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56 articles, 2016-05-25 18:01 1 venice architecture biennale: antarctic pavilion the pavilion will showcase visuals that underline possibilities of new (0.01/1) forms of architecture, planning, thinking for the vast tundra. 2016-05-25 10:40 1KB www.designboom.com 2 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-25 12:13 836Bytes blogs.walkerart.org 3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-25 13:00 972Bytes blogs.walkerart.org 5 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-25 17:13 12KB rhizome.org 6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-05-25 17:13 985Bytes blogs.walkerart.org 7 Gracie Awards 2016: Kathie Lee Gifford, Mindy Kaling, Allison Janney The 41st Annual Gracie Awards honorees included Kathie Lee Gifford, Mindy Kaling and Allison Janney. 2016-05-25 14:00 3KB wwd.com

8 DGT architects: estonia national museum dgt architects challenged the initial brief by relocating the building from the proposed site to a former soviet military base as the vast volume for the museum. 2016-05-25 13:22 1KB www.designboom.com 9 sapienstone smart slab by kram/weisshaar sapienstone smart slab includes heating and cooling units, inductive cooking and charging modules, wireless antennas and transponders as well as access control systems, switches and actuators. 2016-05-25 13:05 1KB www.designboom.com 10 Esquire Takes Shape Under Jay Fielden Jay Fielden’s first issue of Esquire will hit newsstands on May 31. 2016-05-25 13:00 6KB wwd.com 11 mimi jung's modern-day tea house envelops entrants within woven revolving walls mimi jung has realized a modern interpretation of a tea house that meets the needs of contemporary life, while acknowledging its cultural associations. 2016-05-25 12:30 2KB www.designboom.com 12 pebble '2' 'time 2' and 'pebble core' wearables pebble wearables return to kickstarter with two updated smartwatches plus, an entirely lightweight, hackable 3G connected device unhinged by any smartphone. 2016-05-25 12:15 2KB www.designboom.com 13 tezi gabunia creates surreal images of big heads inside famous galleries the transportable feature of the models makes these galleries accessible for everyone, allowing anyone to look into the gallery, take a photo and become the exhibition. 2016-05-25 11:30 2KB www.designboom.com 14 Steve Martin Drives Up Lawren Harris's Prices Canadian painter Lawren Harris's auction market is looking up, and it probably has to do with the artist's travelling exhibition curated by Steve Martin. 2016-05-25 10:06 4KB news.artnet.com 15 Georgia O'Keeffe Museum Buys 'The Barns' Santa Fe's Georgia O'Keeffe Museum picked up the artist's 1926 painting of barns on the Lake George estate of her husband, photographer Alfred Stieglitz. 2016-05-25 10:04 2KB news.artnet.com

16 Camille Henrot’s Art Inspired by Mondays in Rome Camille Henrot’s Art Inspired by Mondays in Rome 2016-05-25 09:54 2KB www.blouinartinfo.com 17 David Ebony's Top Gallery Shows for May Art critic David Ebony selects his top shows to see around New York City in May 2016. 2016-05-25 09:44 15KB news.artnet.com 18 Morning Links: Cake Theft Edition Must-read stories from around the world 2016-05-25 08:57 1KB www.artnews.com 19 RD offices & facilities completed by atelier deshaus glass brick and juxtaposed forms characterize the RD & manufacturing facility in anting, an automotive industry area of jiangding district in shanghai. 2016-05-25 08:45 1KB www.designboom.com 20 Xu Lei Launches First US Solo Show With the first major US solo show of Chinese art star Xu Lei, Marlborough Gallery is hoping to introduce the artist to US collectors. 2016-05-25 08:28 3KB news.artnet.com 21 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-25 11:12 1KB gdusa.com 22 Rome Needs Over $500 Million, Seeks Private Help- After the success of repairs to the Trevi Fountain and Colosseum paid for by fashion brands Fendi and Tod's, the city is looking to extend the program. 2016-05-25 08:04 2KB news.artnet.com 23 Art Basel Names Abigail Reynolds for Third BMW Art Journey Art Basel has announced British artist Abigail Reynolds as the winner of the third BMW Art Journey. 2016-05-25 06:33 1KB www.blouinartinfo.com 24 Brazil Reinstates Culture Ministry in U-Turn The culture ministry in Brazil has been reinstated after it was due to be merged with the education ministry as part of austerity measures. 2016-05-25 06:27 2KB news.artnet.com

25 studio klang create a surreal multi-layered alphabet for 36 days of type design studio klang responded to the '36 days of type' brief which invites designers to create interpret letters and numbers from the alphabet. 2016-05-25 06:15 1KB www.designboom.com 26 Did Vincent van Gogh Predict the Ozone Hole? Read THE DAILY PIC on the 'Unfinished' show at the Met Brauer, where incompletion is a sign of calamity. 2016-05-25 06:00 1KB news.artnet.com 27 Seattle Gets a Motorized Floating Sauna by goCstudio Architects A Kickstarter-funded motorized floating sauna will provide an unusual retreat for Seattle residents this year. 2016-05-25 05:11 2KB www.blouinartinfo.com 28 A Brief History of the Berlin Biennale With the 9th Berlin Biennale opening to the public on June 4th, we take a moment to review the history of the event originally launched by Klaus Biesenbach. 2016-05-25 05:03 8KB news.artnet.com 29 sP+a forms sculptural timber arcade for restaurant in mumbai located inside a mall, sameep padora of sP+a decided to stray away from the typical glass façade to form an intimate refuge for dining. 2016-05-25 04:05 1KB www.designboom.com 30 Penske Media Corp. Appoints George Grobar as Chief Operating Officer Grobar most recently served as executive vice president for PMC, which owns WWD, Variety, Footwear News and Hollywood Life, among others. 2016-05-25 04:01 3KB wwd.com 31 Model Call: Aqua Parios Mesmerizing new face Aqua Parios, of African-American and Japanese heritage, grew up in Las Vegas before relocating to Phoenix, where she was discovered while shopping after cheerleading practice. 2016-05-25 04:01 3KB wwd.com 32 Alexander Wang Takes See-Now-Buy-Now Approach to Resort 2017 He will embargo collection images until it’s in stores in November. 2016-05-25 04:01 1KB wwd.com

33 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood a... 2016-05-25 06:19 832Bytes blogs.walkerart.org 34 VIDEO: George Wong, Chairman of Parkview Group Parkview Group chairman George Wong talks about his unique approach to art collecting and his boutique hotel philosophy. 2016-05-25 02:57 7KB www.blouinartinfo.com 35 Indian Museum Ties up with Google Cultural Institute to Digitize Galleries The Indian Museum at Kolkata in partnership with the Google Cultural Institute is now putting all of its galleries online in 360- degree panoramic viewing for anyone to see. 2016-05-25 01:23 2KB www.blouinartinfo.com 36 Celebrating Kazimir Malevich, a pioneer in abstract art Several exhibitions around Europe feature the Russian artist’s works a century after the debut of Suprematism. 2016-05-25 00:00 7KB www.nytimes.com 37 Walking and Talking: Elastic City Announces Final Festival “The Last Walks,” the final free summer festival organized by the arts group Elastic City, will take place in New York from July 7 through July 27. 2016-05-25 00:00 2KB www.nytimes.com 38 Letter of Recommendation: B. F. Tattoos The danger, the fear, the foolishness and the pain of getting a tattoo contribute to the thrill, which doubles when you persuade someone to do it with you. 2016-05-25 00:00 5KB www.nytimes.com 39 The Startling Beauty of Scarecrows Peter Mitchell thought his pictures of Yorkshire scarecrows would be of interest to no one — but they rank among photography’s most humorous and strange portraits. 2016-05-25 00:00 9KB www.nytimes.com 40 Reintroducing Captain America and Dr. Manhattan Comic books are gaining two new villains on Wednesday, though they are both familiar faces. 2016-05-25 00:00 2KB www.nytimes.com 41 What’s on TV Wednesday “Nashville” and its queen bee, Connie Britton, bid us farewell. “Wayward Pines” brings Jason Patric on board. And catch up on “Sense8,” from the Wachowskis and J. Michael Straczynski. 2016-05-25 00:00 3KB www.nytimes.com 42 Sanford Biggers - Reviews - Art in America The historical relationship between the Western avant-garde and the art of Africa is one of objects stolen, fetishized, and aesthetically cannibalized by European modernists like Picasso and Modigliani. Paradigmatic histories of Western art attempt to keep these tensions at a low simmer; in the nine... 2016-05-25 00:00 3KB www.artinamericamagazine.com 43 Asian-American Actors Are Fighting for Visibility. They Will Not Be Ignored. Actors like Daniel Dae Kim, Constance Wu, BD Wong and Aziz Ansari have become frank critics of their industry, calling out Hollywood for “whitewashing.” 2016-05-25 00:00 13KB www.nytimes.com 44 B. J. Novak Thinks Actors Are Bad at Playing Writers The actor and app developer on democratizing writing, why Ethan Hawke is too hot to be a writer and avenging his ghostwriter father’s anonymity. 2016-05-25 00:00 4KB www.nytimes.com 45 Delvaux Lunch at Barneys Beverly Hills Draws Ann Dexter-Jones and Offspring French heritage brand Delvaux threw a lunch at Barneys New York Beverly Hills. 2016-05-24 22:55 2KB wwd.com 46 20th Sydney Biennale Q&A: Xu Zhen’s Mutilated Sculptures In the interview below, Shanghai-based conceptual artist Xu Zhen, founder of MadeIn Company, discusses his series of “mutilated” sculptural forms 2016-05-24 22:51 3KB www.blouinartinfo.com 47 Five Minutes With Chloë Grace Moretz: Talking Trump, Politics and Brooklyn Beckham Chloë Grace Moretz is not interested in shying away from political rhetoric. 2016-05-24 22:37 3KB wwd.com 48 claesson koivisto rune: bonsai seating collection for arflex claesson koivisto rune has realized the 'bonsai' seating collection for arflex whose minimal, curvaceous shapes are reminiscent of greenery found in japan. 2016-05-24 22:01 1KB www.designboom.com

49 The Global Synthesizer Project Makes Crowdsourced Sound Art For Moogfest, sound artist Yuri Suzuki and Moog Music’s Chris Howe built a global sampler that is also a sound art installation. 2016-05-24 20:10 5KB thecreatorsproject.vice.com 50 This Drone-Shot 'Star Wars' Dogfight Wins Star Wars and DIY effects go together like peanut butter and lightsabers. 2016-05-24 19:50 2KB thecreatorsproject.vice.com 51 aranguren gallegos arquitectos restore old cluster into parador hotel in spain the main innovation of the architects consists in the creation of an sculpted garden, separating the modern hotel rooms through green spaces at different levels. 2016-05-24 19:35 2KB www.designboom.com 52 Sculpture Exhibition Paints a Bleak Portrait of the Middle Class' Future 3D-printed, humans sealed within plastic bags, make a strong statement in Josh Kline’s new show, 'Unemployment.' 2016-05-24 19:25 3KB thecreatorsproject.vice.com 53 Artcurial Sells Lalique Vase for More Than €280,000 A vase by Rene Lalique sold at Artcurial's Art Deco sale in Paris on May 24 for €282,000 ($315,840), marking the third highest ever record for a vase by this artist. 2016-05-24 19:04 2KB www.blouinartinfo.com 54 Projection Art Activists Take Aim at Saudi Arabia Meet PixelHELPER, the light artists taking political action 2016-05-24 19:00 4KB thecreatorsproject.vice.com 55 adult-sized strollers let parents test out their baby's ride creative agency FCB chicago has created an exact, adult-sized replica of one of contours baby's best selling strollers and tested it on unsuspecting adults. 2016-05-24 18:57 1KB www.designboom.com 56 French Design Festival 2016 Focuses on Collaborative Design The Revolution will begin on May 30, when D'Days Festival opens its many doors to French Design. 2016-05-24 18:57 3KB www.blouinartinfo.com Articles

56 articles, 2016-05-25 18:01

1 venice architecture biennale: antarctic pavilion (0.01/1) responding to mankind’s relentless consumption and insatiable need for space, the antarctic pavilion presents an installation by architect hani rashid and the institute of architecture, university of applied arts vienna. by exploring what the future might hold for the vast tundra, the project takes a closer look a the negative effects and problems we are beginning to witness as a result of greenhouse gases and global warming. ‘changes are nowhere more acute and apparent than in the delicate and untouched territories of both poles.’ the notion that large parts of antarctica will become inhabited and will produce crops one day questions how architects might consider such a future, taking into account two important mitigating factors. the first aspect is the fate of the continent as the earth’s population continues to increase, which may lead to turning this region into dwellings, tourism, mining, fishing, bioprospecting, energy production. with this, the antarctic pavilion will showcase visuals that underline possibilities of new forms of architecture, planning, thinking from questions that need to be asked regarding sustainable, renewable, and zero-impact solutions, while allowing for vast populations and viable architectural solutions in the near and deep future. the pavilion is hosted at venice’s fondaco marcello. 2016-05-25 10:40 Natasha Kwok

2 Lee Kit: Hold your breath, dance slowly (0.01/1) “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-05-25 12:13 By

3 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors alain silberstein adds a bit of pop to MB&F’s LM1 with his signature use of bold shapes + colors in 2009, MB&F called on french watch designer alain silberstein to create its very first ‘performance art’ piece that featured reinterpretations by external artists and designers of existing MB&F machines. the resulting timepiece was the HM2.2 ‘black box’, followed by a long list of collaborations with other creators for which the swiss company’s ‘performance art’ series was born. the ‘LM1 silberstein’ is characterized by the french watch designer’s use of bright colors and shapes now, silberstein—who left the safety of working in his trained profession as an interior designer to found his on watch brand— brings forth his take on MB&F’s classic ‘legacy machine N°1′ (LM1), imbuing it with his unique flair for the unconventional. the ‘LM1 silberstein’ employs the french creative’s signature use of primary colors and geometric shapes: red, blue and yellow; with triangles, rectangles and circles for the hands and dial markers—three- dimensionally translated as a cone, cube and sphere for the power reserve —silberstein catches the eye as they contrast against the more subdued movement plate below. but, it is the concave curve of the subdials that highlights the artist’s philosophical approach the most. while the convex sapphire crystal dome and balance bridge offer protection from outside forces, the concave subdials, rather than the convex ones of the original LM1, attract and welcome the ‘eternal time’ of the universe with movement on a more human scale; where it is transformed and displayed as two completely independent time zones. naturally, the hands are similarly concave so they seamlessly complement the curvature of the dials. triangles, rectangles, and circles are translated into cones, cubes and spheres, acting as hands and dial markers the re-interpretation of the classic timepiece sees silberstein replacing the original dual arches of the ‘LM1′ balance bridge with a single, transparent sapphire crystal one, allowing full visual access to the time indications and dial-side escapement. it took two years of development to create this bridge element to the incredibly tight tolerances required to support the balance wheel—a lot of work for an elegantly shaped component that is essentially designed to be invisible. the color and shapes of the concave hands highlight silberstein’s meticulously practical approach to artistic design. three primary colors found on the subdials—red and blue hands, yellow index markers—are echoed in the three shapes—blue cone, red cube, and yellow sphere—of the three-dimensional power reserve indicator. when one reads the time, the hour is generally the first bit of information required, so the hour hands are rendered in a bright red color, indicated on a larger, triangular surface area, in contrast to the thinner blue minute hands. six-pointed star-shaped crowns (comprising two overlapping triangles) offer tactile pleasure when being wound, while also reinforcing the collaborative aspect of this performance art pieces: the shapes and colors of the crown are purely silberstein, while the battle-axe logo represents MB&F. the french watch designer uses contrasts and materials to surreptitiously guide the eye to key elements on the dial: the hands are brightly colored and high gloss, while the underlying dials and movement plates feature more subdued colors with matte finishes. ‘I like playing with materials and finishes. the more matte there is, the more the high polish pops,’ says alain silberstein. the convex sapphire crystal dome and balance bridge offer protection from outside forces from the inside, the ‘LM1 silberstein’ employs the ingenious three- dimensional movement that was specifically developed for MB&F by founder maximilian büsser; realized by jean-françois mojon, and his team at chronode, together with independent watchmaker kari voutilainen. the balance wheel and spring at the very heart of any mechanical watch movement are responsible for regulating timekeeping accuracy. büsser has long been fascinated by the large slowly oscillating balance wheels of antique pocket watches—18,000 bph compared with the 28,000 bph common today—so it is no surprise that this was the starting point from which to let his fertile imagination roam free. what is most surprising though is how radically he has re-interpreted tradition by relocating the balance wheel from its more usual position, hidden at the back of the movement, to not just the top, but floating above the dials. while the location of the regulating organ may be considered avant-garde, tradition is upheld by the large 14mm diameter balance wheel with regulating screws specifically developed for MB&F, a balance spring with breguet overcoil, and mobile stud holder. another special feature of the ‘LM1′ movement is the ability to set two time zones completely independently. the vast majority of dual time zone movements only allow the hours to be independently adjusted, while a rare few offer settings to the half hour. ‘LM1′ allows both the hours and minutes of each dial to be set to whatever time the user wishes. the world’s first vertical power reserve indicator on ‘LM1′ is driven by an ultra-flat differential with ceramic bearings, allowing for a slimmer complication, and a more robust and longer-wearing mechanism. a paraphrased quote from gustave flaubert is engraved on the case band between the lugs of the timepiece it was master watchmaker kari voutilainen who assumed responsibility for ensuring the historical accuracy of the style and finishing of the ‘LM1′ movement, which was no easy task with such an unconventional suspended-balance design from which to begin. it is through the style and finish of the bridges and plates visible through the sapphire crystal window on the back of the movement where voutilainen excelled in providing exquisite historical fidelity; both in the shape of elegantly curved bridges, and the traditionally wide space between the bridges and between the perimeter of the bridges and the case. the watch’s crowns are distinctive six-pointed star shapes, formed by overlapping two triangles on the back of the movement, oversized ruby jewels set in highly-polished countersunk gold chatons provide striking visual counterpoints to the frosted, sensually curved bridges. while providing historical links with the large jewels seen in high-grade antique pocket watch movements, the ruby bearings have a practical application in reducing wear and increasing longevity by accommodating large diameter pinions and holding more lubrication oil. the ‘LM1 silberstein’ has a black hand-stitched calfskin strap with black top- stitched seams with red gold case the ‘LM1 silberstein’ is accompanied by a black hand-stitched calfskin strap with black top-stitched seams with red gold case, or red topstitched seams with both titanium cases; with a paraphrased quote from gustave flaubert: ‘le vrai bonheur est d’avoir sa passion pour métier‘—which translates to ‘making a profession for your passion is true happiness‘—engraved on the case band between the lugs of the timepiece. a potrait mosaic of the elements that have gone into realizing the ‘LM1 silberstein’ ‘I resonated with LM1 because by highlighting the balance – the mechanism that splits time into miniscule increments – it highlights how man converts eternal time into something he can use‘, silberstein explains. ‘it was a pleasure to work from such a creative timepiece as LM1 because the suspended balance and arched bridge made it feel like working on the set of a science fiction film‘, he concludes. french watch designer alain silberstein 2016-05-25 16:01 Andrea Chin

4 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional contexts. The conference was held on occasion of the tenth anniversary of the Young Curators Residency Program (YCRP), which annually brings three non-Italian recent graduates of curating courses to […] 2016-05-25 13:00 By

