue, Seattle, WA Exhibition: “ Janna Watson: Talking to Orchids ” When: August 4–August 20, 2016 Where: Foster/White Gallery, 220 Third Avenue S. #100, Seattle, WA Exhibition: “ Yiannis Stylianides: Dreams of Metamorphosis ” When: August 4 – August 13 , 2016 Where: Frederick Holmes & Company, 309 Occidental Avenue South, Seattle, WA Exhibition: “ Group Show: In Sight ” When: August 4–August 27, 2016 Where: Linda Hodges Gallery, 316 First Avenue S., Seattle, WA Exhibition: “ Group Show: Push ” When: August 4–August 27, 2016 Where: Gallery 101, 110 Third Avenue S., Seattle, WA Exhibition: “ Group Show: Zen Message ” When: August 4–August 31, 2016 Where: artforte Gallery, 320 1st Ave S, Seattle, WA Exhibition: “ Big Picture: Art After 1945 ” When: July 23–Ongoing Where: Seattle Art Museum, 1300 First Avenue, Seattle, WA Exhibition: “ Senga Nengudi: Improvisational Gestures ” When: July 16– October 9, 2016 Where: Henry Art Gallery, 15th Avenue NE & NE 41st Street, Seattle, WA 2016-08-11 11:45 Bridget Hallinan

39 In Multiple Dimensions: On Photography From Africa and the African Diaspora, in New York Aida Muluneh, Conversation , 2016, digital photograph, 31½” x 31½”. David Krut Projects. COURTESY THE ARTIST AND DAVID KRUT PROJECTS T he World is 9 , a book accompanying Aida Muluneh ’s exhibition of the same name at David Krut Projects , opens with a 2016 photograph of a woman covered from her neck down in a length of brilliant red cloth. The color is a startling contrast to her face, ears, and throat, which are all painted chalky white. A line of black dots bisects her face, as though marking some basic division of being. She wears her hair in a halo-like pouf. Her gaze is stern but tender. Whoever she is, whatever she represents, her presence demands attention. A series of photographs unfurls from this first image. Whether the woman is curled on the ground, standing gallant on a rise, or balanced on a ladder, hers is a painted face, a steadied body, an orchestrated presence. Muluneh, an Ethiopian-born photographer who returned to Addis Ababa in 2007 after years of schooling and working abroad, considers “The World is 9” a response to her grandmother’s expression: “The world is nine—it is never complete and it’s never perfect.” “Each image,” Muluneh writes in an introductory note to her book, “is an exploration of questions about life, love, and history.” These explorations take the form of pictures of bodies, but they are bodies reimagined. “Each work is a reflection of conscious and subconscious manifestations of time and space,” Muluneh concludes. A body may belong to two worlds. I’m reminded of a photograph captioned “Body and Spirit.” It’s reproduced in G. T. Basden’s 1966 Niger Ibos , a book whose unforgivable subtitle reads, “A Description of the Primitive Life, Customs and Animistic Beliefs, Etc., of the Ibo People of Nigeria by One Who, for Thirty-five Years, Enjoyed the Privilege of Their Intimate Confidence and Friendship.” The image interests me for its depiction of an almost-naked man painted white from head to toe on the left side of his body. It was said—according to Basden’s caption—that after certain ceremonies the Igbo (as the ethnic group is properly known) man believed himself to be half spirit and half man. Fellow villagers also believed this to be true. Basden’s photograph is one stopping point in my consideration of Muluneh’s work: I want to understand how a photograph can depict a body existing in multiple dimensions. Oumar Ly, Untitled, Podor (Senegal) , 1963–78 (printed 2016), C-print mounted on acrylic and aluminum, 19¾” x 19¾” x 2¼”. Sitor Senghor. COURTESY SITOR SENGHOR Muluneh’s protagonist in The World is 9 manifests against a range of backdrops—a rusted metal gate, a railway station, a room with a painted checkerboard floor just like the floors in the stagings of the great Bamako studio photographer Malick Sidibé. Sidibé’s images of young Malians, which were shown at Jack Shainman Gallery , are another reference point, depicting bodies in between colonial rule and independence. However, in her use of backdrops, Muluneh is perhaps closer in sensibility to the late Senegalese photographer Oumar Ly , two of whose photographs were on view at Sitor Senghor ’s booth at this year’s 1:54 Contemporary African Art Fair in New York. Ly, who worked mainly in Podor, Senegal’s northernmost city, until his death this past March, photographed his subjects outdoors in their villages. His genius was to use as backdrops loincloths, the door of a 2CV, soot- covered walls and doors, or a pale-burnt sky. But where Ly’s photographs provide a unique perspective on the commonplace, Muluneh’s make the ordinary extraordinary. The world she depicts is, as British author Lemn Sissay puts it in a short essay in The World is 9 , a “hallucination in the desert of the diaspora.” Muluneh’s return to Ethiopia was to a land that had become foreign to her. In his essay Sissay elaborates on the cost of estrangement: “Finally we return. And we realize that returning is not easy. We had imagined a world that wasn’t there. We realize that all people are returning from one place to another. Many of us with false expectations. Life is a constant process of separating and coming together. But as we realized that our dream was not the reality we had identified the grit [ sic ]. The world is nine and not a perfect ten.” Iké Udé, Sartorial Anarchy #23 , 2013, pigmented ink-jet print, 46″ x 37″, in “Disguise.” Brooklyn Museum. ©IKÉ UDÉ/COURTESY THE ARTIST AND LEILA HELLER GALLERY, NEW YORK T here is a tenuous relationship between imagined home and imperfect reality. In Muluneh’s photograph The More Loving One Part One (2016), a woman stands on the topmost rung of a ladder, her right foot inclining downward. It is a balancing act. She faces another ladder—propped, like the first, against a painted sky—as if about to step on it. The expanse of sky surrounding her provides a sense of limitless vantage points and, at the same time, of unpredictable outcomes. Anyone living in a diaspora, who thinks frequently of home, will find the photograph symbolic. To resolve the photographs in The World is 9 , I reflect on Sissay’s idea of a beauty that does not annul the need for questions. He writes: “There is great beauty in the world, but if the world were without questions there would be no beauty. If people were perfect there would be no need for personality or for God. Without the grit, no pearl. Imperfection is the grit of beauty.” There are kinds of beauty that are easily resolved. Almost always this beauty is presented as a commodity or ideal, to be coveted or consumed. But Muluneh’s women, although glamorous, are not so elementary in their appeal. They are made to look like questions. I must not forget that these photographs depict the painted bodies of Ethiopian women. In many African cultures, whether Nubian or Igbo, a woman’s painted body is understood to be both charming and symbolic. There is beauty, and in addition, propositions about life, its meanings and mysteries. I bring into this consideration other photographs of Ethiopian women. Say, for instance, the covers of the December 21, 1987, and August 18, 2008, issues of the European edition of Time magazine, which include stories on famines in Ethiopia. The two covers, appearing 20 years apart, are alarmingly similar. Each woman’s right breast is bared. Each woman carries a starving toddler. Each woman is made to personify despair and elicit pity. The painted bodies of Muluneh’s protagonists are not merely abstract, staged images. Their reimagined bodies—blue, red, yellow, or white—are in conversation with earlier, more reductive representations of Ethiopian black skin. Zina Saro-Wiwa, The Invisible Man , 2015, pigmented ink-jet print 28¾” x 44″, in “Disguise.” Brooklyn Museum. ©ZINA SARO-WIWA/COURTESY THE ARTIST/SEATTLE ART MUSEUM, COMMISSION, 2015 In “Disguise: Masks and Global African Art” at the Brooklyn Museum , through September 18, one of the first works encountered is a striking photograph by Nigerian-born, New York–based artist Iké Udé. Sartorial Anarchy #23 (2013) shows a dandyish figure, likely the artist himself, wearing a 20th-century French fencing mask, a 16th-century Western European ruff collar, a 1940s Nigerian embroidered men’s gown, and 1990s American golf pants. When Udé was a child, he participated in a regular family ritual of being photographed after acquiring new clothes. Just as Muluneh’s The World is 9 addresses the multiple meanings of home, so too does Udé’s photograph. Like Muluneh, Udé makes the pedestrian fantastical. Where older photographers like Sidibé worked with clients who posed with new purses and shiny motorcycles, Udé presents new clothes on a reconceived, outlandish body. Included in the same show are British/Nigerian artist and filmmaker Zina Saro-Wiwa’s photographs of masquerades in Nigeria’s Ogoniland region. Participants in these performances, called Ogele, wear large, ornate masks that reflect recent political history. The Ogele is “a masquerade full of wit, personality, and swagger, performed