5 On the Gaze in the Era of Visual Salamis Looking at my.pdf library I recently came across Monte Burch's The Complete Guide to Sausage Making , a book that clearly—and perhaps morbidly—describes some key features of this ancient and mysterious practice. Throughout the reading of this document I somehow realized that I had been learning not only about sausage making as such, but also the mode of existence of some digital images, with whom I coexist. How is such a leapfrog possible? In Burch’s guide, a sausage can be made by grinding and mixing “scraps and trimmings” and, interestingly enough, by also maintaining a prudent period of “seasoning and curing.” The meat’s encounter with a systematic process of recombination and extrusion, say, configures the sausages. Moreover, it is precisely their sausageness that allows us to access them according to polarized protocols: on the one hand, sausage production is analog and continuous—the more meat we add to the grinder, the larger the sausage is. Conversely, its access is developed according to a discrete, digital-like protocol: the slice. Shaping images with our digital gaze An image is no longer a singular thing, but rather it becomes dispersed , distributing its existence along paths, iterations, periplus, and versions provided by both humans and systems. In this sense, images are trajectories through media, devices…and places. Visual characteristics (namely; colors, sizes, textures, compositions, effects, texts, icons, and typographies) are subjected to a large number of recursive and combinatory operations; a memetic modality of some images that supersedes the very notion of internet meme. The world s largest sausage in Kobasicijada Festival (Turija-Serbia) in 2012 This implies that in order to access an image’s narrative, we have to retrace some of its extruded, threadlike trajectories. Our attention is not focused on a singular image, but is distributed along the image’s path. Since the versioning of an image is the image, the increasing accumulation of similar images is nurturing distributed ways of seeing. Slicing images’ sausageness Sausage-like elongation describes the way that images accumulate, but this redundancy of content is not merely piled up, but follows an extruded trajectory that creates threads of dispersed versions. Since any given sausage is not only a sausage, but also the expression of its formal mode of production, what is the shape of our engagement with it? If either sausage and image are being distributed across a potentially endless series of elongated versions, we can only access images by slicing them. Slicing Gucci Mane Capturing the environment with our digital devices creates a discrete, framed incision in our surrounding milieu. Hence, further captures within the digital realm (for instance, by copying, tagging or storing digital files) prefigure the apparition of what I would like to denominate image-slices. These slices have also something that really interests me; an intriguing ability to create their own negative imprint in the form of memory. They remind us that their status as slices conceals the almost invisible process of how our digital gaze deprives images of their own visuality in favor of their memory. If the latter is defined here as a time-based measure of the image's shifting or fading along a trajectory, visuality presents the limits of an image; the contours and deformations produced by its elongation. The shape that a sausage acquires during its extrusion—being limited or arrested by its mold or configuration process—posits visuality as the imprint of energy. The visual cohesion of images is therefore based on modulations; the development of deformations through time. As any salami knows, its own depletion measures its extinction, but its memory increases as the salami diminishes. By day seven in the fridge, the last extant sausage piece compresses a huge amount of time within a narrow meat scrap, which indicates, as if metadata were present, its very process of dwindling. The accumulation of image-slices made by our digital gaze is not indiscriminate; it overlaps and compresses nuggets of visuality seeking an array of coagulated slices, relating images by means of mnemonic paths: spaces, affections, repetition, and desire. In doing so, digital images are increasingly becoming an ancillary verification of memory's circulation through systems and users. Accelerated emblems: when memory eats image The circulation of the digital image is propelled through versioning, elongation, and indexical techniques which optimize access to it by reducing the importance of its immediate visuality. After a certain point, memory’s circulation through systems and users becomes the image’s primary index, pointing to its internal coherence rather than an external frame of reference. Certain images can therefore intertwine themselves toward total memory, devoid of any content apart from their own possible trajectories. Undermining visuality, from Egypt to my smartphone. In an attempt to domesticate the Egyptian landscape during the Napoleonic campaign in the 18 th Century, Nicolas Jacques Conté invented an engraving machine that by virtue of its accuracy brought engineers the possibility of describing the landscape in the most objective way. The free movement of the hand was replaced by up to forty-two possible sequences of lines that guaranteed not only a higher degree of precision, but a faster rendering speed. In the monumental Description de l'Égypte it is possible to find examples of these line patterns; rectangular images that visualize nothing but the expression of their mechanical production. Back in the 21 st century, this undermined type of image reappears in the screen of my smartphone. Whenever I swipe too fast over Google Images’ search results, the accelerated flux of images surpasses by far the device’s ability to display them all. I no longer see images, but an array of plain- colored rectangles. How does this situation correlate with our subtractive digital gaze? My contention is that our digital gaze wants to subsume image within a larger structure of memory. If memory is based on delay—or hysteresis—then our digital gaze must decelerate the image's elongation in order to situate it within memory. In the era of visual salamis, we are no longer pursuing images, but image-slices that allow us to reconstruct their possible trajectories. This implies that the completion of memory is based on the limitation, almost the disappearance of image’s visuality. From a computational standpoint, I imagine that this process erases the constructed distinction between software and hardware to the extent of making both indistinguishable. An example of Core Rope Memory contained in an Olympia 15 digit calculator, circa 1971 The pursuit of memory not only undermines visuality but its interfaces as well. Perhaps digital memory artifacts will no longer need visual access interfaces such as screens…but in the meantime, let us take a look on a particular prehistory of this possibility from 1960s, where NASA's Apollo Program developed a form of ROM memory called Core Rope Memory. This was produced by literally weaving a wire skein along ferrite cores. The method of weaving wires—passing or bypassing the cores—configured the software. Therefore, memory was the outcome of an entangled, self- descriptive weaving motion: memory is what happens along the ferrite cores. Contrary to RAM memory, this Core Rope Memory was a non- volatile repository which keeps all its possible tasks in advance, indefinitely, even without energy supply. David A. Mindell's Digital Apollo: Human and Machine in Spaceflight recalls how the Apollo 12 computer easily rebooted itself after lightning struck the spacecraft. Without tapes or disk drives, Core Rope Memory visually exposes its limits and functions. We can imagine it as an artifact with the ability to keep and describe the totality of its existence, not by upgrading itself further, but through total access to its finite structure. This sheer visuality of its woven core—a kind of hardware— is the software, in absence of any other intermediate symbolic interface. The Core Rope's wire paths undermine images insofar as it constitutes its own memory. To put it simply, its finite woven code exists by itself. A distinct modality of software as the human-readable aspect of the machine is no longer necessary. In the meantime, digital plein-air I have to stress that, although sausage making is a pleasant and mouth- watering activity, is not precisely exempted of risk. Whenever a meat scrap falls off the cutting table, we are in peril of getting a contaminated, even a hairy sausage. As Burch’s guide reminds to us: “the one that eats the most sausage gets the most hair.” Nowadays we are witnessing the process of subsumption of memetic images within memory, but in the meantime, we are finding memetic images in the outdoors as well. The temple of the Seven Dolls in Dzibilchaltun, Yuc. Mexico Despite the fact that the Seven Dolls Temple in Dzibilchaltun (Mexico) perhaps was never conceived as a temporal landmark, during each vernal equinox a multitude of people congregate around the temple. When the Sun emerges, its beams traverse the temple's open door towards a plethora of smartphones, digital cameras, and tablets. The sunlight is not only framed by the door; it continues its trajectory by virtue of the devices’ capturing and the images’ further circulation. After my first visit to this temple in 2012, I became increasingly interested in the particular elongated quality of this sort of memetic images. During the last three years I have been visiting several areas of Southern Mexico, finding along my way a variety of these images: digitally printed cylinders in the shore of Bacalar lagoon, fluorescent hoses in Palenque's jungle, gradient-like car reparations in Merida, polygonal paper dinosaurs in Chicxulub, to name a few. These memetic images incorporate an array of digital textures, patterns, gradients, and even moiré effects, but somehow their physicality produces an interesting disruption in its surrounding milieu. They popped out in our vision by highlighting their obvious digitalness in absence of devices, binary code, or even electricity. How is such a thing possible? If the traits of memetic images can be sustained in spite of devices —or their closeness—we must reconsider them as entities created uniquely by devices. Images linger at a certain distance of them; sometimes closer—even “within”— sometimes too far to be extant. A memetic landscape in Bacalar, Quintana Roo, Mexico. Constituted as trajectories by means of versioning, these memetic images could have existed before the advent of the internet itself. Acknowledging this fact places us in the striking situation whereby the prehistory of digital images comes after their “official” emergence as media; as if in the very moment that we relocate these images from their alleged habitat (digital devices,) devices no longer “create” images. The context of memetic images does not lie in their materiality—for example, their pre-filmic or pre- screening origin—nor in the materiality of the places they represent. Conversely, we find context in the very action of capturing and slicing images, as well as in the device's situational location. The encounter with digital, memetic images in the outdoors and their incorporation within networks and memories denotes also the uneven degree of internet implementation over the Earth. Since bandwidth speed results are affected by geography (and geopolitics!), time is the subsidiary of space. The imbalances in a memetic image's speed of elongation describes real geographical distances between captured places and access to internet networks. This produces a particular phenomenon of historical remoteness, whereby 'antique' memetic images are still in the process of being incorporated, uploaded, elongated. As if the light of a distant sun were rising, we still are receiving and unearthing images pertaining to these memetic realms. — Javier Fresneda is a San Diego-based artist and researcher. His work can be found in www.javierfresneda.com among other places. — References Burch, Monte. The Complete Guide to Sausage Making. New York: Skyhorse, 2011. Mindell, David A. Digital Apollo: Human and Machine in Spaceflight. Cambridge: MIT Press, 2008. — Share this Article — 2016-05-25 17:13 rhizome.org

6 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Patrick Marschke shares his perspective on Saturday night’s performance of Devendra Banhart & […] 2016-05-25 17:13 By

7 Gracie Awards 2016: Kathie Lee Gifford, Mindy Kaling, Allison Janney Allison Janney, Mindy Kaling and Kathie Lee Gifford were among those honored at The Gracie Awards held at the Beverly Wilshire Hotel in Beverly Hills on Tuesday night. Presented by the Alliance for Women in Media Foundation, the 41st annual gala recognized individuals and programs created by and about women. Janney, who was singled out for her work on CBS’s “Mom,” said, “I grew up watching Carol Burnett and Mary Tyler Moore and was inspired by great women in media and in television. I never thought I’d be able to make a difference in women’s lives.” In addition to the fantasy film “Miss Peregrine’s Home for Peculiar Children,” Janney will next appear as a police detective in the highly- anticipated adaptation of Paula Hawkins’s hit novel “The Girl on the Train” starring Emily Blunt and directed by Janney’s “The Help” collaborator Tate Taylor. “He’s not a stranger to adapting a successful book into a movie,” she said, noting she hasn’t seen a cut of the thriller just yet. “Tate is actually staying at my house right now working on scoring the film. I cannot wait to see it. It’s a little different than the book, but it honors the book in a lot of cool ways.” “The Today Show” anchor Natalie Morales was on hand for her morning program’s multiple awards. “I’m sitting right next to Kathie Lee Gifford, so we’re going to be drinking a lot of chardonnay,” said Morales, who recently relocated to Los Angeles in order to take over for Billy Bush at “Access Hollywood” and “Access Hollywood Live.” “It’s a new chapter in my life,” she said. “Of course, I’m also going to be continuing on with ‘The Today Show,’ but as a West Coast-based anchor. The idea is to really grow this into something that is very meaningful, a position that allows me to be everything for everyone, but on the West Coast.” As one of the few men in attendance, Scott Foley turned out to support his wife Marika Dominczyk, who emceed the affair. His advice? “Don’t f–k it up.” Foley said he helped his wife prepare by going through the script with her; though he said she wasn’t likely to later return the favor. “She won’t run lines with me for ‘Scandal’ because she’s such a fan she doesn’t want to know what the hell is going on.” Kaling’s “The Mindy Project” cast, including Ed Weeks and Xosha Roquemore, who has a role opposite James Franco in the upcoming drama “Mississippi Requiem,” got the party started early by sipping Champagne as they made their way down the press line. Later in the night, Kaling joined her co-stars on stage and said, “For years and years, the role of a lead actress on a sitcom was to do two things—look amazing and make one third of what my male co-star makes,” she said. “I want to be clear: I do always look amazing on the show and no man on my show makes more money than me.” Recognized with Best Female in a Breakthrough Role for her work on “Black-ish,” Yara Shahidi instead put the spotlight on her pint-sized co-stars Miles Brown and Marsai Martin who presented her with her award. Singer Andra Day, who performed her hit “Rise Up,” geeked out over Lifetime Achievement honoree Lynda Carter. “She’s gorgeous! Holy moly!” Day said under her breath before approaching her. “I’m such a big fan,” she told Carter. The “Wonder Woman” actress had a message for Day and all others in the crowd, “I’ve done a lot, you know? But I pass that baton onto you and you and you and every other woman now. It’s your turn.” 2016-05-25 14:00 Lindzi Scharf

8 DGT architects: estonia national museum the estonian national museum both celebrates and pays homage to the country’s history, independence as well as its unique cultural traditions. located in the city of tartu, the brief called a 34,000 sqm building that would successfully house a collection of 140,000 objects. the vast scheme realized by paris-based firm DGT architects challenged the initial brief by relocating the building from the proposed site to choosing a former soviet military base as the setting for the museum. this approach of adaptive reuse not only represents the history but plays an essential role in the regeneration of the area. using a sensitive implementation of the site, the national museum becomes a continuation of the airfield – its roof lifting and expanding towards ‘infinite space’ – inviting the visitor to enter into the landscape and into the heart of the museum. DGT’s proposal creates an open house for public activities – exhibition, performance, learning – a place of gathering and interaction, bringing people together to celebrate a rich and deep-rooted history. the architects decided to not use the site propose but adapt a nearby building instead the construction of the museum should play an essential role in the regeneration of the area 2016-05-25 13:22 Natasha Kwok

9 sapienstone smart slab by kram/weisshaar sapienstone ‘smart slab’ by kram/weisshaar is a new composite table that integrates heating, cooling and motion detection technology from iris ceramica directly into oversized ceramic panels. circular heating elements are positioned directly beneath guests’ plates, keeping them at a precise temperature of 42.5°C. meanwhile, cooling elements are strategically placed along the table to keep champagne bottles perfectly chilled. first shown at the 2016 milan design week aterlier clerici exhibition, the project takes porcelain into the future by adding a layer of discreet technology to the underside of its wafer-tin ceramic slabs. options include heating and cooling units, inductive cooking and charging modules, wireless antennas and transponders as well as access control systems, switches and actuators. ‘smart slab’ signals the arrival of intelligent textiles in furniture design, unlocking a wide range of potential applications previously inconceivable in such classic materials. the top layer of the ‘smart slab’ composite is made of sapienstone ceramic material impervious to fire, frost, thermal shock, scratches and mircobes. the unique composition and structure makes it particularly adaptable and allows for a multitude of uses. 2016-05-25 13:05 Piotr Boruslawski

10 Esquire Takes Shape Under Jay Fielden Jay Fielden’s Esquire is coming into focus. Fielden, who was appointed editor in chief of the men’s magazine in January, will unveil the first issue of Esquire with his name on top of the masthead. Although the June/July issue, which hits newsstands on May 31, isn’t the finished product — Fielden said his Esquire is still “evolving” — it does provide a glimpse at of what readers can expect from the editor down the line. “These are hints of things to come,” said Fielden, flipping over the issue to reveal the cover, featuring actor Viggo Mortensen , along with a bolder “Esquire” logo and tagline “Rebels & Renegades.” “The subtext of this title — of this theme — ‘rebels and renegades,’ is kind of to make a statement about the spirit of the Esquire that I love the most, that shows you the rules you should break, not the ones you should follow,” he said. “That’s the spirit. That’s a key change in tone and feel.” The theme holds true for the “zeitgeist moment” that we’re in, the editor said, referring specifically to the presidential race. Aside from Mortensen, the issue features 27 examples of men from different generations and backgrounds that embody Fielden’s theme. They include Kendrick Lamar , Pope Francis , Dave Chapelle, Harvey Weinstein , Henry Kissinger , Phillip Roth and John McEnroe. With such a broad sampling of men — who then is exactly Fielden’s target consumer? Who is the Esquire man? The editor hesitated to answer that — no one wants to dismiss potential readers — especially as magazine readership is under pressure. Instead, he gave a more academic answer about Esquire’s importance as a “cultural” magazine, which “at its best,” can “direct a conversation” and appeal to both men and women. He brought in a slate of new writers — male and female — in order to achieve that. They include Dwight Garner, John Lahr, Terry McDonell, Jay McInerney , Katie Roiphe and Lisa DePaulo. In terms of stories, Fielden noted that he’s looking to investigative stories and first person narratives to help deliver that “umph” and nod to the magazine’s heritage of weighty long-form journalism and insightful, humorous essays. In the summer issue, Fielden pointed to a feature exploring the potential construction of Donald Trump’s wall on the Mexican border. Written by John H. Richardson, the story examines if it would be possible to construct such a wall, logistically and financially. “It turns out it is not possible,” said Fielden, who commissioned a design team to produce an eerie computer-generated image of the wall to accompany Richardson’s feature. In terms of fashion, Fielden, who had been editor in chief of both Men’s Vogue (shuttered in 2008), and Esquire sibling, Town & Country where he now serves as editorial director, said he’s “amping up” the coverage. But, don’t expect elaborate, glossy fashion shoots and typical market pages. Instead, the editor is trading off Esquire’s journalistic heritage to tell fashion stories. In the current issue that translates to a story on how to wear a black suit without “looking like a limo driver,” he said, and a spread on sneakers, depicting the evolution of the fashion sneaker over time as worn by stylish men. “To me, Esquire at its heart is a magazine that has tried to understand the world through writing,” he said. “The imperative is to talk about fashion in a journalistic way.” But making fashion relevant to readers who may not consider themselves “fashion guys,” isn’t far from how other men’s magazines approach the topic. While GQ , the other big men’s magazine in the space, takes a more fashion-first approach, it is still largely seen as Esquire’s main competitor in the er ratic men’s space . With Fielden’s background, not to mention his recent hire of ex- GQ editor at large Michael Hainey as executive director of editorial, it appears that Esquire is gunning to grab market share. When asked about that and GQ as Esquire’s primary competitor, Fielden said defensively: “Number one is, GQ is a supplement of Esquire in terms of who’s [preceding] whom, let’s be genealogically correct.” “What I think is, these are very different magazines. I truly think that. I think they think that,” he continued. “If you look at what this is going to become and the kind of tack they’re taking [is] that they are for very different readers.” While Esquire publisher Jack Essig agreed, he did note that he will now have a greater chance with Fielden to grab ad dollars in the grooming, watches and autos space. Fielden said he is still in the process of making changes, but a hasty redesign won’t be one of them. “I think it would be disrespectful and would undermine the weight of the institution,” he said, offering that since his predecessor, David Granger , left at the end of March, the magazine has already undergone a “fairly refreshed approach.” And as for masthead shakeups — Fielden hasn’t had too much of that yet. “It takes a while to get the caliber of people who can create the team. I am aware of that,” Fielden said, while flipping through a stack of old Esquire assignment cards for writers ranging from Dylan Thomas and Dorothy Parker to Tom Wolfe, William Faulkner and Truman Capote, who was paid $25,000 for his tell-all “La Côte Basque, 1965.” “For true change to take root and harden into a clear and consistent vision, it’s going to take a little time,” he said. “You set the bar high. You don’t do that by September. You do part of that by September. You set the bar over the course of a period of time where you can actually achieve it, and we will. ” 2016-05-25 13:00 Alexandra Steigrad

11 mimi jung's modern-day tea house envelops entrants within woven revolving walls focusing on the power of solace and introspection, designer mimi jung has realized a modern interpretation of a tea house that meets the needs of contemporary life, while acknowledging its religious and cultural associations. as a private meditation room, the piece offers the user a space for deep contemplation, reflection and ideation. users shift the tea house’s woven, semi-permeable revolving walls, stepping from the outside to the chamber’s hidden, isolated interior expanse. built from poly cords, aluminum and douglas fir, the need to physically push and pull the house’s concentric walls emphasizes the tension between polar opposites — internal and external experience — whose existence depends on their contrast with one another. within the shifting structure, a low wooden table positioned at the core of the space invites the occupant to sit in solitude and create a ritual of their own. the ‘tea house’ focuses on the power of solace and introspection the work forms part of the exhibition ‘progressland’ at chamber gallery: chapter two of collection #2, curated by filmmaker and photographer andrew zuckerman. the showcase — on from now until august 2016 — surveys a selection of designed objects that bring nature closer to the living environment, particularly focusing on the intersection between nature and progress through the themes of exploration, pioneering, and innovation. the installation is built from poly cords, aluminum and douglas fir a low wooden table at the core of the space invites occupants to sit in solitude as a private meditation room, the piece offers the user a space for deep contemplation the need to physically push and pull its concentric walls emphasizes the tension between polar opposites 2016-05-25 12:30 Nina Azzarello