exclusively by men, that began in the late 1980s,” Saro-Wiwa explains in a statement published in the exhibition catalogue. One photograph is of a half-naked, blindfolded man, wearing white sneakers, pants made from plastic spoons, and an oversize raffia skirt. Another is a portrait of a mask carver. Glancing away from the camera, he holds a mask out to face it. The photograph is a portrait not of the man, but of the mask. Saro-Wiwa’s interest in masks helps me better understand Muluneh’s interest in traditional African body art. Like painted skin, masquerades emphasize the elaborations human bodies can take on. But most important, they give form to tangled questions of identity, history, and experience. “Back in Nigeria,” Saro-Wiwa notes, “I read an academic text examining how African masks derive their value. A year ago I had read this with interest. But now all I care about is getting inside masquerade, to explore what value it can have for me.” I perceive in Muluneh’s images methodical ways of approaching and expanding on the meaning of configured bodies. A version of this story originally appeared in the Fall 2016 issue of ARTnews on page 134 under the title “Around New York.” 2016-08-11 11:45 Emmanuel Iduma

40 Hot Ticket Alert: Stars to Illuminate Broadway Nights This Fall The advent of premium ticket pricing and the cachet of adding Broadway to the resume have resulted in a plethora of marquee names braving the boards in recent years. The new season is no exception and may even be something of record-setter by the time Tony nominations are being tabulated in late spring. Just looking at the fall line-up leaves one starry-eyed. So book your tickets now since most of these shows are limited engagements. Also rumored to join the fall line up are two London productions: Henrik Ibsen’s “The Master Builder,” starring Ralph Fiennes in the title role; and Nicole Kidman in Anna Zigler’s “Photograph 51,” reprising her acclaimed performance as Rosalind Franklin, the unsung scientist who cracked the DNA code. Depending on when and if these stars alight on Broadway, they will join a roster which next year will also include Cate Blanchett (“The Present”), Bette Midler (“Hello, Dolly!”), Jake Gyllenhaal (“Burn This”), Sally Field (“The Glass Menagerie”), and Laura Linney and Cynthia Nixon (“The Little Foxes). 2016-08-11 11:08 Patrick Pacheco

41 41 UK Accepts Rare Portrait by Sir Joshua Reynolds in Place of $6 Million Inheritance Tax The Tate in London is the lucky beneficiary of the latest instance of art being accepted in lieu of a hefty $6.1 million (£4.7 million) inheritance tax, according to the Arts Council England . Related: More Italians Take Advantage of Art for Taxes Scheme The work, a major full-length portrait of the 5th Earl of Carlisle (1748–1825), at age 20 was painted by Sir Joshua Reynolds in 1769, at the request of the sitter. It has been hanging on the walls of Castle Howard in North Yorkshire for over 200 years and will remain on public display there, according to the Arts Council. However, the portrait won’t stay there. According to the press release, it will make a trip “elsewhere around the country including Tate Britain.” The current owners of the painting were facing a hefty inheritance tax bill. Its new position, as an object of trade, “has been enriching our heritage for over a century,” said Edward Harley, chairman of the Arts Council’s Acceptance in Lieu panel. “I am delighted that this masterpiece by Reynolds, one of the most important painters of the day, has entered our national collection under the scheme.” Related: New Delaware Freeport Offers New York Collectors An Art Tax Haven Close to Home Reynolds’s record at auction is $14.6 million (£10.3 million), set at Sotheby’s London in 2001 for Portrait of Omai, standing in a landscape wearing robes and a headress. According to the artnet Price database, which lists over 1,100 of his works at auction, five paintings have sold for over $5 million each, while 11 works have sold for over $1 million each. The 5th Earl of Carlisle was a key arts patron in Northern England during the 18th century. Reynolds captured him in in formal robes surrounded by classical architecture and his dog, in a lively ad highly skilled manner, “marking his entry into society following his Grand Tour and his position as head of this important family dynasty,” according to the release. The work was exhibited at the National Gallery of Art in Washington, DC, in 1985 as part of “The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting.” Alex Farquharson, director of Tate Britain, remarked that the work is the first full-length male portrait by Reynolds to join the Tate collection. “The glamourous portrait in oil of the early and his beloved dog Rover, is an outstanding example of the type of painting for which Reynolds is most highly acclaimed.” 2016-08-11 11:04 Senior Market