12 pebble '2' 'time 2' and 'pebble core' wearables pebble returns to kickstarter with two updated smartwatches plus, an entirely lightweight, hackable 3G connected device unhinged by any smartphone. kickstarter campaign on for the latest pebble devices the ‘pebble 2’ and ‘time 2’ are heart-rate enabled devices covering two different price point markets. each with built-in activity tracking and an updated suite of health tools, pebble is striving to be the only wearable a user will ever need. each comes standard with multi-day battery life, water resistance down to 30 meters and displays readable indoors and out. like the rest of their products, ‘pebble 2’ and ‘time 2’ work with both iOS and android smartphones. the fresh addition, ‘pebble core’ doesn’t belong on the wrist. the clip-on design attaches to armbands, hip pouches and completely disconnects from a smartphone with built 3G connectivity. the tiny device streams music from spotify and syncs GPS data with apps like ‘runkeeper’, ‘strava’ and under armour ‘record’. the most important feature to the ‘core’, is its complete open-source accessibility. basically, the pebble is a hackable computer that fits on a keychain to become anybodies magic button for anything. hackers can make the device call an ‘uber’, track a pet from across the world and stream data from a car’s ODB port. with 4GB of onboard storage and bluetooth wireless linking, it also be a basic music player. as usual, pebble is making all their new devices available through a kickstarter campaign with plans to ship the ‘pebble 2’ and ‘time 2’ as late as november 2016 and pebble ‘core’ in january 2017. 2016-05-25 12:15 Piotr Boruslawski

13 tezi gabunia creates surreal images of big heads inside famous galleries tezi gabunia is an artist from georgia whose methodology is called ‘falsification’ where he creates a reflection upon the basic features of the contemporary world. in 2011 he opened his painting studio and has produced over one-hundred paintings, as he has industrialized the process of art creation which currently permits him to publish a new production on the internet every two weeks. ‘put your head into gallery’ emphasizes the artist’s concept by triggering a dialogue about hyper-realistic issues in art. the interactive project consists in exact miniature copies of famous art exhibition spaces like the saatchi gallery, the tate modern, the louvre and the gagosian gallery, aiming to bring the galleries to the visitors and not the other way around. the concept of falsification is present when he presents a false exhibition and by scaling the spaces and creating exhibitions that don’t exist. people are encouraged to put their heads inside the scaled models were a picture is taken. the main technical support used during the production of models was later cutting technology materials included PVC, plexiglass, wooden paper, and two-component glue. watch the video to see how the images were made video courtesy of tezi gabunia four different models of famous galleries’ rooms were created the project also involves exhibitions of different artists the transportable feature of the models makes these galleries accessible for everyone with the picture, the user becomes part of the exhibition put your head in the gagosian gallery designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-25 11:30 T Gabunia

14 Steve Martin Drives Up Lawren Harris's Prices Want to get your hands on a painting by Steve Martin 's favorite artist? It's going to cost you. Thanks in part to the actor and comedian's well- documented love of Lawren Harris (1885–1970), the Group of Seven landscape artist is achieving new heights at auction. Thanks to the success of " The Idea of North : The Paintings of Lawren Harris ," the artist is finally getting his due in the United States, and is getting a second wind in Canada. The exhibition is curated by Martin and co-organized by the Hammer Museum in Los Angeles and the Art Gallery of Ontario. It is currently on view at the Museum of Fine Arts Boston through June 12, and will open in Toronto on July 1. Related: Take a Peek Inside Steve Martin's Art Collection "It's been very positive for Harris and for Harris's market," Robert Heffel, vice president of Canada's Heffel Fine Art Auction House, told artnet News in a phone conversation, calling Harris "one of Canada's most important artists. " The auction house is looking forward to three potentially big Harris sales at its spring sale of fine Canadian art on May 25. According to the artnet Price Database , Harris's auction record before the "The Idea of North" exhibition opened was CAD $3.5 million ($3.35 million), set at Heffel on November 26, 2009. Six years later, that record was broken twice on a single night, with Heffel's sales of Winter Landscape for CAD $3.66 million ($2.75 million) and Mountain and Glacier for CAD $4.6 million ($3.46 million). The lots both far outstripped their pre-sale estimates of CAD $ 1.2 million– 1.6 million ($900,000–1.2 million) and $ 1 million–1.5 million ($ 750,000– 1.1 million), respectively, and became the second- and third-most expensive paintings by a Canadian artist ever sold at auction. "We did see more interest in Harris's works from outside of Canada last fall," said Heffel. Those pre-sale predictions align pretty closely with the next Harris painting to make it to the secondary market. Laurentian Landscape (1913– 14) is pegged at CAD $1.2 million–1.6 million ($915,000–$1.22 million). Considering the artist's recent performance at auction, and the painting's bonafides, it's not hard to imagine it going for considerably more. Art historians count this canvas as one of two key works for the Group of Seven. "It's a very important early example of the beginning of the Canadian school of landscape painting," said Heffel, noting that the over 100-year-old work "still looks modern and fresh today. " The current owner bought the landscape from Toronto art dealer G. Blair Laing in 1966 for CAD $8,400 ($6,400). The upcoming sale marks the first time the canvas, which shows a distinct Impressionist influence, has ever been offered at auction. "It certainly has roots in French Impressionism," said Heffel. "The Group of Seven was was trying to take that further and make a real Canadian identity. " The sale also includes two additional Harris paintings, albeit ones that carry more modest expectations. Coldwell, Lake Superior, Lake Superior Sketch XXII (circa 1924) could bring in CAD $450,000–550,000 ($343,000– 419,000), while Mount Sampson, Maligne Lake (1924) is expected to hammer down at CAD $250,000–300,000 ($190,000–229,000). Both canvases were created while Harris was travelling with fellow Group of Seven painter AY Jackson to regions that feature prominently in his oeuvre (Lake Superior and the Rocky Mountains). Heffel described the two pieces as "more classic Group period Lawren Harris works" that more closely resemble the paintings in "The Idea of North. " The lower estimate is in part because they are oil on board paintings, rather than canvas works, which are becoming increasingly rare at auction as they enter museum collections. "We do see this somewhat as a crossover moment," Heffel noted. "We're seeing more and more Americans being interested in other Canadian artists as well, such as Emily Carr and other members of the Group of Seven. " He added, with hope,"Canadian art is beginning to come into its own abroad. " Follow artnet News on Facebook. 2016-05-25 10:06 Sarah Cascone

15 Georgia O'Keeffe Museum Buys 'The Barns' The Georgia O'Keeffe Museum has revealed that it was the buyer of The Barns, Lake George (1926), last week at Christie's New York , where it bought the painting for just $3.3 million. It came from the estate of Marion "Kippy" Bolton Stroud, the artist and philanthropist who died in 2015. Related: Georgia O'Keeffe Wanted This Watercolor Destroyed—Here's Your Chance to See It Before being shown at the Kunsthaus Zurich in 2003–04, the painting had not been on view since 1954, when it was displayed at the gallery at the University of Nebraska, Lincoln. It had previously been included in her 1946 retrospective at New York's Museum of Modern Art. It will go on view at the Santa Fe museum within the next few months, said director Robert A. Kret in a statement. O'Keeffe , beloved for her flower paintings and her depictions of the American Southwest, holds the record for a work by a female artist at $44.4 million, set at Sotheby's New York in November 2014 with her 1932 flower painting Jimson Weed/White Flower No. 1. The purchase price for The Barns, Lake George makes it the fifteenth-priciest O'Keeffe canvas, according to the artnet Price Database. The same work, measuring just under three feet wide, had come to auction at Sotheby's New York in November 2001 and fetched $1.1 million, again according to the artnet Price Database . The painting depicts a group of buildings on the upstate New York estate of O'Keeffe's husband, photographer and dealer Alfred Stieglitz . "The barn is a very healthy part of me—there should be more of it—it is something that I know too—it is my childhood," the artist wrote, according to the museum, referring to her upbringing on a Wisconsin farm. Follow artnet News on Facebook. 2016-05-25 10:04 Brian Boucher

16 Camille Henrot’s Art Inspired by Mondays in Rome Related Artists Camille Henrot While some people don’t like the Mondays, Camille Henrot has made it her theme of her first solo show in Italy. The French artist has been a coveted name since winning a Venice Silver Lion. Henrot, born in Paris in 1978 and now based in New York, was awarded the prize as most promising young artist at the 55th Venice Biennale in 2013. “Monday” at Fondazione Memmo in Rome displays bronze sculptures and site-specific fresco paintings, a technique Henrot approached during her residency in the Italian capital’s foundation, during which time she visited Roman palazzos and immersed herself in their history. This new cycle of works is the first chapter of a larger series devoted to the days of the week. The unusual subject is connected to Henrot’s interest in human conventions, in the way mankind has divided the year in weeks, and conferred to each of the days a unique “personality”: Monday is both the “gloomy” day, prone to melancholy, and the time of the week that leads to expectations (and disappointment). This ambivalence exists in Henrot’s zoomorphic anatomies and allegorical characters: bronzes that hover between the figurative and the abstract, often including or resembling dogs. The frescoes produced for Fondazione Memmo, conceived for the walls of Palazzo Ruspoli (the 16 th -century building that hosts the foundation), depict inactive, sad or hesitant human figures, and combine painting and small objects: found documents, papers that inspired the artists and belong to her chaotic universe, a complex visual system born out of Henrot’s omnivorous appetite. The artist is interested in mythology, zoology, natural and artificial rhythms, human behaviors and addictions. Her winning film in 2013 explored our anxiety and need for classification and comprehension of the world, and her exhibition in Rome moves along that same path, although through very different media. The exhibition held at Fondazione Memmo, curated by Cloe Perrone, is the first chapter of a wider project (extending to the seven days of the week) that will be presented with the artist’s “Carte Blanche” at the Palais de Tokyo in Paris in October 2017, taking over the whole institution. But later this year, the Madre Museum in Naples will inaugurate an exhibition featuring drawings and sketches realized in preparation for “Monday.” 2016-05-25 09:54 Pia Capelli

17 David Ebony's Top Gallery Shows for May 1. Cardiff and Miller at Luhring Augustine , through June 11. Known for elaborate, immersive installations with images and sound, Canadian collaborators Janet Cardiff and George Bures Miller have reached a milestone with this haunting exhibition. The show highlights just two major, monumental works: Experiment in F# Minor (2013) and The Marionette Maker (2014), making their New York debuts. Occupying the darkened main gallery, The Marionette Maker features what at first appears to be a small, derelict mobile home, topped by large, rotating old loudspeakers, like the kind used for outdoor PA systems in arenas or public gatherings. Emanating from these speakers are a variety of ambient noises, such as airplanes flying overhead, or the sound of pouring rain crashing on a metal roof in a thunderstorm. As one approaches the camper, the interior spaces come alive with animated puppets, flashing lights, and tinkling music. It is the lair of the puppet master himself, ostensibly conjuring and creating the moving figures therein. Peering through the windows on all sides of the camper, viewers witness a dreamlike progression of images, culminating in the rear with a lifelike, and life-size female figure lying on a cot. Is she dead? After a pause to wonder, I decided that she must be fast asleep, lost in a dream state, no doubt. The effect is jarring and exhilarating. In a rear gallery, Experiment in F# Minor is a kind of interactive musical instrument, featuring a large table topped with dozens of pulsating speakers. Motion sensors placed in the room trigger sounds emanating from the speakers. Visitors, therefore, as they move around the room, launch sad violin tones, choral strands, guitar riffs, or electronic sounds; it's a rather New Age-sounding mix, all in the key of F# minor. 2. Cerith Wyn Evans at Galerie Buchholz , through June 25. This exhibition, by Welsh-born artist Cerith Wyn Evans, “shade / frequency. .. " centers on how the body moves through space—the gallery, city street, a landscape, or any place for that matter, absorbing light, energy, sound and sensation. The show is cool, meditative, and quietly breathtaking. Arranged in the front galleries, thin tubes of neon about five to six feet tall, in subtly varying tones of white, in singles or in pairs, lean against the wall at slight angles. Initially, they recall certain pieces by artists such as Dan Flavin or Keith Sonnier, but the impact or effect of Evans's work is unique. He refers to the series of neon elements as "Leaning Horizon," or vertical horizon lines. They convey the feeling of instruments that might indicate latitude, direction, and the time of day. In the show, the air is filled with gentle, radiant energy, and also with ambient sounds. These peculiar, high-pitched squeaking noises emanate from small, rectangular panes of glass suspended from the ceiling and outfitted with microphones, which pick up the vibrations of air as a body moves near. A rear gallery features a single tall tube of orange-red neon, leaning against the wall. In the center of the room, two potted plants, on slowly rotating platforms, more explicitly refer to nature, despite the artificial foliage. In an interview for Time Out London , in 2014, Evans said of his work, “It's really about fluidity, about drifting through the space, about sounds drifting, images drifting. You're moving from one place to another and that movement can happen physically but also emotionally. " Moving through “shade / frequency. .. " offers viewers precisely this kind of rare, contemplative reverie. 3. Cindy Sherman at Metro Pictures, through June 11. “There's nothing wrong with being fifty, unless you're trying to act fifteen," Joe Gillis famously admonishes Norma Desmond in Billy Wilder's 1950 classic, Sunset Boulevard. In that caustic and celebrated film, Desmond, an aging silent-screen star, fiercely portrayed by Gloria Swanson, seeks help from screenwriter Gillis, played by William Holden, to stage a comeback in the role of a teenager (Salome). It's all about battling the aging process, for the ages. There are numerous correspondences between that film and the striking new group of self-portrait photos by Cindy Sherman in this captivating show. Her first exhibition of new work in five years, the show marks something of a comeback for the art star, now 62, whose career spans some four decades. Since Sherman first gained art-world notice with the now-iconic series Untitled Film Stills (1977-1980), it seems reasonable that she would now choose to explore the phenomena of aging via images of herself in the guise of film divas of yesteryear. In these colorful works, she recycles publicity photos of glamorous actresses of the 1920s and 30s, such as Swanson, Mary Pickford, Garbo, and Crawford, et al. Of course, she brings them up to date in terms of large-scale, vivid color, digitized backgrounds, and an ultra-high-tech process of printing directly on metal, eliminating the need for traditional glass protection. The series is perhaps Sherman's most cohesive thematically, and the least acerbic or sardonic in tone. Without being overly sentimental, she conveys a rather moving statement about the onslaught of time. We all struggle to sustain a certain level of dignity as we grow older, so why not add a touch of glamour? 4. Tracey Emin at Lehmann Maupin , through June 18. Tracey Emin's journey of self discovery continues to unfold in the dynamic new series of paintings, sculptures, embroidered pieces, works on paper, and text wall reliefs in neon featured in this engaging show. The exhibition's title, “Stone Love" pays homage to the late great David Bowie, and was borrowed from the lyric to his song “Soul Love. " Most of Emin's works in the exhibition center on an image of a single female nude—a self-portrait loosely based on recent photos that studio assistants have taken of her. In each work, the face is obliterated. “I don't want it to be just about me," Emin told the press at the show's preview. In the work, she aims for a more universal feeling, a sense of being alone, but not exactly of loneliness. She says that after years of struggle, she has finally embraced the fact that she is without a life partner, and has devoted herself to her true passion, which is art. Having just been honored with a well-received two-person exhibition with Egon Schiele at the Leopold Museum in Vienna last year, Emin is committed to ever more adventurous explorations of the figure. Unlike many other prominent contemporary artists, she prefers a hands-on approach, reveling in the tactile qualities of clay, as she forms the works that would be later cast in bronze, and the fluidity and chance properties of the painting medium. For her, art-making is a profoundly sensuous, life-affirming activity, incorporating a rather lofty ambition to uphold the long and noble tradition of figurative painting and sculpture. 5. Rashaad Newsome at De Buck Gallery , through June 25. The hypnotic centerpiece of this exhibition of recent works by New Orleans- born New York-based artist Rashaad Newsome, the eponymous Stop Playing in My Face, is a four-minute video featuring a dazzling, kaleidoscopic merger of live action images and animated sequences. Continuously playing in a rear gallery, the film, with music by LA-based DJ and producer Hit Maker Chinx, is packed with flashing images of glittering jewels and gender-bending protagonists. The pulsating, street-smart bling carries over to the large-scale collages in the main gallery, which expound upon black- and queer-culture themes. In the collages, fragmented photos of diamonds and gold form highly stylized, imaginative portraits. Set against black backgrounds, the centralized, heraldic images are often mounted in outlandish, thick, glossy black frames, such as the octagonal Yaaaaaaas! (2016), mimicking those of Dutch paintings of the Golden Age from the Metropolitan Museum of Art, which have inspired Newsome. 6. Carmen Herrera at Lisson Gallery , through June 25. Having flown under the radar for decades, New York painter Carmen Herrera, born in Havana, Cuba over 100 years ago, today finds herself to be something of a living legend. In September, as she turns 101, the first major museum survey of her work opens at the Whitney Museum. Meanwhile, this radiant show of Herrera's recent paintings and sculpture inaugurates the cavernous New York Chelsea outpost for London's Lisson Gallery. On view are 22 large, colorful, acrylic-on-canvas compositions, and one large-scale sculpture. Like many Latin American avant-garde artists of her generation, she was inspired by the Bauhaus, and works by abstract painters such as Piet Mondrian , Theo van Doesburg, and Max Bill. And her work corresponds to US artists like Ellsworth Kelly and Leon Polk Smith. Herrera's reductive process allows just one or two hard-edge geometric shapes to dominate the canvas, and just two solid colors. Like her contemporary Bridget Riley , she designs the compositions on paper, which are later transposed to canvas by assistants. Herrera's works, such as Blue and White (2014), with vertical bands of blue and white arranged in irregular intervals, trick the eye, and might suggest a work of Op art; but Herrera aims instead toward the architectonic. 7. Carlos Salas at White Box, through May 29 “The Heart of the Matter" a traveling exhibition of abstract paintings, photos, and video, is the striking New York solo debut for Colombian artist Carlos Salas. On view are large-scale canvases, such as the luscious, watery blue Traces of Feeling 1-3 (2010) , suspended on wires several feet from the gallery floor. The muscular layering of aqua tones and fluid horizontal lines here might suggest a body of water, like a fast-moving stream or river. A large tondo, Into the Abyss (2014), dominates one wall; it features green tones with flourishes of blue, red, and gray jagged brushstrokes emanating from the center of the canvas. The composition hints at a cosmic explosion. Salas's emphasis, however, is consistently on the painting process itself, as he eschews notions of landscape, or any sort of pictorial attributes in the work. His thought process is revealed in an intimate documentary film produced by Ana Salas, the artist's daughter, screening on a number of monitors scattered throughout the exhibition. Salas's conceptual aims are clearest in A Sharp Dagger, a series of large photo works on view in a lower level gallery. Here, blow-up details of drawings shot through a magnifying glass offer perceptual challenges to distinguish between reality and artifice. 8. Jessi Reaves at Bridget Donahue, through June 5. Wacky and irreverent, but made with obvious conviction, Jessi Reaves's furniture-like sculptures and objects constitute an impressive solo debut. Stepping into the gallery space conjures a visit to a modern furniture showroom. But on closer inspection, it might be a place where the Flintstones shopped. The archaic-looking, rough-hewn details and makeshift components of the would-be couches, coffee tables, armoires, and light fixtures are bizarre in the extreme. After spending some time in the show, however, the funky charm and humor of the work gives way to a keen intelligence, and even moments of beauty. The Oregon-born New York artist makes puns on modern and contemporary art and design in a number of pieces. Mind at the Rodeo (XJ Fender Table Noguchi Knockoff #2), 2016, for example, mimics a Noguchi kidney-shaped glass-top coffee table, except that the base is made of a cut-up bumper from a Jeep Cherokee. One of my favorite works, Foam Couch with Straps (2016), echoes John Chamberlain's foam rubber couches from the 1960s. Reaves's nod to Chamberlain is certainly witty, but would anyone ever want to sit on this thing? 9. Steve Mumford at Postmasters, through June 18. From 2003 to 2013, Steve Mumford made numerous trips to the war zones of Iraq and Afghanistan, and most recently visited the Guantanamo prison complex in Cuba. A self-styled “war artist," Mumford chronicles the day-to- day tedium of war and the plight of soldiers, rather than the drama of war's victorious or humiliating moments that make up the sensational TV sound- bites that are all too familiar to most US citizens. Sketching on site, he later transforms these works on paper into oil compositions on canvas with the help of photographs. The results are refined compositions of almost super- realist precision. This show of recent works is one of his most coherent and potent to date. In one of the largest canvases, Anbar (2016), the Boston-born painter shows four soldiers in an open cockpit of a Blackhawk helicopter flying over a rural area of Iraq. The high-tech weaponry covering the soldiers contrasts jarringly with the mud shelters and rudimentary agriculture of the farm visible below. An unusual piece for Mumford, titled Text , bearing the words, “When I asked you how much sadness you have," sets the tone for the show. One of the best works on view, The Prayer (2016), is a poignant statement about a war that is all about religion—and oil. A U. S. soldier kneels in the desert, machine gun on the ground, and hands clasped in prayer. On the right, there appears to be a leaky oil drum, and in the distance, berms and barriers intended to stave off insurgent attacks. 10. Jordan Wolfson at David Zwirner , through June 25. Compared with Cardiff and Miller's gentle, dreamlike animatronics in The Marionette Maker, Jordan Wolfson's heavy-metal puppet show, Colored sculpture (2016), while similarly riveting, is nightmarish, ferocious, and unsettling. The installation features a large, painted-metal robotic boy with red hair intended to conjure Howdy Doody, Alfred E. Neuman, or Huckleberry Finn, although for some viewers, a horror film creature like Chucky, or one of the Devil Dolls, will more likely come to mind it. Suspended by chains connecting to a mechanized steel gantry, the weighty marionette moves about the space, lunging up toward the ceiling, and then abruptly crashes to the ground in violent, deafening upheavals. An extra scary touch is that the puppet's eye sockets contain facial recognition technology, so that he appears to make eye contact with viewers and respond directly to them. Periodically, speakers blast Percy Sledge's 1966 hit, “When a Man Loves a Woman," which adds a sense of humanity to the puppet, as if he is just all broken up over a botched relationship. The work's manic, wanton aggression, however, strikes me as politically charged. It seems at times to reflect, for instance, the general anger and angst of a nation in the mist of an ugly presidential election. Jordan has crafted a brilliant, monstrous work, wholly suited to our times. Colored sculpture may leave you scratching your head wondering, “What will they think of next?! " But you'll be hard pressed to turn away from this piece until the computer-choreographed puppet has completed its approximately 15-minute dance macabre. David Ebony is a contributing editor of Art in America and a longtime contributor to artnet. Follow artnet News on Facebook . 2016-05-25 09:44 David Ebony