42 Conservative Artist Re-Erects Pro-Trump Sculpture, Liam Gillick Named Artistic Director of Okayama Art Summit, and More Related Events Okayama Summit 2016: Developments Venues Walker Art Center North Carolina Museum of Art Artists Liam Gillick Rirkrit Tiravanija Angela Bulloch Dominique Gonzalez-Foerster Katja Novitskova TRISHA BAGA Joan Jonas Pierre Huyghe Mona Hatoum Giuseppe Penone Hank Willis Thomas 2016-08-11 10:20 Taylor Dafoe

43 After Arson, Artist’s Pro-Trump ‘T’ Sign Reappears in Staten Island The sign will rise again. Staten Islander Sam Pirozzolo, who found the giant pro-Trump “T” sign he’d erected on his lawn burning on Sunday, has erected a new one. And it’s even bigger than the one that burned, expressing even greater support of the New York real estate developer and Republican presidential candidate. New York artist Scott LoBaido , who created the sign, emblazoned with the stars and stripes and now standing 16 feet tall, calls it Freedom of Speech. A crowd of more than 100 gathered to witness its unveiling on Tuesday. A security fence encircles the piece, to discourage further vandalism. Related: Artist Releases Hilariously Terrifying Japanese Donald Trump Commercial On his website , LoBaido calls himself a “creative patriot” who focuses on “the intricate tapestry of American culture, freedom, patriotism, service, and nostalgia.” The works highlighted include a riff on Emmanuel Leutze’s Washington Crossing the Delaware (1851) where the sky is replaced with a psychedelic rendition of the American flag. (The red of the stripes, notably, is replaced with orange, a color often associated with Trump.) The Statue of Liberty and John Wayne also put in appearances. The burning of LoBaido’s original, 12-foot-tall sign—which had stood like a traditional lawn sign on steroids for three months—is under investigation as arson. But Pirozzolo argues that it represents an even worse offense. Related: LA Street Artist Who Built Wall Around Donald Trump’s Walk of Fame Star Explains Why He Did It “This is like the Ku Klux Klan coming into my yard telling me I need to shut up,” Pirozzolo told DNAinfo . “How could that not be a hate crime?” Hate crimes do not currently include crimes against non-minority groups; the Ku Klux Klan was a white terrorist group that menaced and murdered blacks in the South for decades. Trump himself has reportedly weighed in on the incident: Pirozzolo told the New York Post that the presidential candidate called him to say “This is Donald Trump. I saw what happened all over the news. I appreciate everything you are doing.” The Donald has inspired an outpouring of anti-Trump art projects; this is one of the few pro-Trump artworks to garner national attention. (That seemingly-rare breed, the pro-Trump artist, does have a Facebook page , at least.) The artist tells DNAinfo that calls have poured in from people wanting him to build the sign in other places too, but he says this is the only one he’s making. 2016-08-11 10:11 Senior Writer

44 Who Will Win Vincent Van Gogh Lookalike Contest? The competition is heating up for I am Vincent , a contest launched in June by novelist and artist Douglas Coupland that aims to identify the world’s most convincing Vincent van Gogh lookalike. Related: Woman Gifted With Van Gogh’s Ear Identified 128 Years Later Nearly 1,000 would-be doppelgängers have applied in the hopes of taking the top honor, which comes with a prize of €5,000. Coupland will also fly the winner to Vancouver to create a bronze sculpture of his head. “The Van Gogh comparison isn’t something I’d really had before—but weirdly, a colleague said I reminded him of Van Gogh” just before a friend pointed out the competition to him, said one of the current leaders, Oxford graphic designer SteveMonk-Chipman, to the Mirror . “My facial hair is relatively new, and I think that’s the key to the similarity!” Related: A Living Copy of Vincent van Gogh’s Ear Makes Its New York Debut While the Daily Mail and the Mirror are all abuzz over Monk-Chipman, the Brit is currently in just sixth place. That’s impressive, but he trails well behind the current leader, Sweden’s Petter Samuelson, who has 48,023 votes to Monk-Chipman’s 16,784. For his