18 Morning Links: Cake Theft Edition The cover of Caitlin Freeman’s Modern Art Desserts , published in 2013. COURTESY MODERN ART DESSERTS FOOD FOR THOUGHT A Blue Bottle pastry chef claims SFMOMA stole her cake ideas. [Grub Street] Saltz on Guston. [Vulture] “What’s the world coming to when you can’t even have a non-functioning guillotine in your yard without someone taking it?” [The Daily Star] CONFLICT RESOLUTION Brazil has reinstated its culture ministry after thousands protested its dissolution. [Reuters] A settlement has been reached in the case of ownership over Picasso’s plaster Bust of a Woman sculpture involving the Qatari royal family, billionaire Leon Black, Picasso’s daughter Maya Widmaier Picasso, and dealer Larry Gagosian. [Bloomberg] MUSEUMS Street artist JR will make the Louvre disappear for one month by hanging a huge trompe-l’oeil photo of 16th century buildings in front of it. [Wall Street Journal] Twelve museums where you can spend the night. [Travel + Leisure] British museums and the Art Fund announced that they have started a campaign to £10 million (about $14.5 million) to ensure that Queen Elizabeth I’s Armada Portrait remains in Britain, now that the painting’s heirs have decided to sell it. [The New York Times] EXTRAS Cynthia Daignault at Stems in Brussels. [Contemporary Art Daily] 2016-05-25 08:57 The Editors

19 RD offices & facilities completed by atelier deshaus atelier deshaus has realized a RD office and manufacturing facility in anting, an automotive industry center in jiangding district, shanghai. four levels tall with an area of 36,600m2, the complex is organized by a central courtyard that brings natural light into its depths. at ground level, enclosed units with glass brick walls serve as garage facilities for vehicles. both sides of the structure are comprised of various small volumes that function as office spaces. a sense of cohesiveness was created with verticality towards the sky, at the courtyard designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-25 08:45 Xue Shu

20 Xu Lei Launches First US Solo Show Artist Xu Lei is best known for his blue-hued paintings on silk that depict surreal scenes aimed at portraying China balancing tradition with an inventive spirit. Until now, his popularity has been concentrated mostly in China and, to a lesser extent, in Europe. He is far less familiar to US collectors, but now Marlborough Gallery is aiming to change that with its recently opened New York show "Xu Lei: New Work ," that includes 12 Chinese ink and mineral on silk works, and one sculpture. This is the artist's first solo exhibition with Marlborough and his first major solo exhibition in the United States. Since the opening on May 12, seven of the paintings sold in the first week alone, and at least one New York-based collector bought one, confirms gallery director Doug McClemont. In addition, the single sculpture in the show sold on opening night. To date, more than 100 of the artist's works have already appeared at auction, mostly from Chinese auction houses. In 2014, the number of works offered peaked at 25, which brought a total of $9.4 million, though that number has dropped in recent years, perhaps owing to scarcity. In 2015, a total of 14 works were offered at auction, bringing in $3.4 million, according to artnet Analytics. This year, just two works have been offered at auction. The artist's $3 million record was set at China Guardian in 2014, for a four- part rainbow rock painting, Rainbow Stone (2012-2013). Last April, another Chinese auction house, Poly, sold Descent of the Moon (2009), an ink and color on paper work, for $761,000. "Within each painting, there is sort of a beginning and an end," McClemont told artnet News, noting that "The rainbow being the most ephemeral thing in the universe [is] then made solid and permanent…" Xu trained in classic Chinese painting techniques, using traditional tools including silk, paper, ink and mineral pigments. He graduated from the Fine Arts Department of Nanjing Arts Institute in 1984. Though he was active in the avant-garde "85 New Wave," moment, in the 1990s he chose to return to traditional techniques such as the "elegant, precise strokes,of gongbi," as Lily Wei points out in the catalogue essay "Dream Realism," for the current show. "It is a style of brushwork that suits realistic formations, originating in the Han dynasty and attained its highest level of refinement during the Tang and Song eras. " Another aspect of the artist's wild popularity in China is his technique and unusual materials. "It's all on silk and he uses a mineral pigment—literally rock and plant forms with glue ground into a paste with the pigment, and the silk accepts the mark. It is the most unforgiving surface with this rocky, glue material that he's painting with, and there isn't a mark out of place," said McClemont. Xu's work has been featured in group exhibitions all over the world. He has had solo shows at Jiangsu Art Museum in Nanjing (1994), the Library of Congress Asian Division in Washington, D. C. (2008), Asia House in London (2011), the Today Art Museum in Beijing (2013), and the National Museum of China in Beijing (2016). His work is in the collections of institutions including the Shanghai Art Museum, the Jiangsu Art Museum, the Today Art Museum, and the Nanjing Arts Institute. The show runs through June 18 at Marlborough's 57th Street space. Follow artnet News on Facebook . 2016-05-25 08:28 Eileen Kinsella

21 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-25 11:12 GDUSA Staff

22 Rome Needs Over $500 Million, Seeks Private Help- The city of Rome has issued a public plea to the tune of €500 million for essential repairs to the ancient city which it cannot pay for, as Rome is €12 billion ($13 billion) in debt. The ancient center of Rome with sites such as Forum and the Circus Maximums, which are huge tourist attractions thanks to their massive historical significance, as well as aqueducts and sewage systems are in need of both cosmetic and structural repair. The idea of reaching out to individuals and organizations to help finance repairs to the city was the brainchild of Francesco Paolo Tronca, the Italian official put in charge of running Rome after a huge corruption scandal came to light last year. He has masterminded schemes including fashion house Fendi's funding of the restoration of the iconic Trevi Fountain , footwear and accessories brand Tod's repairing the Coliseum, and Bulgari helping out with the Spanish Steps . "We need new strategic ideas. We have to create a link between the people living above the modern city and the ancient city that lies beneath them," Tronca told AFP. "We need help to ensure Rome continues to be a reference point in terms of beauty for the whole world," he added. Following the success of these collaborations with private companies and individuals, a further list of repairs has been put together. Any donor with a cool €10 million to spare could get credit for restoring 80 Roman fountains. For a more modest contribution of €600,000 one could help repair the aqueduct that feeds water to the Trevi Fountain. But also contributions of as little as €300 can be made which will pay for weeding the ancient market situated around Trajan's column. However, for those wishing to really make their mark there is a €9 million price tag on the creation of a walkway from which people can observe the Aurelian walls built in 3AD which are is desperate need of repair. Follow artnet News on Facebook. 2016-05-25 08:04 Amah-Rose

23 Art Basel Names Abigail Reynolds for Third BMW Art Journey Art Basel has announced British artist Abigail Reynolds as the winner of the third BMW Art Journey. Selected unanimously by an international jury from a shortlist of three artists whose works were exhibited in the Discoveries sector at this year’s Art Basel show in Hong Kong, Reynolds won the BMW Art Journey for her project “The Ruins of Time: Lost Libraries of the Silk Road.” With an artistic practice closely linked to books and libraries, Reynolds draws inspiration from literary essays and figures to imagine places and moments from the past, present and future, according to Art Basel. For her BMW Art Journey project, Reynolds will trace sixteen sites of libraries lost to political conflicts, looters, natural catastrophes, and war. Commenting on their selection in a joint statement, the five-member international jury said: “Abigail Reynolds submitted a monumental, poetic and memorable proposal. Her articulate project links the contemporary to ancient history by researching the phenomenon of destroyed libraries, which has existed for thousands of years.” “Her journey will take her along segments of the Silk Road, which has not lost any of its political and cultural resonance. It will be fascinating to see where this ambitious journey – which is so thoroughly rooted in her practice of translating literary materials into visual language – will take her, both physically and creatively.” 2016-05-25 06:33 Nicholas Forrest

24 Brazil Reinstates Culture Ministry in U-Turn The move to subsume the Brazilian cultural ministry into the education ministry following the recent impeachment and suspension of President Dilma Rousseff has been reversed. Interim President Michel Temer will reinstate the cultural ministry, which was to be merged with education to save money, on Monday. Bitter protests from the arts and culture community followed the initial announcement to fold the ministry and in fact, it is thought that the government was persuaded to reverse the decision as a result of the general outcry from the strong cultural community in Brazil, according to Reuters. After the announcement was made on May 12, Brazil's cultural elite, including many artists, filmmakers, musician, and members of cultural organizations staged an occupation of government buildings across 11 cities in Brazil . Caetano Veloso and Erasmo Carlos, well-known musicians from the tropicalia and rock and roll movements in Brazil, then held a concert in the occupied Education building in Rio de Janeiro last Friday, May 20, in protest of the decision. Immediately after the decision to fold the ministry of culture was made public, Temer caused further ire by appointing Marcelo Calero as culture minister after promising he would appoint a woman in the role. In an effort to win over the creative community, Temer offered the positions of running the scaled-back cultural ministry to the actress Bruna Lombardi and the singer Daniela Mercury who both refused the offer. This is the latest reversal of policy made by the interim government following the impeachment of left-wing President Rousseff and a rush by her right- leaning successors to push through changes. Planning minister Romero Jucá announced via Twitter that further austerity measures would be put into place on Tuesday after meeting on Saturday with Temer and finance minister Minister Henrique Meirelles. The move to cut the ministry was made as part of an effort by Temer to reduce the number of government ministries from 23 to 10. The ministry will be reinstated by presidential decree with new culture minister Calero taking office on Monday, May 30. Follow artnet News on Facebook. 2016-05-25 06:27 Amah-Rose

25 studio klang create a surreal multi-layered alphabet for 36 days of type studio klang create a surreal multi- layered alphabet for 36 days of type (above) letter ‘A’ all images courtesy of studio klang ’36 days of type’ is a a project that invites designers, illustrators and graphic artists to interpret and create different letters and numbers from the alphabet. participants are challenged to design a letter or number each day and post their outcomes on instagram. studio klang responded to the brief by inventing a typographic series that incorporates architecture, beautiful women and ordinary mundane objects. the extravagant letter forms contain a hypnotising appearance revealing well known buildings including zaha hadid’s heydar aliyev center. the collages trace the silhouette of each individual character, through photomontages, neon colors and geometric shapes creating bizarre pop-art compositions. you can find the whole alphabetic series here. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-25 06:15 Valeria Prada

26 Did Vincent van Gogh Predict the Ozone Hole? THE DAILY PIC (#1557): Vincent van Gogh painted this streetscape in Auvers- sur-Oise in 1890; his death may have prevented him from finishing it. It's a key work in the Met Breuer show called “Unfinished: Thoughts Left Visible," because it is both incomplete and the end- point of the style known as non-finito, invented 300 years earlier in Venice by Titian. It proves how utterly different the two concepts are. For all the newfound brushiness of van Gogh's art (he'd only discovered Impressionism a few years earlier), he still wanted each of his pictures to be a finished representation of its subject, as seen through the lens of his freeform style. That's what we get in the bottom half of this picture. Its top half, although not totally un-van-Gogh-ish in look, is in fact simply unfinished – it fails to represent the sky according to any terms van Gogh would have understood. Or rather, in the terms that he knew, it had to represent a sky with holes in it, not simply a white field with blue marks. Non-finito stands for the outstanding, unlikely power of paint to represent; the simply unfinished, on the contrary, puts representation, and the world it depicts, at risk of breakdown. In his delicate psychic state, van Gogh would have grasped the distinction. Florid non-finito was a sign of his will to live; it took death to bring on the unfinished. (Ateneum Art Museum, Finnish National Gallery, Helsinki; Antell Collection) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-05-25 06:00 Blake Gopnik

27 27 Seattle Gets a Motorized Floating Sauna by goCstudio Architects A Kickstarter-funded motorized floating sauna will provide an unusual retreat for Seattle residents this year. Floating architecture has been going strong: What may have seemed like a gimmick only a few years ago has become a celebrated, imagination- inspiring, Zeitgest-y gimmick. London has been looking at Amsterdam for solutions to its housing problems, with Floating Homes Ltd even proposing a number of buoyant housing options for those squeezed in by millionaires, copying the elegant floating houses by BYTR Architects , Framework Architecten , and Studio Prototype. On the other side of the Atlantic, MOS Architects has floated a cabin on Lake Huron, while NLÉ architecture studio has created a floating school on a Nigerian lagoon. AT Design Office have gone one step further, proposing an entire city on water for China. And let us not forget the original Kickstarter floater: the + POOL in New York City. The wa_sauna (named after Washington state, where Seattle is located) has been built through a combination of donated funds and labor, by goCstudio and friends, and can accommodate up to six lovers of heat and water. “The purpose of the sauna is to create a place of refuge for locals, to give them a new perspective on their city and provide a space to relax, reflect, and reinvigorate out on the water year round.” So says goCstudio , an architecture firm founded in 2012 by Aimée O'Carroll and Jon Gentry. The sauna was inspired by the Scandinavian tradition of combining outdoors living with sweating in mid-winter: “we felt it would be a fitting project for Seattle, a city surrounded by water and known for its long winters.” A prefabricated aluminum frame and marine-grade plywood of this floating box are 240 square feet in area, and 4,500 pounds in weight only. Built for a very modest $20,000, the sauna is powered by an electric trolling motor, which can carry it quietly around the lakes surrounding Seattle, and has an on-board wood burning stove. The cold post-sauna plunge is provided, naturally, by the lake. 2016-05-25 05:11 Jana Perkovic

28 A Brief History of the Berlin Biennale The introduction to the 9th Berlin Biennale on the official Berlin Biennale blog breaks down art world boundaries and hierarchies in its unusual disposition. Curated by post- Internet rooted curatorial team DIS , the 9th Berlin Biennale , which will take place from June 4 until September 18 2016, rejects normative expectations of the event in a procession of “may's or may not's. " An event based on the exhibition of contemporary art may or may not even be about contemporary art at all. "We feel consumed by individualism staged in the face of the utter powerlessness of the individual in the age of the Anthropocene and Big Data," DIS' Lauren Boyle explained at a press conference in February. "Our proposition is simple," Boyle offered. "Instead of pulling talks on anxiety, let's make people anxious; rather than symposia on privacy, let's jeopardize it; instead of talking about capitalism, let's distort it […] instead of unmasking the present, this is the present in drag. " In addition to the traditional location at the Kunst-Werke (KW)—which is the institution responsible for organizing the Biennale—the venues chosen by the curators are sites emblematic of the changes that the German capital has undergone in the past decade , and reflect the curators' thematic focus on the paradoxes of our time. The participating artists reflecting on the "present in drag" will show at public and private locations, blurring lines between institutional purposes: The Akademie der Künste, the European School of Management and Technology (ESMT), the newly minted Feuerle Collection , a sightseeing boat touring the river Spree, and KW. However, much of the program takes place on the Internet with the section " Fear of Content, " which hosts articles by artists and theorists as well as artworks all created especially for the platform. Los Angeles-based performance artist Puppies Puppies will post a new video online every day of the biennale, starting today. Taking a look at the history of the Berlin Biennale, which was started by Klaus Biesenbach in 1998, the exhibition has always been concerned with an interdisciplinary approach in the exhibition of contemporary art aimed at an international audience, yet rooted in Berlin's physical and cultural landscapes. The first Biennale titled “Berlin/Berlin" was curated by Biesenbach together with Hans Ulrich Obrist and Nancy Spector, and utilized as its main venues the KW Institute, the then-still-derelict building of the Academy of the Arts at Pariser Platz—which has since been completely refurbished, prompting the 9th Berlin Biennale to revisit it—and the former exhibition space Postfuhramt. The second Biennale, which did not take place until 2001—three years after the birth of the event—was curated by Saskia Bos and was heavily involved with international artists. But the artists were not the focus of this Biennale— the public was. Using the original venues of the first Biennale in junction with public transportation spaces and Berlin's Treptowers, which house the corporate collection of Allianz, the second Biennale encouraged public participation as a means of moving away from elitist art world approaches. The third Berlin Biennale, in 2004, took place another three years after its predecessor and brought back the focus on local art and knowledge production present in the first edition. Curated by Ute Meta Bauer, the third Biennale maintained the main KW venue but also traveled around the city, settling in the well-known Berlin exhibition hall Martin-Gropius-Bau and showing films at the cinema Arsenal. This Biennale was divided into five core themes called “hubs," which focused on issues of connections in the context of Berlin's history and present topography. Curated by Maurizio Cattelan , Massimiliano Gioni, and Ali Subotnick, the fourth Berlin Biennale in 2006 was the first to begin the “every-two-years" format that biennials traditionally employ. Titled “Of Mice and Men," this iteration was laid out in a curious disposition; mimicking a story with various characters and universal fates more so than a traditional exhibition. Following its unusual layout, the fourth Biennale was housed in a sequence of unconventional venues all located along Auguststraße in Berlin-Mitte, almost predicting the subsequent exodus of galleries from this former East- Berlin district to the west. Two years later, the fifth Berlin Biennale titled “When Things Cast No Shadow," spread through the city in old and new venues and was divided between day and night. Curators Adam Szymcyzk and Elena Filipovic dedicated the daytime portion to a more traditional exhibition of works, whereas the nighttime was reserved for “events“ that rejected the boundaries of the gallery space through the use of less traditional mediums such as lectures, performance, films, and workshops. In 2010, the sixth edition titled “What is Waiting Out There," took a contemplative stance on contemporary art as well as its role and relevance in the present-day context. The Biennale was curated by Kathrin Rhomberg and in addition to the traditional KW location, was also spread around the district of Kreuzberg, with one presentation even taking place inside an apartment used by artist Danh Vo at the time. Despite the thoughful curatorial conceit, some saw this edition as the harbinger of the gentrification of Kreuzberg. The seventh Berlin Biennale, curated by artist Artur Żmijewski, differed from its predecessors in one drastic detail—participation was entirely free of charge. Offering free access to the public was in some ways necessary when dealing with an exhibition concerned with the encouragement of social involvement and responsibility in relation to political discourse and social change. Heavily political, the seventh Biennale received wide media attention: it was covered by news programs such as Al-Jazeera and CNN and written about in various publications. Its impact was so far-reaching partly due to the fact that its effects outlived the Biennale itself. For example, Łukasz Surowiec's piece "Berlin-Birkenau," which displaced birches from former concentration camp Auschwitz-Birkenau and re-planted them throughout Berlin, continues to impact the city to this day. Similarly, lectures, workshops, and performances encouraging social change similarly prompted a wide audience to reconsider their future involvement in political action far past the closing of the exhibition. While the seventh Berlin Biennale was heavily rooted in the notion of change for the future, the eight Biennale instead focused on a historical past. Curated by Juan A. Gaitán, this latest Biennale made use of four distinct exhibition venues throughout the city, including the soon-to-be- closed Ethnological Museum in Dahlem , whose entire collection is slated to relocate to the controversial project in the center of the city , the Humboldt- Forum, which replicates a 15th century Prussian palace. Fittingly, the biennale explored the relationship between history and individual narrative. Establishing itself as an “open space" for experimentation and critical examination of the art world's latest trends, the Berlin Biennale enters its 9th incarnation this coming June with an outlook promisingly akin to this vision. The young DIS curatorial team places a large focus on creation for the most public and democratic of all forums—the Internet. In this fashion, the ninth Biennale suggests an involvement with this ever-growing digital force driving and connecting today's societies and individuals. Additional reporting by Hili Perlson. The 9th Berlin Biennale will take place from June 4 to September 18, 2016. Follow artnet News on Facebook. 2016-05-25 05:03 Carol Civre

29 sP+a forms sculptural timber arcade for restaurant in mumbai sameep padora and associates (sP+a) have shared their recent ‘CRAFT’ project – a restaurant based inside the phoenix market city mall in mumbai. with majority of the retail and commercial spaces characterized by typical glass façades, the architects decided to subvert this cliché and develop a dynamic wood arcade that simultaneously serves as the façade and the seating booths inside. the sculptural feature was assembled by the motion of stacking and rotating of the horizontal wooden members around a pivot point. the result sees a organic and fluid ‘fanning’ effect that punctuates the glass frontage but acts as a focal point inside the restaurant. furthermore, the warmth of the timber and the intimate scale of the booths is offset by the service bar, kitchen and ultimately into the alfresco dining space. read our interview with architect sameep padora of sP+a architects here. designed as a wooden arcade, the wooden member are pivoted and rotated to form the façade and booths the arcade serves as a focal and decorative point of the restaurant the timber feature curves to instill a sense of privacy for the seating booths diagram of the pivoting movement of the timber members 2016-05-25 04:05 Natasha Kwok

30 Penske Media Corp. Appoints George Grobar as Chief Operating Officer Penske Media Corp. has appointed George Grobar chief operating officer of the company. Grobar most recently served as executive vice president for PMC , which owns WWD , Variety , Footwear News, Deadline, Indiewire, TVLine, Hollywood Life, Gold Derby and Variety Latino. In the new role, Grobar will work with PMC’s business leaders to develop growth strategies, achieve operational and financial plans across the company’s portfolio of titles, integrate the company’s acquisitions and expand its digital footprint. “George is an accomplished executive with more than 25 years of financial and operational leadership experience,” said Jay Penske , PMC chairman and chief executive officer, to whom Grobar will report. “Over the last decade, George has been one of the single greatest contributors to PMC’s success and relentless growth. His knowledge and expertise will undoubtedly continue to be instrumental as we continue to scale the business globally.” As chief operating officer, Grobar will oversee all PMC sales and operations, and will be responsible for all organizational plans and budgets companywide. In addition to his new job, Grobar will continue to serve as a director on PMC’s board, as well as on the board of PMC’s joint-venture in India with Zee TV. “PMC has been rapidly expanding and there are tremendous opportunities for growth in both our current businesses and ones we will undoubtedly be adding,” Grobar said. “PMC is one of the few companies on the Internet that can boast having profitable brands across our entire portfolio. That is something we are truly proud of, and would not be possible if we did not have such powerful brands as well as truly world-class people throughout the company. Getting the chance to work with this team is rewarding and I look forward to the challenges ahead.” Grobar joined PMC in 2009 as chief financial officer, and was actively involved in integrating new acquisitions in the company, as well as building the PMC’s joint-venture division in India, which includes India.com and Bollywoodlife.com, The Health Site, Cricket Country and BGR India. He also helped integrate the Variety and Fairchild operations. Prior to PMC, Grobar spent 13 years at The Walt Disney Co. and eight years in manufacturing and product development at Unisys Corp. His roles at Disney included senior vice president of mobile, vice president of e- commerce, cfo for Disney direct marketing and Walt Disney Art Classics and director of business operations & control for the consumer products division controllership. 2016-05-25 04:01 Alexandra Steigrad

31 Model Call: Aqua Parios Mesmerizing new face Aqua Parios, of African-American and Japanese heritage, grew up in Las Vegas before relocating to Phoenix, where she was discovered while shopping after cheerleading practice. Now 19 and based in New York, the high-school graduate just wrapped her first major runway season, walking for Marc Jacobs , Anthony Vaccarello , Narciso Rodriguez and Prabal Gurung. Parios’ love of music stems from her grandfather, Phil Phillips, who wrote the hit “Sea of Love” in 1959. She gets her first name from one of his songs. I got the “You should be a model” thing a lot, but I was really into music and I wanted to be a singer. I was into acting, too; I did a lot of theater. Modeling didn’t really pop into my head until I was scouted. Right now, I’m living in a model apartment, and it’s really nice to get to know the girls and get different perspectives on the world. It’s helping me grow up. It’s so diverse and refreshing to be in a city where everyone is so accepting of each other. In a smaller town, there’s not as much to see. Here, you experience so much — you’re just thrown into it. I love the art. I love that you walk outside and there are people playing music in the street. I got to the casting and they say, “Put on a dress and put on these shoes.” They were like, 10 inches tall. [Stylist] Katie Grand was like, “You’re gonna need to practice.” I put them on, practiced a few times, then I left. Around midnight, my booker calls and he’s like, “Go to the Marc Jacobs fitting right now.” I get there, wait two hours, and they tell me to leave. Then I get another call. My booker calls again and says, “Welcome to Marc Jacobs — you gotta go right back.” I was like, “There’s no better way to spend my three-in- the-morning than at a Marc Jacobs fitting.” I finished my fitting, got home around 4 a.m. and the call time for the show was 9 a.m. I was tired, but so hooked on adrenaline. My whole family was waiting by the computer for the show to start. All the girls work so hard for that moment.…It was the most exciting show of my life. I’m really into fashion, and particularly shoes. I’m working on some shoe designs, so I’ll see what happens with that. I’d like to use modeling as a platform to create fashion and also to set an example for young girls. So many people look at the modeling industry and have such a different view on it.…It seems superficial and all about body image. But I’d like to teach girls that you don’t need to have a full face of makeup and you’re OK the size that you are. Embrace who you are, your talents and the things that you love to do. 2016-05-25 04:01 Kristi Garced

32 Alexander Wang Takes See-Now-Buy-Now Approach to Resort 2017 Alexander Wang is trying something new for resort 2017. The designer will show the collection to press and retailers as he usually does in June, but all images and reviews of the resort lineup will be under embargo until the collection ships in November. In that respect, this is a strategy several designers have experimented with over the last pre-collection seasons. Wang is doing so with a caveat: He will show a selection of resort items on his spring 2017 runway during New York Fashion Week in September. So while the full resort images will be under embargo, the items shown on the runway will publicized with the spring lineup. 2016-05-25 04:01 Jessica Iredale

33 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood as a kind of technology unto itself. The 3rd Istanbul Design Biennial proposes that the ultimate aim of design is a redesign of the […] 2016-05-25 06:19 By

34 VIDEO: George Wong, Chairman of Parkview Group Related Artists Salvador Dali Tom Dixon Philippe Starck George Wong is peering attentively at some figures on a screen — stock prices, perhaps — when I arrive at his Beijing office for this interview. Hung on the wall just behind him is a futuristic, somewhat gaudy Pop portrait of Wong and his wife by Chinese artist Feng Zhengjie, all neon pink, yellow, and green. Wong himself wears a simple black T-shirt with a small, stylized carp motif on his left breast, his luxuriant salt-and-pepper hair neatly combed back, giving him an air not so much of an ageing rocker, but rather some kind of new-age technocratic sage. As chairman of Hong Kong’s Parkview Group , Wong has spearheaded a number of the most ambitious real estate and commercial developments in Asia and created some of its most scenic urban landmarks, including the Hong Kong Parkview residential complex, the Parkview Dingshan Hotel in Nanjing, and the Hotel Eclat in Taipei. With a small empire of galleries already under the Parkview brand located in Beijing, Shanghai, Hong Kong, and Taipei, Wong is currently looking to open another art space by the end of the year in Singapore’s Parkview Square, an imposing Art Deco skyscraper that looms over the Arab Street and Bugis downtown districts. “For Singapore, we will have an exhibition space in Parkview Square, the classic Art Deco building that my father built. I’ve been trying to introduce various art elements into our building. It won’t be just an office — right now it’s got a bar, sculptures, and artworks from different time periods,” says Wong. More than the prospect of new business and fresh clientele, however, the new Singapore gallery will be about having a point of contact with the local art community. “Just as with all our galleries, hopefully this one will make money,” Wong tells me, with disarming candor. “But to me, what’s far more important is for the locals to know about art, and our artists. It’s all about communication, and exploring the possibility of getting to know more people.” Wong also has a firm foothold and strong art network in Europe — specifically Italy, some of whose artists he collects, and Florence in particular. “Florence is a very important city, as far as I’m concerned. I like Florence more than any other city in Italy, because of the culture, and especially the food and wine. Bloody hell, the food is really good there! So I set up an office there, and a small art gallery that can serve as a contact point for Italian artists who might want to come to Asia,” says Wong. While many Chinese collectors have won themselves quite a bit of media attention in recent years for the sprawling premises and ambitions of their private museums, Wong doesn’t really think about his passion for art, and his considerable art collection, in these terms. “I’ve never really thought about a museum, as I mostly think in terms of exhibition spaces. I’d like to have more exhibition spaces in different countries and cities,” he says wistfully. “I’m too old to have my own museum — and in a way, also too young for that, because if I start collecting now, I won’t have enough time. But maybe one day my son will want to do that.” “I think that as an art collector, you’re really just a messenger. An artwork comes into your hands, but you don’t own it: you have to pass it down, to get more people to see it, and not just keep it in the house. So that’s why I believe in making a lot of donations to universities or museums,” he says. While Adrian Cheng’s K11 Art Foundation also has something of a reputation for bringing art into the noisy but vibrant commercial environment of a shopping mall in order to reach new audiences, the K11 Art Malls don’t even come close to the scale and ambition of Wong’s Parkview Green in Beijing. Located in the heart of the CBD along Dongdaqiao Road, near many foreign embassies and Ritan Park, Parkview Green is a mammoth, pyramidal structure housing office towers, a shopping mall, an exhibition hall on the top floor with an outdoor lawn for larger sculptures, and an adjoining boutique hotel called Hotel Eclat. Thanks to a special roof structure made of ETFE polymer film combined with glass walls and steel frames, Parkview Green consumes 50% less energy than other similarly sized developments. It also became the first integrated commercial project to be awarded LEED Green Building Rating System Platinum certification when it opened in 2010. If Parkview Green seems earnest and idealistic in its ecological considerations, this is balanced by the completely over-the-top aesthetic license that Wong has taken in the adjoining Hotel Eclat. Opened in March 2013, the hotel revels in juxtapositions of maximum contrast. Chen Wenling’s “red boy” sculptures stand next to Warhol’s tongue-in-cheek “Giant Panda” print, Salvador Dali sculptures sit across from Zheng Lu’s ornate stainless steel parabolas and Zeng Fanzhi’s paintings, while Jitka Kamencova Skuhava’s ceiling piece made of hand blown red and blue glass clashes riotously with designer furniture by Tom Dixon and Philippe Starck. Although Wong seems more than aware of his somewhat outlandish tastes, he never apologizes for them. “There’s a couple ways to do a hotel. One is to do a proper five star hotel with all the top services, where you can get exactly what you want. When I stay at a Four Seasons, I know exactly what it will look like. But when you come to my hotel, it’s something different, and it’s always a surprise.” For discerning travelers looking for something beyond the typical five-star international hotel chain experience, Hotel Eclat has a number of truly luxurious suites whose interiors are inspired by Harry Potter, Star Wars, and Miami Vice, outfitted with official memorabilia acquired at auctions or directly from the relevant studios. Some of the illustrious guests who have spent the night at one of these suites include Matt Damon, Shu Qi, Elon Musk, and the Prince of Monaco. For Wong, these premium suites are pure fantasy, and a simple case of vicarious role-playing. “That’s the great thing about Hollywood. When you see a movie, you always try to put yourself in it, and immerse yourself in the theme,” Wong enthuses. “When you go into the living room, the dining room, or the bedroom, the mood there will give you a certain kind of feeling. It’s great fun, and I really enjoy it. Hollywood inspires me a lot.” “There’s nothing wrong with the Four Seasons or Ritz Carlton — I love them,” insists Wong. “When I go to Japan or England, for instance, I stay in those super famous hotels. But my own style has to be slightly different, because that is my style.” 2016-05-25 02:57 Darryl Wee

35 Indian Museum Ties up with Google Cultural Institute to Digitize Galleries Related Venues Indian Museum The Indian Museum at Kolkata in partnership with the Google Cultural Institute is now putting all of its galleries online in 360- degree panoramic viewing for anyone to see. This will allow art lovers to explore artifacts from all over the world on its website, the Indian Museum is launching an e-version of its exquisite exhibition titled "Indian Buddhist Art". Among the important highlights in the exhibit is a fifth century sculpture of the head of Buddha from Sarnath. Since 2015, a Google team from the UK and the US have been working hard with their specialized and patented camera technology to click high- resolution photos of the treasures lying in the museum. The process took a longer time because the work can only be done on Mondays when the museum is closed to visitors. It is expected that all galleries will be online within a year's time. Talking about this new initiative museum director Jayanta Sengupta says, “This is the first virtual exhibition we are organizing after which all our galleries will gradually be available on the Google Cultural Institute website. Three galleries, including those on Buddhist sculptures, are ready for 360- degree panoramic viewing online. This allows anyone to have a walk through the gallery and see it as you do it with your eyes. You can scroll around to see even the ceiling and the floor.” Over the last few years, Google’s Cultural Institute has introduced more than 2,000 new artifacts and 70 new exhibitions online. In India they have partnered with 10 new institutions across the country. They are Salar Jung Museum in Hyderabad, Victoria Memorial Hall Kolkata, Dastkari Haat Samiti, Devi Art Foundation, Kiran Nadar Museum of Art, Academy of Fine Arts and Literature, Kalakriti Archives, Heritage Transport Museum, Sivananda Yoga Vedanta Centres & Ashrams and the Ramamani Iyengar Memorial Yoga Institute. The collection has 26 new virtual tours of sites which includes Ekattarso Mahadeva Temple and the royal saloon that once was part of the Palace on Wheels. London's Natural History Museum (NHM) is also eyeing to tie up with the zoology department of Calcutta University, which also has a 100-year-old museum on its Ballygunge Circular road campus. Follow@ARTINFOIndia 2016-05-25 01:23 Bibhu Pattnaik

36 Celebrating Kazimir Malevich, a pioneer in abstract art One hundred years after the Russian artist Kazimir Malevich shook up the art world with the first exhibition of his Suprematist paintings, museums across Europe, from Austria to Paris to Spain, are celebrating his legacy with a series of exhibitions. In his works, Malevich depicted planes of color speeding across an expanding cosmos, seeking to render moments of what he called “supreme” worlds floating through time and space. His use of purely abstract forms broke with centuries of artistic tradition. Malevich introduced his vision to the world in the winter of 1915-16 with a show in St. Petersburg called “ The Last Futurist Exhibition of Painting 0.10.” “The ‘Zero-Ten’ show is one of the most important exhibitions in the history of Modernism,” said Matthew Drutt, who last winter recreated it for the Fondation Beyeler museum in Switzerland. As the Great Powers sought to destroy each other in World War I with fearsome new weapons like tanks, poison gas and armed airplanes, Malevich was envisioning a postwar utopia visible only in the new world of abstract art, he said. The Swiss show also traced the arc of Malevich’s influence on generations of artists, including Piet Mondrian, Mark Rothko and the installation designer Olafur Eliasson. Other museums featuring Malevich’s works this year include the Albertina in Vienna (through June 26), and a new satellite of the State Russian Museum in Málaga, Spain (through July 31). This fall, Malevich and other Russian avant-garde artists will be an important part of “Icons of Modern Art,” an exhibition at the Fondation Louis Vuitton in Paris that will display the collection of Sergei Shchukin, a Russian textile merchant who opened the first private galleries for modern art in Moscow in the twilight of czarist rule. That Malevich’s provocative works survived the turbulent world in which they were created is something of an art world miracle. It is a story of how art can become entangled in political movements, and the difficulty, decades later, of determining who has a legitimate claim to that art. In 1927 Malevich, who had been well received in Germany, brought more than 100 of his abstract masterpieces to the Great Berlin Art Exhibition. While there, he received a letter from his wife warning that Stalin was escalating attacks on experimental artists, and pleading that he defect in Berlin. Instead, Malevich decided to save his paintings by leaving them in Berlin and risked his life by returning to the Soviet Union to try to get his family out. Branded a counterrevolutionary, Malevich was jailed and barred from leaving the Soviet Union. He died in Saint Petersburg in 1935. Malevich’s descendants were themselves targeted by the Soviet leadership and remained behind the Iron Curtain until the collapse of the Soviet government in 1991 freed them to begin the effort to find the paintings he had hidden in Berlin. Before leaving Germany, Malevich had appointed two friends — Alexander Dorner, a museum director in Hanover, and Hugo Häring, an architect — to safeguard his artworks. Dorner displayed the paintings until pressure from the Nazi party impelled him to hide the art. He risked imprisonment by showing them in 1935 to Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, said Clemens Toussaint , a German art historian and expert on Malevich who has been helping the artist’s descendants trace and stake a claim to some of his works. Persuaded by Barr to lend 16 works to MoMA, Dorner smuggled them out of Germany in shipping crates filled with technical drawings. When the Nazis expelled Dorner from his museum post, Barr then helped Dorner escape from Germany, Mr. Toussaint said. Dorner entrusted the remaining canvases to Häring for safekeeping. After the war, Häring agreed to lend 80 works to the Stedelijk Museum in Amsterdam, which promised to restore and exhibit them. The museum said later — in testimony in an American lawsuit — that Häring had agreed to sell it the works. In 1999, the Museum of Modern Art agreed to return one of the works to the Malevich descendants, in a settlement brokered by Mr. Toussaint. He said that parallel efforts to recover paintings from the Stedelijk were unsuccessful. Then, the Stedelijk sent 14 Malevich paintings to the United States for a show at the Guggenheim in 2003 organized by Mr. Drutt. Just before the paintings were to be sent back to the Netherlands, some of Malevich’s descendants filed suit in the U. S. District Court for the District of Columbia to recover them. Howard Spiegler, a lawyer who represented the descendants in the case, Malewicz vs. City of Amsterdam, said that heads of state and even government-owned museums like the Stedelijk had traditionally been protected from such suits by the doctrine of sovereign immunity, but that American court rulings had whittled away at that shield. In its decision in the case , the court ruled that the exhibition in the United States of artworks taken in violation of international law could open the foreign lending museum to a lawsuit. In rejecting the Stedelijk’s claim of immunity, District Judge Rosemary Collyer said there was nothing sovereign about Amsterdam’s acquisition of the Malevich paintings “other than that it was performed by a sovereign entity.” Evgeny Bykov, a great-grandson of Kazimir Malevich, said the court’s decision “gave us hope that in our case justice would be met and that in the future it will help other families who are struggling for restitution of masterpieces that once belonged to them.” While preparing to appeal the District Court’s decision, but facing the prospect of losing all 14 paintings it had sent to the United States, the Stedelijk agreed in a settlement to return five artworks to the Malevich family. Museum directors across America have been pressing Congress to enact legislation that would counter the Malevich ruling, arguing that exposing their foreign counterparts to suits by dispossessed owners could halt cultural exchanges. The Senate is now reviewing a bill that could again block access to the courts by those who seek restitution for what they say are illegally confiscated artworks, including works taken during the Cuban revolution, said Mari-Claudia Jimenez, an expert in art law in New York. Similar legislation was proposed in 2012 and ran into resistance from Jewish groups and others who believed an exemption for Nazi-era art was too narrowly drawn. Mr. Toussaint said that while Malevich’s descendants continue their search for lost canvases, they have recovered a total of eight paintings so far of the 100 left in Berlin, with one auctioned for $60 million. “For the avant-garde art movement, Kazimir Malevich is a guru,” Mr. Toussaint said. “His works disappeared into the dictatorships but later re- emerged — like a phoenix — in a very mystical way.” Showcasing these masterpieces in Paris will fulfill one of the artist’s most powerful dreams, he said: Malevich was planning to spirit his family and canvases off to a new life in Paris just before being detained in one of Stalin’s political prisons. 2016-05-25 00:00 By