part, Samuelson is thoroughly enjoying the ride. “The commitment shown by friends and strangers has been magical. It’s been shared and promoted, films and paintings have been created based on my pictures. It’s insanely fun,” he told Swedish news outlet the Local. He is one of two Swedes in the top three, along with Ivar Arpi (23,644 votes). Samuelson attributes their collective success to “Swedish melancholy,” adding that the two men planned to get together “on a foggy morning for a ‘paint-off.'” Reportedly, the competition is so fierce that Arpi has promised to cut off his ear if he wins. Sandwiched between the two Swedes is Onno Heesbeen of the Netherlands, nipping at Samuelson’s heels with 47,530 votes. Related: Vincent van Gogh Lookalike Discovered on New York Subway Stars In YouTube Drama New York’s Robert Reynolds, whose noted resemblance to the late artist has made him a minor star on the city’s subway system, currently ranks ninth with 12,380 votes. Along with Benjamin Williamson (fourth, 17,468 votes) and Kerry Ryan Quakenbush (eighth, 12,632 votes), he is one of three Americans currently in the top 10. 2016-08-11 10:05 Sarah Cascone

45 10 Influential Artists Recall Their First Exhibitions Where competition is fierce and demands run high, the path to making it as an artist is far from easy. Here, artnet News offers a collection of accounts from 10 famous artists on their first big break. From Hank Willis Thomas’s unexpected phone call to Shirin Neshat ‘s early encounter with a legendary gallerist, these stories remind us that diligence and talent take you far—but a bit of luck gets you that extra mile. Related: 18 Female Artists Give Advice to Women Starting Out in the Art World 1. Lorna Simpson After graduating from New York’s High School of Art and Design in the 1970s, I went to SVA while working as an intern in the education department at the Studio Museum, and I was often out and about in the art scene downtown. My first show was “Working Women/Working Artists/Working Together,” which the great feminist curator Lucy R. Leppard and Candace Hill-Montgomery curated as part of “Views By Women Artists,” a series of 16 independently curated shows in 1982. I met Lucy in a chance encounter on the subway. I remember sitting on the train next to Ana Mendieta talking about Cuba and her childhood. Lucy Lippard was sitting across the aisle. 2. Hank Willis Thomas A colleague from from California college of the arts Evan Jourdan who was closer to my friend Shane Aslan Selzer, graduated a year ahead of us and got a job art handling at Jack Shainman Gallery. Young independent curators Trevor Schoonmaker and Isolde Brielmaier curated a show around 2004. I think Evan said to gallery co-owner, the late great Claude Simard: “If you like that work, you might like this guy.” Very soon after I got a call in San Francisco from a guy with a very thick accent talking about some gallery in Chelsea I’d never heard of. “I’m from Jack Shainman gallery and we’d like to see if we can do something with your work. Can you send a few examples so I can see it in person?” Most of my early grants & exhibition and opportunities came from classmates, even ones I wasn’t close to. The lesson: you never know who’s looking out for you. 3. Jenny Holzer I had my first international show after Dan Graham noticed the anonymous street posters I’d wheatpasted around New York and asked who did them. Dan recommended me to Rüdiger Schöttle in Munich, and Kasper König put me in his “Westkunst” exhibition thereafter. Thank you, Dan. 4. Shirin Neshat I remember it was summer of 1995 at the Venice Biennial and I was participating in a group exhibition titled Transculture , organized by Fumio Nanjo, where I was exhibiting a selection of photographs. One day I was in the gallery when Annina Nosei walked in. She studied the photos very carefully and quietly, and then she walked over to me and without any introduction said in her Italian accent: “I offer you a solo-show at my gallery this September.” I was flattered by this invitation, but was completely shocked because September was only two months away and I had so far only produced eight to 10 photographs, so I found myself at a loss for an answer. I can’t remember how I managed, but my first gallery exhibition opened at Annina Nosei in her Soho space in September of 1995. To my surprise the show received critical attention, and Annina succeeded in launching my career like she had for so many other artists. 