37 Walking and Talking: Elastic City Announces Final Festival An African market in the South Bronx, a playground in Brooklyn and vanished landmarks of lesbian night life in the West Village are among the settings for “The Last Walks,” the final free summer festival organized by the arts group Elastic City. The festival, which will take place from July 7 to 27, will be the swan song for the group, which was founded in 2010 by Todd Shalom. Since then it has worked with dozens of artists to create more than 125 “participatory walks” and other events in New York, Detroit, Berlin, São Paulo, Reykjavik, Tokyo and other cities. While this festival takes place entirely in New York City, many walks look to the world beyond its borders. In “La Mano Immigrante (The Immigrant Hand),” created by created by Tania Bruguera and Mujeres en Movimiento, a group will “cross the border” into Corona, Queens, renaming subway stops, telling life stories and performing the unacknowledged but “essential jobs that keep this city afloat,” according to a description. In “Market Thrum,” created by the choreographer and performer Okwui Okpokwasili, participants will explore the Gold Coast Market in the South Bronx, using techniques of “dynamic movement.” (Each walk lasts about 90 minutes and is designed for about 12 people; information and reservations at elastic-city.com .) The final event will take place July 26 and 27 in the more bucolic setting of Prospect Park, Brooklyn, where Mr. Shalom and Niegel Smith , the group’s associate artistic director, will lead “The Last Walk,” a sort of greatest-hits riff featuring cameos by artists who have presented previous walks. “Over the past seven years, we’ve potentially expanded the way thousands of people experience their ‘everyday,’” Mr. Shalom, who is working on a book about the group’s techniques, said by email. “I see it like a small record label or an indie press. It’s always been a project with a focus to produce rigorous work and get it out there directly to the public.” 2016-05-25 00:00 By

38 Letter of Recommendation: B. F. Tattoos The story of my first tattoo goes like this: One night in middle school, my friend Stephanie spent the night at my house. We were camped out in my bedroom and bored. We had watched “Clueless” so many times that we could recite all the best lines. Food had been ordered, delivered and devoured. We prank-called all the cute boys in our class and even some of the not-so-cute ones. One of us suggested, half-jokingly, that we give each other matching tattoos, something discreet enough to hide from our parents but accessible enough to show off at school come Monday. I was scared, but as the youngest of five girls, I was familiar with the power of rituals — the way a shared secret between women can be its own kind of power. Abstinence was not an option. I watched as Stephanie used a Bic lighter to heat up and — theoretically — sterilize a safety pin before dipping it in ink. I stuck out my chubby ankle and closed my eyes as she began poking the tender meat of my leg in an uneven staccato pattern. When she was done, I leaned over to admire her handiwork: a patchy approximation of a heart, fashioned out of eight or nine dots, seared into my left ankle. Then I did the same to her. Afterward, I felt giddy, buoyed by a new realization: My body was mine to do with what I liked. The thought was instantly addicting, as was the way the tattoo tightened the bond between me and Stephanie. We had matching tattoos, which basically meant we were sisters. A few years later, I got another one. And another. In all, I’ve gotten six best- friend tattoos, always in pairs, always with someone whose relationship I wanted to commemorate at a particular moment. There’s the pair of triangles on my wrist that I share with a friend, intended to symbolize — perhaps paradoxically — the inevitability of change. There’s the wreath I paid a tattoo artist $60 to lay on my inner arm — a tribute to the flowers I’m rarely able to leave by my father’s gravestone. I got that one with a friend who had recently lost his grandmother; his was a series of boxes in the same spot on his body, a coded tribute to her. Another friend I knew from college in Virginia decided that we needed matching sets of daggers on our outer ribs, both because they would look good peeking out from a tank top that summer and because they would serve as protective amulets against the unrelenting crush of the city we’d moved to after graduation. Getting a tattoo is arguably one of the most insane decisions a sensible human can make. A sharp needle made up of much smaller needles hammers into your skin up to 3,000 times a minute, punching through skin, blood and collagen fibers, in order to deposit enough ink to leave a permanent mark. But not too permanent; tattoos inevitably deteriorate over the years, as the ink migrates or breaks down and the skin loses some of its tautness, slowly melting the design into a smeared photocopy of the original. Over each tattoo hovers a cloud of doubt. All of these elements — the danger, the fear, the foolishness, even the pain — contribute to the thrill, which doubles when you persuade someone to do it with you. There’s nothing that reinforces a bad choice like doing it in the company of another. It makes the deed easier to rationalize, both in the moment and in the seconds, hours, years to come after it is done. And best-friend tattoos require so much prep work, which adds to their legitimacy. First, a friendship must be deep enough to warrant the rite; then the perfect symbol must be found to forge the bond. Instagram and Pinterest are awash in ideas: Beavis and Butt-Head, two halves of an avocado, yins and yangs that nestle when two arms are pressed together. A guy I know from Arizona recently texted me a photo of a ruffled roaring cougar’s head stamped on his upper thigh, something he got with his friends the last time he was home. Another told me about the Venn-diagram tattoo that she shares with her closest friend. During a rough patch in their relationship, she caught sight of the overlapping circles and remembered the love that had led her to permanently alter her body, easing the friction. Matching tattoos don’t ensure the longevity of a friendship, any more than any other mutual hardship. I’ve since grown more distant from all of the people I’ve been inked with over the past two decades. Nothing catastrophic happened. There were no unforgivable betrayals. It was simply the natural tectonic shifts that occur as people move through life and drift apart. I’m not even in touch with the girl who gave me that first lopsided heart tattoo, though I get occasional glimpses of her life on Facebook. As for the pinpricks she gave me, they’re still visible — but just barely. I don’t regret any of the ink. When I look at it, I smile and think about the feverish throes of friend-love and how lucky I was to have felt it more than once. Recently a friend asked me to get a tattoo with her — a lightning bolt, or something similar, to symbolize how we invigorate each other with a neon-white energy. I hesitated at first: What if the same thing happens? What if we ultimately go through with it, only to move apart? But it feels worse to let a love go unrecognized. Instead, I choose to paint a time capsule onto my body that represents the ferocity of a feeling — one too rare to go unacknowledged. 2016-05-25 00:00 JENNA WORTHAM

39 The Startling Beauty of Scarecrows A photograph is not the same as the thing photographed. But sometimes photographs make you conscious of that thing in a way the thing itself never quite did. More precisely, they make you aware of things — stuff — about that thing of which you were barely conscious or entirely oblivious. Whether photographing a pepper or a toilet bowl, the great early-20th-century photographer Edward Weston repeated insistently that the camera was uniquely equipped “for rendering the very substance and quintessence of the thing itself.” Back then the potential of the camera was still being established, was inevitably drawing attention to itself. In the case of Peter Mitchell’s pictures of scarecrows, it is as if the photographs do not exist, as if we just chanced upon these creatures in the course of walks we’ve taken hundreds of times before. So how did we miss them? Well, partly because Mitchell was only recently persuaded that the pictures, taken over a 40-year period from 1974 through 2015, might be of interest to anyone besides himself. Which is strange, given that he has long been regarded as one of the most important British photographers working in color. In his 70s now, he was included in Martin Parr’s “Colour Before Color,” a 2007 exhibition in New York that sought to challenge the standard art-world narrative in which color photography only got going with William Eggleston’s show at the Museum of Modern Art in 1976. A number of American photographers were using color before then, but — as that extra ‘u’ in the title hinted — Parr extended the catchment area to include British and European photographers like the quiet visionary Luigi Ghirri. The first picture by Mitchell I ever saw had the same quality of oneiric lucidity associated with Ghirri: a red telephone box amid the desolate and lyrical emptiness of a housing estate in Leeds, something dropped out of time in the middle of nowhere, which — a fundamental lesson of photography — is always somewhere. If Mitchell has worked obsessively close to his home in Leeds, this should not be confused with limited ambition or parochial appeal. His 1979 exhibition “A New Refutation of the Viking 4 Space Mission” presented the city as it might appear to visitors from Mars. (The show will touch down again in the gorgeously alien setting of the Arles photo festival this summer. ) Unwavering in his commitment to the specificity of the universal, Mitchell insists in his book “Some Thing Means Everything to Somebody” that the scarecrows “are essentially Yorkshire.” Further research is needed to discover the regional variations and consistencies in scarecrow design and construction, but to me, they are ... essentially Gloucestershire, where I grew up. They take me back to afternoons spent at my father’s allotment with these silent beings in dilapidated attendance. I mean that literally; they waited in a state of transient permanence. The scarecrows were, I see now, signposts from the past, in that they seemed always to have been there. Looking back on his childhood in “Nottingham and the Mining Country,” D. H. Lawrence writes that he was conscious, as a boy, of “Robin Hood and his merry men” not as a memory but as a felt presence in the landscape. In both cases, we are talking less about history — which is necessarily concerned with dates — than the pre- existent. While for archaeologists the past has to be dug up and uncovered, Mitchell enables us to see that it’s there before our eyes. Mitchell goes on to say that scarecrows are “friends,” that he likes them because: Since he didn’t, I will. We have to start with the fact that scarecrows are nearly human. In a sense, they are homeless — rough sleepers — and out in all weathers. They tend, consequently, to be wrapped up warmly whatever the temperature, on the grounds that while being overdressed for the heat is uncomfortable, it is not life-threatening (in England), as the cold can be. So even in a field of sunflowers in midsummer, they dress as if for a February blizzard in the Alps. I said that they are homeless, but only statues or trees are more firmly attached to a particular place. One appears to be walking, as if the photographs rather than the ontological limits of existence have frozen him in his tracks. To that extent, they’re entirely at home — in themselves. And they never sleep. Eternal vigilance is their motto and modus vivendi. They have a consciousness, that is obvious (because everything in a photograph is obvious). This consciousness is of the kind usually achieved through deep meditation. Devoid of ego, they are at one with the earth and the sky and, by extension, all of creation. Including, um, crows? After all the years in which the relationship of scarecrow to bird was one of hostility and repulsion, could it be that the scarer longs to shake off the limiting function for which he was intended? If only there were a photograph of a crow perched on the shoulder of the thing designed to instill fear. That would offer proof, on the one hand, that it was not fit for its purpose; on the other, it would be a lovely reconciliation. A pipe dream, clearly: The scarecrow nation still waits for its Francis of Assisi. I am torn between the urge to generalize and the need to recognize diversity. Each scarecrow has its own personality. Some wear waterproofs (always a good idea in rainy Yorkshire). One looks like a cross between a melting ice cream and a condom at that critical juncture when the would-be wearer realizes (a chicken-and-egg situation if ever there was one) that the penis might not attain a viable rigidity. Which seems a good moment to raise the issue of pronouns. It’s easy to speak in the plural of “they” and “them.” But given that each scarecrow is singular, should we speak of “it,” “he” or “she”? Most seem masculine, none more so than the lewd character slumped in a chair and red in the face — well, what do you expect when you’re caught masturbating in the middle of a winter field? The reason for this chilly expediency is that scarecrow women are so hard to come by. As far as I can make out, there’s only one real looker: decked out in a pink body stocking, revealing sparkly grass skirt and green wig, the whole ensemble glamorously polished off with silver necklace and pink pompoms. Talk about all dressed up and nowhere to go. The (doomed) party atmosphere is heightened by the fact that this is one of only a couple of pictures taken at night. The Danish photographer Henrik Saxgren published a series of photographs called “Unintended Sculptures” featuring structures that, viewed in a certain light, from a given angle, might be considered works of art. The scarecrows could be regarded as folk art, but this ignores an important dimension of their being. For their aesthetic and practical value seems inseparable from some ritual or religious purpose, as if they are leftovers from seasonal rites that have been forgotten. Looking at Mitchell’s pictures I am reminded of the Guy Fawkes effigies — also made from discarded clothes, bulked out with straw or waste paper — we used to wheel around in old baby carriages or carts in the weeks leading up to Bonfire Night, when they were burned. T. S. Eliot’s poem “The Hollow Men” (“We are the hollow men/We are the stuffed men/Leaning together/Headpiece filled with straw”) is preceded by a line slightly misquoting what we used to call out: “A penny for the Old Guy.” (We never said “old.” Did we get it wrong — inconceivable — or did Eliot?) Conscious only of wanting money, we were mouthpieces or conduits for larger forces — what Eliot would have called tradition — that continue to find explosive expression every Nov. 5. Like these effigies, and unlike statues, the scarecrows are far from permanent, let alone immortal. So it is appropriate that Mitchell’s photographic record does not aspire to the taxonomic rigor associated with, say, Bernd and Hilla Becher’s gridded images of industrial structures. It’s more like a bunch of street portraits, done slowly, in fields. Time, in its physical manifestations — rain, wind and sun — takes its toll. The snowsuit becomes smeared in what looks like blood, as if it has barely survived some frosty and atrociously extended ordeal. A bloody wound suggests that crows have begun to peck away at its Promethean liver. Eventually the clothes rot away, so that the scarecrows acquire a Lear-on-the-heath air of tragedy: “Off, off you lendings!” The difference is that whereas Lear discovers that beneath the clothes are “poor naked wretches,” these guys are their clothes. Patched together not from stolen body parts but lent clothes, there is, nevertheless, a Frankensteinian quality to them: They are, by definition, scary. As the scarecrows collapse in on themselves, it’s as if they end up consuming their own body fat just to stay alive — if that is the word, which clearly it is not. One photograph resembles a police view of a crime scene: in it, a scarecrow ends up flat on its face, decomposing like the remains of a murder victim. Another looks as if he has been lynched. This sacrificial quality becomes more pronounced as the skeletal structure is laid bare by time. Eventually all that’s left is a wooden cross with a few tatters blowing in the wind. 2016-05-25 00:00 GEOFF DYER

40 Reintroducing Captain America and Dr. Manhattan Comic books are gaining two new villains on Wednesday, though they are both familiar faces. Over at Marvel, the first issue of Steve Rogers: Captain America sheds new light on the hero’s past that has a great effect on his present. This issue, written by Nick Spencer and drawn by Jesus Saiz, reveals that Rogers’s mother was recruited by Hydra, one of Marvel’s terrorist groups. Flash forward to today and Captain America is suddenly doing some terrible things: pushing an ally out of a plane and, on the last page, proclaiming, “Hail Hydra.” The countdown begins now as to how long Captain America will remain evil. For those keeping score at home, he died in 2007 and returned in 2009. He was also rapidly aged and lost his abilities in 2014, but was returned to pristine glory in March. “While there’s a cynical feeling that everything goes back to normal in the end, if you look across all the stories we’ve published over the years, that’s not necessarily the case,” Tom Brevoort, Marvel’s executive editor and senior vice president of publishing, said. “Like any kind of ongoing soap opera, the trick is to put our characters through new and interesting vises and see what happens and what grows out of that. Only time will tell where this all shakes out.” Over in the DC universe, the 80-page special Rebirth reveals Dr. Manhattan, one of the heroes in Watchmen, by Alan Moore and Dave Gibbons, as the puppet master behind some recent troubles. Rebirth is written by Geoff Johns and drawn by a cadre of the DC’s top artists (Phil Jimenez and Ivan Reis among them). The story addresses some of the shortcomings of the company’s 2011 reboot, which made some characters younger, erased others and has generally made fans unhappy. “I hope to inspire passion, create connection and see the DC universe and its readers and fans embrace hope and optimism like its heroes do,” Mr. Johns said. “The world needs it more than ever.” The issue brings back one hero, hints at the return of others, re-establishes some relationships and lays the time and memory high jinks on Dr. Manhattan. This comes after the company published, in 2012, Before Watchmen, a series of prequels to the seminal work. At that time, Mr. Moore called the comics “completely shameless” and said, “As far as I know, there weren’t that many prequels or sequels to ‘Moby- Dick.’” 2016-05-25 00:00 By

41 What’s on TV Wednesday Cue a sad, sweet country song: “Nashville” and its queen bee, Connie Britton, bid us farewell. “Wayward Pines” brings Jason Patric on board. And spend some time with the young lovelies of “Sense8,” that bizarrely pleasing collaboration between the Wachowskis and J. Michael Straczynski. NASHVILLE 10 p.m. on ABC. This series finale is titled “Maybe You’ll Appreciate Me Someday.” We’ll forever appreciate Connie Britton, who, as Rayna, goes mama bear for the last time when she discovers that a ne’er- do-well from her past has weaseled his way into her daughter Maddie’s life. (She also performs “Together We Stand” with her littlest cub, Daphne.) And Hayden Panettiere, as Juliette, addresses a death with the help of Deborah Roberts of ABC News. Meanwhile, in real life, more than 90,000 fans have signed a change.org petition to save the show by asking another network to pick it up for a fifth season. WAYWARD PINES 9 p.m. on Fox. A fresh round of psychological shenanigans begins as Dr. Theo Yedlin (Jason Patric), the town’s newest resident, wakes up from suspended animation to find himself in the middle of the rebellion that ended Season 1. LAW & ORDER: SPECIAL VICTIMS UNIT 9 p.m. on NBC. Cliffhanger alert: The investigation into Corrections Officer Gary Munson (Brad Garrett) goes deeper in this season finale, prompting union actions that threaten the lives of Assistant District Attorney Rafael Barba and the entire S. V. U. squad. CRIMINAL MINDS: BEYOND BORDERS 9 p.m. on CBS. The team heads to Pamplona, Spain, for the running of the bulls and discovers the ears of a missing American tourist. THE AMERICANS 10 p.m. on FX. Elizabeth completes a personal operation, but it will cost her. DOUGLAS FAMILY GOLD 10 p.m. on Oxygen. Gabby Douglas, who at the 2012 London Olympics became the first black gymnast to win the individual all-around gold, aims for a repeat performance this summer in Rio de Janeiro. SENSE8 on Netflix. While cast and crew members travel to far-flung places to shoot Season 2, catch up on this collaboration between the Wachowskis (“The Matrix,” “Cloud Atlas”) and J. Michael Straczynski (“Babylon 5”) about eight radiantly attractive young adults from across the globe who find themselves transcendentally attuned. Which means that the characters can infiltrate not only one another’s thoughts, but also their physical settings — and even bodies. And while love may be taboo in this brave new world, sex is apparently O. K. (Image: Daryl Hannah) QUEEN OF EARTH (2015) on Amazon , iTunes and Netflix. A woman on the verge of a nervous breakdown — her beloved father, a famous painter, has recently died, and her lover is leaving her for another woman — spends a week with her best friend at a secluded lake house and discovers that they aren’t as close as they used to be. Elisabeth Moss and Katherine Waterston star in Alex Ross Perry’s art house thriller. “Ms. Waterston, a Modigliani in motion and often in black, easily holds your attention,” Manohla Dargis wrote in The New York Times , “but it is Ms. Moss, with her intimate expressivity, who annihilates you from first tear to last crushing laugh.” 2016-05-25 00:00 By

42 Sanford Biggers - Reviews - Art in America Sanford Biggers: BELO , 2016, assorted textiles, acrylic, glitter, and gold leaf on archival paper, 37½ by 36 inches; at Monique Meloche. Advertisement The historical relationship between the Western avant-garde and the art of Africa is one of objects stolen, fetishized, and aesthetically cannibalized by European modernists like Picasso and Modigliani. Paradigmatic histories of Western art attempt to keep these tensions at a low simmer; in the nine works comprising Harlem-based artist Sanford Biggers’s exhibition “the pasts they brought with them” (all 2015 or 2016), they rise to a boil. For three of the paintings on view, Biggers employed antique quilts in lieu of canvases. Pieced together from scraps of worn clothes and designed to provide cover for generations, quilts retain in their fibers the traces of those they once kept warm. The quilts in Biggers’s works speak not only to personal histories and the journey of heirlooms but also to forced migrations. A pair of black lips, reminiscent of the mouths of Warhol’s Marilyns, smiles vacuously from the center of the toothsomely textured Hat and Beard , which combines gummy patches of acrylic, breathy bursts of spray paint, and scratchy glitter crusts on appliquéd fabric. A black beauty mark above the upper lip proves, upon closer inspection, to be a silk- screened reproduction of the infamous illustration Description of a Slave Ship (ca. 1801). The tiny schematic, in which black bodies are shown packed like timber in the ship’s hold, repeats in oblong petals around a white nucleus of fabric. Occupying adjacent pedestals in the main gallery were two petite figures in bronze, pointedly titled BAM ( For Michael) and BAM ( Sandra) , in memory of Michael Brown and Sandra Bland, two black victims of police brutality. These are not the polished bronzes of classical sculpture; their surfaces are waxy, pockmarked, and disfigured. Michael stands despite missing a foot, and Sandra ’s face has been splintered away. The crackling sound of gunfire drew the viewer into an adjacent gallery, where a pair of videos illuminated the statues’ ravaged appearance. An unseen gunman “carves” a wooden sculpture of a footballer with bullets that shatter the figure’s shoulder and topple him from the ball he stands on. The video and bronze incarnations of Michael chart different stages in the savaging of a black body in miniature. The video involving the Sandra sculpture reverses this process: the footage plays backward and in slow-motion, to make whole again an African statuette of a woman with a baby on her back. Chips of wood swoop back to their places of origin; an arm shattered by gunfire reforms. This harrowing reminder of the continuing efforts to reconstruct the circumstances of Bland’s death poses formidable questions: What is the relationship between racist violence visited upon black Americans and the exploitation of the cultural resources of the African diaspora? How might global art histories be reconstructed to appreciate the arts of Africa without assimilating them into Western art historical models? Deliberately disallowed from enjoying the beauty of Biggers’s textiles without the sound of gunfire ringing in their ears, viewers were prompted to wonder what change must take place before violence and black Americans can be finally and honestly decoupled in the landscape of American art. 2016-05-25 00:00 by Lauren

43 Asian-American Actors Are Fighting for Visibility. They Will Not Be Ignored. When Constance Wu landed the part of Jessica Huang, the Chinese-American matriarch on the ABC sitcom “Fresh Off the Boat,” she didn’t realize just how significant the role would turn out to be. As she developed her part, Ms. Wu heard the same dismal fact repeated over and over again: It had been 20 years since a show featuring a predominantly Asian-American cast had aired on television. ABC’s previous offering, the 1994 Margaret Cho vehicle “All-American Girl,” was canceled after one season. “I wasn’t really conscious of it until I booked the role,” Ms. Wu said. “I was focused on the task at hand, which was paying my rent.” The show, which was just renewed for a third season, has granted Ms. Wu a steady job and a new perspective. “It changed me,” Ms. Wu said. After doing a lot of research, she shifted her focus “from self-interest to Asian- American interests.” In the past year, Ms. Wu and a number of other Asian-American actors have emerged as fierce advocates for their own visibility — and frank critics of their industry. The issue has crystallized in a word — “whitewashing” — that calls out Hollywood for taking Asian roles and stories and filling them with white actors. On Facebook, Ms. Wu ticked off a list of recent films guilty of the practice and said, “I could go on, and that’s a crying shame, y’all.” On Twitter, she bit back against Hollywood producers who believe their “lead must be white” and advised the creators of lily-white content to “CARE MORE.” Another tip: “An easy way to avoid tokenism? Have more than one” character of color, she tweeted in March. “Not so hard.” It’s never been easy for an Asian-American actor to get work in Hollywood, let alone take a stand against the people who run the place. But the recent expansion of Asian-American roles on television has paradoxically ushered in a new generation of actors with just enough star power and job security to speak more freely about Hollywood’s larger failures. And their heightened profile, along with an imaginative, on-the-ground social media army, has managed to push the issue of Asian-American representation — long relegated to the back burner — into the current heated debate about Hollywood’s monotone vision of the world. “The harsh reality of being an actor is that it’s hard to make a living, and that puts actors of color in a very difficult position,” said Daniel Dae Kim, who stars in “Hawaii Five-0” on CBS and is currently appearing in “The King and I” on Broadway. Mr. Kim has wielded his Twitter account to point to dire statistics and boost Asian-American creators. Last year, he posted a cheeky tribute to “the only Asian face” he could find in the entire “Lord of the Rings” series, a woman who “appears for a glorious three seconds.” Other actors lending their voices include Kumail Nanjiani of “Silicon Valley,” Ming-Na Wen of “Agents of S. H. I. E. L. D.” and Aziz Ansari , who in his show, “Master of None,” plays an Indian-American actor trying to make his mark. They join longtime actors and activists like BD Wong of “Gotham”; Margaret Cho, who has taken her tart comedic commentary to Twitter; and George Takei , who has leveraged his “Star Trek” fame into a social media juggernaut. “There’s an age-old stereotypical notion that Asian-American people don’t speak up,” Mr. Wong said. But “we’re really getting into people’s faces about it.” This past year has proved to be a particularly fraught period for Asian- American representation in movies. Last May, Sony released “Aloha,” a film set in Hawaii that was packed with white actors, including the green-eyed, blond-haired Emma Stone as a quarter-Chinese, quarter-Native Hawaiian fighter pilot named Allison Ng. In September, it was revealed that in the planned adaptation of the Japanese manga series Death Note, the hero, a boy with dark powers named Light Yagami, would be renamed simply Light and played by the white actor Nat Wolff. In “The Martian,” released in October, the white actress Mackenzie Davis stepped into the role of the NASA employee Mindy Park, who was conceived in the novel as Korean-American. The list goes on. In December, set photographs from the coming “Absolutely Fabulous” film showed the Scottish actress Janette Tough dressed as an over-the-top Asian character. Last month, Marvel Studios released a trailer for “Doctor Strange,” in which a character that had originated in comic books as a Tibetan monk was reimagined as a Celtic mystic played by Tilda Swinton. And in the live-action American film adaptation of the manga series Ghost in the Shell, scheduled for next year, the lead character, Major Motoko Kusanagi, will be called Major and played by Scarlett Johansson in a black bob. Studios say that their films are diverse. “Like other Marvel films, several characters in ‘Doctor Strange’ are significant departures from the source material, not limited by race, gender or ethnicity,” the Marvel Studios president Kevin Feige said in a statement. Ms. Swinton will play a character that was originally male, and Chiwetel Ejiofor a character that was originally white. Paramount and DreamWorks, the studios behind “Ghost in the Shell,” said that the film reflects “a diverse array of cultures and countries.” But many Asian-American actors aren’t convinced. “It’s all so plainly outlandish,” Mr. Takei said. “It’s getting to the point where it’s almost laughable.” The Academy Awards telecast in February added insult to injury. The show dwelled on the diversity complaints aired through #OscarsSoWhite, yet blithely mocked Asian-Americans with punch lines that banked on Asian stereotypes. The host, Chris Rock, brought three Asian-American children onstage to serve as a sight gag in a joke made at their expense. “I have never seen the Asian-American community get so organized so quickly,” said Janet Yang, a producer who serves as a liaison between Hollywood and Chinese studios. She added, “It was the final straw.” Within days, Ms. Yang and 24 other Academy members, including the actress Sandra Oh, the director Ang Lee and Mr. Takei, signed a letter to the academy taking it to task for the telecast’s offensive jokes. The academy’s terse reply only stoked the flames. Mr. Takei called it “a bland, corporate response.” Online, even more Asian-American actors and activists have spoken out with raw, unapologetic anger. Ms. Wen castigated “Ghost in the Shell,” tweeting about “whitewashing” and throwing in a dismissive emoji. Mr. Takei went off on “Doctor Strange” on his Facebook page: “Hollywood has been casting white actors in Asian roles for decades now, and we can’t keep pretending there isn’t something deeper at work here.” Mr. Nanjiani jumped on Twitter to call out the red carpet photographer who told him, “Smile, you’re in America now.” (“I know when someone is racist, the fault is theirs and not yours,” he wrote . “But, in the moment, it makes you feel flattened, reduced and bullied.”) And Ms. Cho helped start a hashtag campaign, #whitewashedOUT. “It’s intense,” Ms. Cho posted at the height of the action. “It’s that we have been invisible for so long we don’t even know what we can do.” Meanwhile, television shows — competing for fresh content and audiences as the number of scripted series has increased dramatically in recent years — have helped expand the boundaries of what was once thought possible. Asian-Americans increasingly play leads and love interests and star in multiple family sitcoms. Following “Fresh Off the Boat,” ABC debuted the sitcom “Dr. Ken,” featuring an Asian-American family led by the show’s creator, Ken Jeong , plus the drama “Quantico” starring the Bollywood actress Priyanka Chopra. On CW’s “Crazy Ex-Girlfriend,” Rachel Bloom, as the title character, pines after the hunky Vincent Rodriguez III, who is Filipino-American. They join such mold-breakers as Mindy Kaling, creator and star of “The Mindy Project,” and Lucy Liu, who plays a reimagined Dr. Watson in “Elementary.” These shows help, but the issue is pervasive, including on TV. “The mainstream Hollywood thinking still seems to be that movies and stories about straight white people are universal, and that anyone else is more niche,” Mr. Ansari wrote in an email. “It’s just not true. I’ve been watching characters with middle-age white-guy problems since I was a small Indian boy.” In films, a few roles have transcended stereotypes: Mr. Takei in the first “Star Trek” installments, Ms. Liu in the “Charlie’s Angels” features, and John Cho and Kal Penn in the stoner hit “Harold & Kumar Go to White Castle” and its sequels. And more are in development: a film adaptation of Kevin Kwan’s novel “Crazy Rich Asians” is underway, and the Vietnamese- American actress Kelly Marie Tran will play a major role in the next “Star Wars” installment. But mostly, Asian-Americans are invisible. Though they make up 5.4 percent of the United States population, more than half of film, television and streaming properties feature zero named or speaking Asian characters, a February report from the Annenberg School for Communication and Journalism at the University of Southern California found. Only 1.4 percent of lead characters in a sample of studio films released in 2014 were Asian. For Asian-American actors, the dearth of opportunities compounds itself. “An Asian person who is competing against white people, for an audience of white people, has to train for that opportunity like it’s the Olympics,” Ms. Wu said. “An incredibly talented Asian actor might be considered for a leading role maybe once or twice in a lifetime. That’s a highly pressured situation.” So some are stepping behind the camera. In addition to actors creating their own shows, like Ms. Kaling, Mr. Jeong and Mr. Ansari, Mr. Kim of “Hawaii Five-0” has started his own production company, 3AD, “to help tell the stories of the underrepresented,” he said. Asian-American and other minority actors, he added, are “tired of waiting to be hired for the roles Hollywood creates for us.” Audiences, too, are catching up. “There was a time when this conversation was completely foreign to people,” Mr. Wong said. Now young participants “are already fully versed in the issues and able to discuss them with great passion.” Ellen Oh, a writer for young adults who devised the #whitewashedOUT hashtag, credited a generational shift. “For a long time, Asians have been defined by the immigrant experience, but now second- and third-generation Asian-Americans are finding their own voices,” Ms. Oh said. They’re also employing a new vocabulary. “The term ‘whitewashing’ is new, and it’s extremely useful,” Mr. Wong said. In contrast to “yellowface,” which protested the practice of white actors using makeup and prosthetics to play Asians, “whitewashing” gives voice to the near-absence of prominent roles. And the Internet has allowed people to imagine a parallel universe where Asian-Americans dominate the screen. Earlier this month, disappointed fans of the “Ghost in the Shell” franchise took a publicity still of Ms. Johansson in the lead role and Photoshopped in the face of Rinko Kikuchi, the Japanese star of “Pacific Rim.” Recently the hashtag #StarringJohnCho went viral, reimagining the Korean- American star as the lead of rom-coms and action flicks. Though Mr. Cho has followed up the “Harold and Kumar” films with a role in the “Star Trek” franchise, he hasn’t been afforded the luminous leads offered to white actors with similar starts, like Seth Rogen after “Knocked Up” or Chris Pratt post-“Guardians of the Galaxy.” “As I was Photoshopping John Cho’s face on top of Tom Cruise’s in the ‘Mission Impossible’ poster, my friends and I started chuckling a little bit, like, ‘How crazy would that be?’” said William Yu, the 25-year-old who created the hashtag . “Then I caught myself. Why should it be crazy?” The campaign was followed by #StarringConstanceWu , which Photoshopped the actress into posters for films starring Emily Blunt, Drew Barrymore and, ahem, Emma Stone. The activist outpouring is “a tidal wave,” said Keith Chow, the founder of The Nerds of Color , a website of geek culture criticism that has served as home base for several online campaigns. It has swept up some members of white Hollywood in its wake. Ms. Stone has acknowledged that her “Aloha” role made her the “butt of many jokes.” And this month, the director of “Doctor Strange,” Scott Derrickson, tweeted , “Raw anger/hurt from Asian-Americans over Hollywood whitewashing, stereotyping & erasure of Asians in cinema. I am listening and learning.” Whether that translates into change onscreen is an open question. “Everyone seems to be becoming slowly aware of how overwhelmingly white everything is,” Mr. Ansari said. “It’s almost like the whole system is slowly being shamed into diversity, but it’s moving at a snail’s pace.” He added: “Just look at the movie posters you see. It’s all white people.” 2016-05-25 00:00 By

44 B. J. Novak Thinks Actors Are Bad at Playing Writers Most people know you from “The Office,” but your big current project is an app for lists, which seems a little bit like something Ryan Howard would invent. On first glance, it’s the kind of thing people shouldn’t need an app to do. Are you “disrupting” list making? I think it’s too simple an idea for Ryan Howard. It’s not trying to prove how brilliant and deep it is. The idea is that we’re surrounded by lists even more than we realize, because our internal monologues are in list form. So you’re democratizing lists. Now I do sound like Ryan Howard. I would have said, “I want us to democratize writing. ” When people hear “writing,” they think of a bad grade they got in spelling in third grade. People are probably composing more words than at any time in history through text messages. People are writing all the time, and yet they think they can’t write, because they’re so intimidated by the structure. When you provide a structure in the form of a list, there is, in a utopian way, a real chance to democratize the power of writing, by taking away what people are wrongly intimidated by. In a way, a list is about what’s not on it. Do you think it relies on a reader to provide a certain amount of context? It has to mean something to other people, right? Well, we’re getting into really fundamental questions of art and literature. If a work alienates a reader, should that be counted against it? I respect people that love “Ulysses,” for example, but I’m on the other side of the argument. “Ulysses” would be better if it seduced me. But I probably have the minority point of view. A definite theme in your work is a sort of meta-ness. Your father was a ghostwriter, which is a meta profession itself. Did that influence your own desire not just to become a writer, but to become famous? Ooh, yeah. I remember seeing “Iacocca,” which I knew he co-wrote, and yet only Lee Iacocca’s photo was on the cover. I thought, Why isn’t my dad on the cover? I wonder if there was some subconscious desire to be that guy on the cover, and to sort of be a famous writer and avenge my father’s anonymity. Between your father’s work and your own, you know what the act of writing looks like. Do you think that TV and movies get it right? It drives me crazy sometimes when people play writers. It feels as though a very disproportionate number of main characters are writers, because that’s what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he’s not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer. He has published several books, hasn’t he? No, I’m not saying he didn’t write them. I’m saying I’ll never look at Ethan Hawke and think, That guy looks like a writer. A full-time professional novelist in perfect shape, perfect everything? You could tell me he secretly wrote Shakespeare. I just don’t buy it on-screen. I read that you said that when you wake up in the middle of the night with an idea, a part of the thought is “I want to write it and test it out, and then see if other people love it the way that I do in that moment.” My father gave me advice when I started stand-up. “How about you say only what you like and keep only what they like?” Don’t say anything you don’t love, don’t share anything you don’t love, don’t make anything you don’t love, but if you love it, try to make it popular. My goal is not to make popular things. My goal is to make the things I love as popular as I can make them. What’s the most unpopular thing that you’re a fan of? Well, I loved “Mr. Show.” You have a famously complicated relationship with Mindy Kaling — but I think that’s the only romantic relationship I have ever heard you mention. Is that a deliberate strategy, to keep your other relationships private? Wow. I love that. I’m honored that anyone would speculate on a conspiracy theory involving me. 2016-05-25 00:00 ANA MARIE

45 Delvaux Lunch at Barneys Beverly Hills Draws Ann Dexter-Jones and Offspring Belgian luxury leather goods house Delvaux had a literal friends and family event on Tuesday, throwing a West Coast lunch at Fred’s atop Barneys New York Beverly Hills hosted by Ann Dexter- Jones and her daughter Annabelle. Though the women are New Yorkers, they chose to host in Los Angeles (the New York lunch last Thursday was hosted by Carmen Dell’Orefice and Marjorie Gubelmann), perhaps because Dexter- Jones’ offspring, Alexander Dexter-Jones, and Mark and Samantha Ronson are based there. All three made it to the event (Samantha stopping by at the end after her radio show). “Look, I’m as superficial as anyone; I love a party, and it’s better if you can have your family there, too,” declared Ann Dexter-Jones, who commandeered a staffer’s iPad to make sure all family members were equally dispersed among the other guests. She actually discovered the brand through daughter Annabelle, who bought her first Delvaux bag four years ago. “I don’t like things with logos on them, and they were classic, which fits my sensibility,” said Annabelle. Her good taste extended to her clothes; she ended up buying a Margiela dress off the rack and throwing it on because the clothes she was wearing were too sheer and she couldn’t find the right slip to go underneath. “You know I don’t really care about that stuff, but this is a nice lunch. So, I just had to end up buying like a fancy dress,” she laughed. The fledging actress, who spends much of her time in L. A., revealed that she just directed, produced and starred in her first short film. “I’m still in the thick of editing it right now, so we’ll see how it ends up before we decide where to show it,” she said. Elsewhere, her brother Alexander showed up with his bandmate Alexandra Parker. The duo, whose group is called WKLB, which stands for We’re the Kids of the Light Brigade, is working on their first EP. “Each of my kids has to develop their own style,” noted Dexter-Jones, when people asked her why her musically inclined offspring don’t all work together. If the lunch seemed to skew old guard and very young, it was intentional. “Our new customers are actually young. Millennials like the idea of hooking into something with history,” noted creative director Christina Zeller. Indeed, the Alex’s band is named for Alfred Lord Tennyson’s poem “The Charge of the Light Brigade.” 2016-05-24 22:55 Marcy Medina

46 20th Sydney Biennale Q&A: Xu Zhen’s Mutilated Sculptures Related Events 20th Biennale of Sydney 2016 Venues Biennale of Sydney Artists MadeIn Company The 20th Biennale of Sydney “The future is already here — it’s just not evenly distributed” presents more than 200 works by 83 artists from 35 countries across seven venues or “Embassies of Thought” as well as multiple “in-between spaces” around the inner city. Curated by Stephanie Rosenthal, Chief Curator at the Hayward Gallery, the 20th Biennale of Sydney is on show from March 18 – June 5, 2016. Throughout the duration of the Biennale, BLOUIN ARTINFO will feature a series of interviews with participating artists. In the interview below, Shanghai-based conceptual artist Xu Zhen, founder of MadeIn Company , discusses his series of “mutilated” sculptural forms which fuse replicas of ancient Greek sculptures with inverted reproductions of ancient Chinese statues of Buddhist deities. TItled “Eternity – Longxing Temple Buddha Statue Part Three; Tang Dynasty Buddha Statue; Longxing Temple Buddha Statue Part Five; Northern Qi Amitābha Statue; Vairochana; the Cosmic Buddha; Hebei Northern Qi Dynasty Standing Buddha Torso; Parthenon East Pediment,” 2013–14 and located at Cockatoo Island, the work reinterprets the meeting of eastern and western cultures. This timeless art of eternal gods and Buddhas, represents one of the highest level of civilization in human History. These masterpieces also reflect colonization history, violence, cultural conflicts and mutual relations. We combined these art history’s major Western and Asian sculptures, and created a shocking visual effect out of these “mutilated sculptures classic aesthetics”. It doesn’t only refer to art history it also symbolizes irreconcilable differences within humanity’s Babel tower and shows a certain oriental conciliatory wisdom. We have always been interested in rediscovering and reinventing the existing cultures against the backdrop of globalization. The revolution of methods of information sharing and communication brought by the Internet has led to new meanings, understandings and perspectives of traditional cultures and things. Everything may be different from the way it used to be, and this possibility is where our creative practice departs. The Eternity series includes some quite realistic elements that are very familiar to us, such as Buddhist statues and classical Greek sculptures. Once juxtaposed and assembled together, a very strong visual language is delivered. I believe that this kind of combination represents a new form of creative culture in our age. Today it is very hard to maintain one perspective, and there is no need to hold onto some persistence anymore. Once art has become ubiquitous, it has also become unusually anxious at the same time. This is precisely the new problem generated by our contemporary age. Instead of reflecting on certain situations with our creativity, we create a new world, a world constructed by possibilities and imagination. 2016-05-24 22:51 Nicholas Forrest