5. Dread Scott My first significant gallery exhibition was a bit of an accident. I had an artwork, What is the Proper Way to Display a US Flag? , that was at the center of a national controversy over its use of the American flag. President G. H. W. Bush had publicly called the work “disgraceful,” and it was very much in the news while I was still an undergrad. In this context, a commercial New York gallery, Wessel O’Connor, offered me a show and to represent me. So this show just fell in my lap. This was in 1989, and no one I knew had any thoughts of making a career as an artist, and I barely knew what representation was. But I was happy for the opportunity and the show turned out to be quite well-received. More important than this, at least in terms of action I took to show my work, was a decision I made five years earlier. I entered a juried competition when I was 20. I had come to the naive, but correct, conclusion that my work was as good or as bad as plenty of the work I was seeing in shows, so why shouldn’t my work be on view also. This confidence in myself and decision that my work should be shown was decisive. I knew that my work would continue to mature as I got older, but that for that to happen, it had to be seen. As a general rule, juried competitions are a rip-off and are not useful for building artist’s career beyond their first couple of exhibition opportunities, but that’s what this was for me. This show was at the Illinois State Museum and I still remember literally leaping into the air when I opened the letter that and it read that my work had been accepted into the show. What was important was the decision to show my work and find the venues that would show it. That decision and ongoing approach has led to the shows I’ve had ever since. 6. Susan Crile Although I was never a color field painter, in 1970, I was socially part of the Greenberg color field group. At the time, I was making life-sized paintings of rugs, in particular, patterned, faded, and worn configurations that overlapped, draped or hung. In good part this was due to Anouche, an Armenian rug dealer on Amsterdam Avenue, who often gave me rugs that were too worn or torn to sell. The Greenberg group could not have been less interested in this work, and may not even have considered it painting. But the art world was very small at that time, and most dealers were more than happy to have real conversations about their artists and their work. I began frequenting the Jill Kornblee gallery. Jill had an eclectic taste and showed a wide range of artists: Malcolm Morley, Howard Hodgkin , Dan Flavin, Janet Fish , Nina Yankowitz, Michelangelo Pistoletto , Jaunne Quick- to-See Smith, Rackstraw Downes, and Richard Smith, among others. This was where I wanted to show, but it took me several years to summon the courage to ask Jill if she would come for a studio visit. She did, she loved the work, and I had my first show at her gallery the following year, in 1971. 7. Derrick Adams My first memorable exhibition experience I can recall from my earlier career was when I was included in a group show called “Hotel/Motel” in Harlem 2002 at Triple Candie, an alternative non-profit art space. I was just about to complete my time in Columbia University’s MFA program and like most younger artists uncertain about my next step. This exhibition, which also included artists who I respected and later became good friends with, was an important introduction for my work and thoughtful curatorial alignment for a successful beginning to my career. 8. Sean Scully My first exhibition was in 1973 in the best gallery in London. I was straight out of art school, so it was a fairy-tale beginning. The gallery was the Rowan, owned and run by Alex Gregory-Hood, who was a colonel in the Second World War. After seeing people die, he devoted himself to art, and his artists. We became dear friends, and I stayed with him until he closed the gallery. 9. Peter Liversidge My first solo show in London in 1998… I remember wondering if anyone would come, forgetting that I’d invited anyone and everyone who I met leading up to the opening. Amongst the work was a group of multiples titled Objects made at work whilst I should’ve been working; my boss came and spent time looking at the work. 10. Prabhavathi Meppayil There was so much expectation surrounding me at this time, to get my work out of the studio and have it confronted with the world—an opportunity to contextualize it in a physical sense. When my first exhibition finally happened I felt an immense sense of relief. 2016-08-11 10:04 Rain Embuscado

Total 45 articles. Created at 2016-08-12 06:00