47 Five Minutes With Chloë Grace Moretz: Talking Trump, Politics and Brooklyn Beckham More Articles By Chloë Grace Moretz is not interested in shying away from political rhetoric. The 19-year-old actress, in New York Monday to attend the Friends of the High Line spring benefit and be unveiled as Coach ’s new fragrance spokesmodel, feels that “Donald Trump is a joke for America.” Moretz — whose “Neighbors 2: Sorority Rising” film opened last week — has recently spent time campaigning for Hillary Clinton, by caucusing in Nevada and attending rallies in Los Angeles. “I think that you don’t have a right to complain about the state of our government unless you use your right to vote and you use your right as a citizen — I think a lot of young people think the system is the way it is and that is just not true,” she told WWD. She described her support for Clinton over rival Democratic candidate Bernie Sanders: “I think one can really get things done and the other is a little bit too polarizing for both parties. I think you need someone who is even keel enough to be able to juggle both Republican and Democratic parties because you need someone to be able to shake someone’s hand and get things done and not yell at their faces and cut people off during speeches.” Moretz also chimed in on likely Republican nominee Trump — calling his run for the presidency, “a joke.” “It shows that America is a completely reality [TV] driven world and the fact that we have had this underlying amount of sexism and racism that we thought was dormant, but in reality, was this aggressively cancerous thing that has now somehow come to an uprising. “We are at a real contrast [in the U. S.] between someone who is very progressive and someone who is very regressive and I think it’s a generation that doesn’t really stand for the gray line anymore — we can’t just settle for mediocre; we have to stand up for what we really want. Donald Trump is a joke for America, it makes us look silly.” Moretz said that as an actress, she wants to further promote “my philanthropic side and how politically oriented I am, that I really fight for women’s right and how I think I can influence a lot more than just a typical actor. I think there is a lot more to me than people know,” she said. The actress — soon to start work on her forthcoming role as Ariel in “The Little Mermaid” live action film — also recently publicized her relationship with David and Victoria Beckham’s eldest son, Brooklyn. The announcement resulted in a media frenzy. “It’s a little shocking, I think we were both taken a little aback about how many people actually cared,” she said of the public’s interest. “I think everyone is looking for the new ‘It’ couple and I think the thing with he and I is that we have real jobs and aspirations and I don’t think you see that very much. You see a lot of fads and you see a lot of people who do a lot of things for fame and I think the opposite of us. We really do enjoy each other a lot, we’ve known each other for years and didn’t do this for anything except for the fact that we want to be together.” 2016-05-24 22:37 Misty White

48 claesson koivisto rune: bonsai seating collection for arflex drawn from japanese aesthetics and culture, claesson koivisto rune has realized the ‘bonsai’ seating collection for arflex whose minimal, curvaceous shapes are reminiscent of bushes and shrubs. presented at salone del mobile during milan design week 2016, the series of upholstered lounge chairs, ottomans and couches are characterized by soft forms that echo natural geometries found in gardens across japan, where botanicals are cultivated and trimmed in order to create organic, cloud-like shapes. in stark contrast to these undulating silhouettes, rectilinear wooden platforms supported on low, wooden legs elevate these rounded, upholstered forms above the floor plane. akin to ‘tokonoma’ — the practice of placing selected, cherished items, such as a bonsai trees, upon a horizontal surface in order to create an interior feature — these wooden platforms create a smaller, more dedicated frame within a larger interior context. within this frame, other elements such as an integrated lamp with a flowing fabric shade and a recessed stone plate for arranging potted plants on, or simply a stack of books, can be added to the scheme. minimal, curvaceous shapes are reminiscent of bushes and shrubs the upholstered lounge chairs, ottomans and couches are characterized by soft forms sketches indicate the multiple configurations the seating can take other elements, such as an integrated lamp, can be added to the scheme. 2016-05-24 22:01 Nina Azzarello

49 The Global Synthesizer Project Makes Crowdsourced Sound Art The Global Synthesizer Project installation at Moogfest. All images courtesy the artist, unless otherwise noted Imagine tapping into every sound generated by musicians around the globe, and tweaking them all in real time on a single platform. People would effectively be able to play the world. While sound artist Yuri Suzuki hasn’t exactly accomplished quite a feat, he conceptually comes pretty close with his Global Synthesizer Project, an interactive electronic instrument installation that allows users to synthesize “environmental sounds” from across the world. Created in collaboration with Moog Music, The Global Synthesizer Project debuted as an installation at this year’s Moogfest in Durham, North Carolina. Yuri Suzuki twiddling knobs Installed on a wall in the midst of Moog’s Pop-Up Shop Factory, the synthesizer is comprised of dozens of modules from Moog and other module makers, and laid out in an approximation of the global map. The cabinet is beautifully crafted in wood, containing the modules and several speakers. The various modules, aglow with light and humming with sound, are connected via patch cables, evoking—whether Suzuki realizes it or not —the network of undersea cables that constitutes the Internet’s circulatory system. All told, the sampler features 80 samples from 30 regions as diverse as Guinea-Bissau, Antarctica, and everywhere in between. Tweak a sound in South Africa or India, and field recordings from these countries (and nearby regions) are triggered, which users can then alter with analog oscillators, filters, LFOs, and other sound modifiers. Suzuki tells The Creators Project that he’d long wanted to use his collection of sounds from around the world for a sound art installation. He’d attempted something conceptually similar with Sound of the Earth , a spherical record where the grooves represent the outlines of geographic land masses. As the needle passes over specific geographic regions, it plays recordings Suzuki had collected from across the dlobe, from traditional folk music to national anthems and several other field recordings. But for The Global Synthesizer Project, Suzuki wanted to pair samples with modular synthesis. After approaching the Moog Music team at Moogfest 2014, Suzuki and Moog project engineer Chris Howe embarked on a mission to fuse the two distinct approaches to sound. The two jettisoned the modular synthesizer’s oscillator (a waveform generator that produces sounds), opting instead to make the field recordings fulfill an oscillator’s traditional role. They also decided to crowd-source the sounds instead of rely on Suzuki’s sample library. Howe tells The Creators Project that the sampler controls the start and stop time of the sample, with a reverse function if the stop time comes before the start time. An algorithm allows for time-stretching, which gives the user control over pitch and rate by way of control voltage. The sampler also has a special feature called Location Control, which can create a variety of timbres out of multiple samples housed in four simultaneous sample banks. “The reverb uses an algorithm known as convolution, which allows us to take impulse responses from real spaces and apply the reverberant qualities of that space to another incoming signal,” Howe explains. “These impulses were also crowdsourced and came from 15 major regions.” Originally, Suzuki had hoped to have some electronic artists craft elaborate studio recordings with The Global Synthesizer Project, but time didn’t permit it. “We did two jam sessions at Moogfest—one with Yuka Honda from Cibo Matto and the other with Christoffer Berg (a.k.a., Hird),” Suzuki says. “And we’d love to tour the installation, so I’m approaching some museums and galleries about doing some sort of public interactive program.” Suzuki says that whether he and Howe continue altering the modules (adding or subtracting units) depends on future opportunity. This, of course, would be conceptually interesting, as new sounds are always being added to the world. So why not The Global Synthesizer Project? Click here to check out more of Yuri Suzuki’s work. Related: Dial 1-800-Moogfest on a Synth Made of Vintage Telephone Parts I Tried Virtual Reality Meditation Inside a Marijuana Grow Tent Remix Grimes with Your Bare Hands Inside an Interactive Installation 2016-05-24 20:10 DJ Pangburn

50 This Drone-Shot 'Star Wars' Dogfight Wins GIFs and screencap via Like childhood Star Wars toy sessions made flesh, DIY filmmakers Corridor Digital ( previously ) has just released a quite believable video of a TIE Fighter vs X-Wing dogfight shot with drones and desktop VFX. R2-D2 somehow gets mixed up with some Stormtroopers who chase him (her? it?) to the skies. There are some fantastic drone aerobatics involving a bridge and some dodgy trees á la Return of the Jedi speeder bike chase, and the filmmakers keep you invested in the battle for nearly five minutes, an impressive feat. Perhaps the most fun part of the whole thing is filling in the blanks of the narrative: What is the dastardly droid doing on this planet? Stealing supplies? Gathering intel? Overall, Drone Star Wars (a.k.a. The Drone Wars , a.k.a. Attack of the Drones ) is everything our younger selves wanted from our action figures. To create the iconic inside-the-cockpit feel, the crew fixed 3D-printed replicas of each ship's windshields to a pair of drone cameras. Each shot of a ship from the outside is a digitally-rendered model borrowed from Digital Copilot , and overlaid over an actual drone flying in front of the camera drone. The only exception is the establishing take-off shot, which features fake TIE Fighter and X-Wing drones made to fool viewers into thinking the actual toys are flying around in the air. Enjoy this love letter to Star Wars toys and making our own stories within a fictional universe, Drone Star Wars , below. See how Corridor Digital made the film here. See more of Corridor Digital's work on their YouTube channel . Related: The Weird and Wonderful World of Bootleg Star Wars Toys Disney Reveals Concept Illustrations for 'Star Wars' Theme Park 'Star Wars' Heroes, Reborn as Greek Sculptures 2016-05-24 19:50 Beckett Mufson

51 aranguren gallegos arquitectos restore old cluster into parador hotel in spain aranguren + gallegos arquitectos restore old cluster into parador hotel in spain (above) view of the sculpted garden all images by luzestudio fotografía designed by aranguren + gallegos arquitectos, ‘the parador’ hotel is a mix of tradition and modern architecture located in the hometown of miguel de cervantes in the world heritage city alcalá de henares, just 30km away from madrid. it is set in a building that used to be a former cluster church and college, and it was transformed and adapted by the architects. the project had in mind the ancient lodging building of the santo tomás college and the cluster building, maintaining the garden between them as the connection point. a garden and central courtyard is located between the two buildings of the hotel the main innovation of the architects consists in the creation of an sculpted garden, separating the modern hotel rooms through green spaces at different levels. the garden extends to the roofs of the first floors, creating an open central patio with views on the whole site. due to patrimonial protection, the façades and structural centerlines have been preserved, but the rooms adapted to the needs of the parador, counting with large spaces and a lot of natural light. garden and patio between the ancient cluster building and the santo tomas lodging building floors of the ‘parador’, wide open spaces transitioning between the different parts of the hotel inner patio with cafeteria and restaurant seen from the upper floor sculpted garden, of the restored old cluster into the modern ‘parador’ designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-24 19:35 Luzestudio Es

52 Sculpture Exhibition Paints a Bleak Portrait of the Middle Class' Future Images by the author The ever-mounting anxieties of America’s shrinking middle class have been majestically condensed into a three-minute video and a series of sculptures in Josh Kline’s Unemployment. Currently on display at 47 Canal , the exhibition takes a dystopic view of America in 2031 that manages to feel both hyperbolic and eerily plausible. Unemployment depicts an era where smart computing will have eliminated the once stalwart jobs of the middle class, in turn forcing aging, jobless individuals to “Airbnb their bodies out to strangers in order to make rent,” according to the press release. More than just a theoretical example, Kline has depicted this scenario literally, with a series of 3D-printed, life-sized renderings of human beings donned in professional attire, curled up into fetal positions, and sealed within plastic recycling bags. Almost like a cyclical return to times of industrial labor, your body is your most valuable asset in 2031, and your only chance of survival lies in recycling or renting out your own flesh. Near these bodies are a series of shopping and granny carts, each filled to the brim with more disturbing relics of the future, also wrapped in plastic recycling bags. One contains a large quantity of plastic bottle and human hand hybrid objects. Another holds soda cans in shades of flesh tones. Bringing to mind the unemployed or homeless individuals of today who scavenge city streets for recyclable goods to exchange for meager deposits, the scene is both familiar and frightening. In another room, office boxes filled with iconic middle class relics are encased in transparent, alien-like baubles hanging from the ceiling. Family portraits, sports team hats, and discount running shoes are locked away from the viewer inside the baubles, suggesting the unavailability and disappearance of once prolific cultural middle objects. The middle class is the endangered species of the future, with only preserved remnants to remember what once was. In the last room of the exhibition, Universal Early Retirement loops endlessly, a short video that is reminiscent of cliché suburban commercials for bad private colleges that promise to “help you better yourself” and plead for you to “imagine the possibilities.” In the piece, eclectic individuals ranging across the demographic spectrum walk dramatically alongside the camera, uttering hopeful ramblings like “Imagine a nation where no one has to work a double shift just to have enough money to feed their family.” Unlike the commercials it seemingly emulates, Kline’s rendition doesn’t advertise any private institutions. Instead, the piece ‘advertises’ universal basic income, equally absurd and depressing when one considers how this is both a basic human necessity and something the U. S. government will likely never guarantee. Unemployment is on display at 47 Canal in New York City through June 12, 2016. View more of Josh Kline's works here. Related: 3D Printing Has Its Triennial Moment at the New Museum 3D-Printed Hair Can Sense and Spark Motion Short Film 'Hyper-Reality' Imagines an Oversaturated AR Future 2016-05-24 19:25 Andrew Nunes

53 Artcurial Sells Lalique Vase for More Than €280,000 Related Venues Artcurial Artists Rene J Lalique A vase by Rene Lalique sold at Artcurial's Art Deco sale in Paris on May 24 for €282,000 ($315,840), marking the third highest ever record for a vase by this artist. The vase, depicting three male figures in blown white glass, created in 1913, was sold for almost three times its pre-sale estimate. The highest price ever achieved for a Lalique vase is £280,000 ($451,248) for Deux Figures Femmes Aillee (Two Winged Female Figures), in 2012. Its pre-sale estimate was comparatively meagre £30,000. Lalique's fine art glass is generally recognized as some of the finest of the Art Nouveau era, incorporating stylised organic decorative elements; however, many of his later designs blend these with the geometric elements distinctive of Art Deco. “The great figures of Art Deco continue to attract demanding collectors, in France and abroad,” said Sabrina Dolla and Cécile Tajan, from Artcurial's Art Deco department, “as demonstrated by the solid results for René Lalique and Eugène Printz.” The Artcurial sale included an important private collection (lots 1 to 53), as well as the complete furnishings of the Parisian offices of the Port Autonome du Marseille designed by Maxime Old (lots 140 to 164). While a long buffet by Printz was the second highest grossing lot in the sale (€104,700 / $117,264), it did not reach its high pre-sale estimate of €80,000 / $120,000. 2016-05-24 19:04 Jana Perkovic

54 Projection Art Activists Take Aim at Saudi Arabia ‘Daesh Bank’ projects on a side of the Saudi Arabian embassy in Berlin, criticizing the country’s involvement in the financing of terrorism. Image credit: PixelHELPER. Last week , the Saudi Arabian embassy in Berlin lit up with the black flag of ISIS, headed by two words: Daesh Bank. Beaming into the building for somewhere between five to ten minutes, this artistic intervention was done by the not-for-profit PixelHELPER , a group aiming to bring action art to the next level. “We find that many issues are mentioned in the media, but the public has a short attention span,” says PixelHELPER organizer and light artist Oliver Bienkowski . “We want to make sure that these issues do not fall into the background and are forgotten.” Since its inception in 2011, PixelHELPER has taken aim at a range of social issues, from global topics like the NSA Scandal, where Berlin’s US Embassy was lit up weekly , to more national forms of protest including alleging a German company ’s involvement in the sale of arms . “We are always looking for causes to support,” says Bienkowski. “With the arrival of so many refugees to Europe, we felt that it was the perfect time to remind the media and the public that these refugees are fleeing ISIS and that countries such as Saudi Arabia are funding these terrorists.” Oliver Bienkowski and Nusier Yassin travelled around the world in the PixelHEPER project that reminding people that Apple founder Steve Jobs was an immigrant. Image credit: PixelHELPER. This time around, artistically branding Saudi Arabia as financiers of the extremist group comes at a time when the US Senate has just passed a bill allowing for the oil rich country to be sued by families affected by the 911 attacks. Saudi Arabia has strongly objected the bill, which will most likely become law, and the country’s role in financing ISIS remains contested. Calling themselves “a guerrilla force for generating moral facts, political art, and humanitarian generosity,” PixelHELPER says their use of light projections offer temporary scrutiny to these issues. The projections are often varied, sometimes projected loudly to create more of a buzz. “Art must trigger pain, provoke, and rebel,” says Bienkowski. “Our campaigns show the possibilities of art as the fifth power in a country. Art is therefore not a mirror of reality, but a hammer which enacts positive change.” Oliver Bienkowski and Nusier Yassin with their Steve Jobs light projection. Image credit: PixelHELPER. In the same Daesh Bank project, PixelHELPER also projected a message onto the embassy calling for Saudi blogger Raif Badawi to be released from his 10-year prison sentence. Badawi’s verdict additionally comes with the punishment of 1,000 lashes, retribution for criticizing the Saudi government in one of his blog posts. The projection, which reads, ‘10 years and 1000 slashes just for blogging #FREERAIF,' aimed to highlight Saudi Arabia’s poor human rights record , reminding the world of Badawi’s ongoing imprisonment. Despite their obtrusive tactics, and with some projects gaining more attention than others, for PixelHELPER, the ultimate goal is peace. “Attentions would be shifted to positive things like art and culture, and all of the terrible things in the world would be ignored,” says Bienkowski. Another light projection on the Saudi Arabian embassy called for blogger Raif Badawi to be freed. Image credit: PixelHELPER. See more PixelHELPER projects here or send a donation their way using this link . Related: Tunisian Star Wars Tourism Threatened by Terrorists Here's that 'All Flags' Profile Pic Converter You Wanted [NSFW] Light Projections Transform the Female Nude 2016-05-24 19:00 Catherine Chapman

55 adult-sized strollers let parents test out their baby's ride adult-sized strollers let parents test out their baby's ride adult-sized strollers let parents test out their baby’s ride all images courtesy of contours baby since babies aren’t able to directly communicate their comfort levels or critiques, child gear brand contours baby took some parents on a ‘stroller test-ride’ to demonstrate the snug and soft quality of its product. for the campaign, creative agency FCB chicago was tasked to create an exact, adult-sized replica of one of the brand’s best selling strollers — the bliss 4-in-1 — and test it on unsuspecting adults. parents were asked to survey the size, fit and comfort of the ‘big bliss’ to best determine the improvements that could be made, as well as identify the product’s best attributes. the resulting video and photographic footage sees surprised faces all around, as both curious passersby in parks and in department stores, and parents placed inside the strollers look bewildered, yet amused. see the campaign film and photos below. contours baby took some parents on a ‘stroller test-ride’ around chicago adults were asked their opinion on the stroller to better determine its comfort levels an exact, adult-sized replica has been made of one of the brand’s best selling strollers parents were asked to survey the size, fit and comfort of the cruiser 2016-05-24 18:57 Nina Azzarello

56 French Design Festival 2016 Focuses on Collaborative Design Related Venues Les Arts Décoratifs The "Revolution" will begin on May 30, when D'Days Festival opens its many doors to French Design. Themed around constant reinvention, this year's D'Days will look at the shifting, but constantly central, role of design at a time of great technological change. “Design was born with the industrial revolution. The technological progress of the 19th century caused a transition from an agrarian, artisanal world towards an industrial, commercial society. This is how design emerged as a discipline, as a response to a new system of production.” So writes Scott Longfellow, the festival director. “The third industrial revolution, caused by its extension into new realms and the normalization of digital technologies, seems like it will have similarly dramatic effects. Design and designers have a role to play in this transformation: to put these technologies at the service of humanity.” Audi will have a place of prominence at the festival, delivering the Audi Talents Awards to emerging designers; while young talent will also be recognized through the Émile Hermès Prize conferred by the luxury brand Hermès, and the Design Parade which will bring together the winners of the design competition of the Villa Noailles. This year, the country of honor will be Taiwan, with an exhibition of the nation's crafts and industry, focusing on the use of paper, at Musée des Arts Décoratifs, and three exhibitions at Galerie 24b, respectively centred around bamboo jewelry, young designers from Taipei, and technological recycling by designer Henry Hsiao. “The forms of design are evolving, creating new practices that we will discover through our engagement with design houses and our partner associations and foundations,” says René Jacques Mayer, the D'Days President. “They will be imagined and co-constructed through unprecedented collaborative workshops between designers and users, taught in new ways by schools and presented at museums.” Panerai, the official supplier to the Italian Navy, has revolutionized the watch market with its luminescent substances, used to improve nocturnal and underwater readability. An exhibition of Dutch Designer Daan Roosegaarde's work, which uses Panerai's Luminor substance in interactive installations, promises to illuminate light's relationship with humanity. Other special events of note will include a Sound Design Party, collaborative design of a temporary fitness running course along the Canal de l'Ourcq, and a futuristic sci-fi fairytale presented as a design workshop. All to best experience the making of the French savoir faire. 2016-05-24 18:57 Jana Perkovic

Total 56 articles. Created at 2016-05-25 18:01