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48 articles, 2016-06-09 18:03 1 Swim With Balloons and Watch People Puke at the Park Avenue Armory Combining old and new works, Martin Creed's installations are thinly veiled metaphors for bodily functions. 2016-06-09 12:30 4KB (1.02/2) thecreatorsproject.vice.com 2 venice architecture biennale: nordic pavilion positioned at the heart of the venice biennale’s giardini, the nordic pavilion brings together finland, norway and sweden as part of a (0.01/2) joint-exhibition. 2016-06-09 13:10 4KB www.designboom.com

3 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe.

(0.01/2) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth... 2016-06-09 09:40 2KB contemporaryartprojectsusa.com 4 SO? architecture suspends interactive sky garden in istanbul in the center of istanbul's ortaköy square, SO? architecture and ideas has installed an interactive 'sky garden' for visitors to experience and enjoy. 2016-06-09 13:20 2KB www.designboom.com 5 These Experimental Sculptures Will Change the Way You See Books Don't judge these books by their covers. 2016-06-09 13:00 3KB thecreatorsproject.vice.com 6 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions... 2016-06-09 14:38 1KB contemporaryartprojectsusa.com 7 no studio's microinstallations aim to restore neglected locations in poland located in wrocław, the studio has added to some abandoned concrete stairs simple half-chairs, half-sunbeds that invite people to sit down, sunbathe, and enjoy the view. 2016-06-09 11:45 2KB www.designboom.com

16 Gregor Muir Named Tate's Director of Collection Currently executive director at the Institute of Contemporary Art, London, Muir ran his own gallery in London before becoming a Hauser & Wirth director. 2016-06-09 09:41 2KB news.artnet.com 17 Zac Posen, Brooks Brothers Host Dinner at Loulou’s in London Daisy and Jan de Villeneuve, Charlotte Olympia Dellal, Andrea Dellal, Erin O’Connor and Marissa Montgomery were among the guests. 2016-06-09 09:11 1KB wwd.com 18 Bourne & Shepherd’s photographs reveal unseen views of 19th century India Tasveer's new photography exhibition reveals Bourne & Shepherd rare views of 19th century India 2016-06-09 09:02 4KB www.blouinartinfo.com 19 tsai karopoulos & kil present finalist sea hotel concept in an attempt to reinvigorate the murro di porco lighthouse and surrounding area, a frame-like canopy draws visitors' eyes to key sights and perspectives. 2016-06-09 08:45 2KB www.designboom.com 20 Absolut Announces Jury of 2017 Art Award The jury for the 2017 Absolut Art Award has been announced, and it will be led by the curator Daniel Birnbaum, director of Stockholm's Moderna Museet. 2016-06-09 08:38 2KB news.artnet.com 21 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than... 2016-06-09 06:41 2KB contemporaryartprojectsusa.com 22 Biennale Applauded for Shifting Focus to World Improvement From ‘Starchitects’: Review This year’s Venice Biennale of Architecture is like none that came before. The focus has changed to world improvement: there can be no going back. 2016-06-09 07:33 5KB www.blouinartinfo.com 23 Pyotr Pavlensky Has Been Released After a long-winded legal battle following his performance "Threat," the artist and agitator Pyotr Pavlensky has been released by the Russian authorities. 2016-06-09 07:12 3KB news.artnet.com 24 State of the Tony Race: Can Cynthia Erivo of “The Color Purple” Break a “Hamilton” Sweep? The best chance for a break in the assumed historic sweep by "Hamilton" is in the best actress in a musical category. 2016-06-09 06:58 5KB www.blouinartinfo.com 25 sara ferrari's small side table collection is available in 48 different configurations the 'tea' collection for durame is a series of side tables that also function as containers and trays, combining a colorful glass base with the best quality wooden tops. 2016-06-09 06:15 3KB www.designboom.com 26 Keith Sonnier and Aaron Aujla Hybridize Rugs – Read THE DAILY PIC on a show at National Exemplar, where two artists play with how carpets get made. 2016-06-09 06:00 1KB news.artnet.com 27 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to... 2016-06-09 08:37 843Bytes contemporaryartprojectsusa.com 28 kengo kuma: owan pavilion blends architecture and nature at design miami/basel 2016, galerie philippe gravier presents kengo kuma's 'owan' pavilion, seeking to create a harmonious relationship between architecture and nature. 2016-06-09 04:36 2KB www.designboom.com 29 Coach’s Vevers to Offer Men’s Runway Exclusives The brand’s spring show will be held in London on Monday. 2016-06-09 04:01 1KB wwd.com 30 Sotheby's Hosts British Art-Inspired Feast Chef Ollie Dabbous will open a pop-up restaurant at Sotheby's inspired by the British paintings and sculptures in the house's upcoming June auction. 2016-06-09 04:01 3KB news.artnet.com 31 Maurizio Cattelan's Controversial Manifesta Project Ewa Hess interviews art world prankster Maurizio Cattelan on his five-year hiatus, and his latest project at Manifesta 11, involving wheelchairs on water. 2016-06-09 04:01 9KB news.artnet.com

32 Top 6 Accidents in Museums Have you ever feared damaging a very expensive work in a museum? Well, it happens, and we've compiled a list of the most dramatic examples for you. 2016-06-09 04:00 5KB news.artnet.com 33 konforist edu.suites male dormitory by renda helin design luxurious by most standards, the all-male dormitory provides students with a range of necessities and activities to accompany their ongoing education. 2016-06-09 02:16 1KB www.designboom.com 34 Pakistani Artist Ghulam Mohammad Wins Jameel Prize 4 Ghulam Mohammad has been announced as the winner of the Jameel Prize 4 by London’s V&A 2016-06-09 01:50 1KB www.blouinartinfo.com 35 Christie’s to Offer Moore’s 1951 Festival of Britain Masterpiece Henry Moore’s “Reclining Figure: Festival” will lead the sculpture section of Christie’s 250th anniversary “Defining British Art” sale in London on June 30 2016-06-09 01:13 1KB www.blouinartinfo.com 36 11 Artists ‘Tell Me a Story’ at Shanghai's Rockbund Art Museum Multiple artists explore the regional cultures of Asia in the latest group exhibition at Shanghai’s Rockbund Art Museum, which runs until August 14. 2016-06-09 00:21 2KB www.blouinartinfo.com 37 Rania Stephan Explores the Spaces Between Her Films at Marfa’ The Beirut gallery hosts the director's debut solo art show, expanding the investigations of her previous two films. 2016-06-09 00:18 1KB www.blouinartinfo.com 38 Japanese Pop Culture from Hokusai to Hello Kitty at MKG-Hamburg MKG-Hamburg pairs its extensive Japanese woodblock collection with modern manga and anime in a new exhibition. 2016-06-09 00:12 2KB www.blouinartinfo.com

39 All That Sex and Blood, Mr. De Palma! A retrospective of Brian De Palma’s films is a reminder that movies today are often more chaste than they were just a couple of decades ago. 2016-06-09 00:00 9KB www.nytimes.com 40 A Rising Chinese Actor, Dong Zijian, on Where the Good Movies Are Now Ahead of the Shanghai International Film Festival, Mr. Dong discussed his favorite directors, the changing market and what happened to art-house films. 2016-06-09 00:00 5KB www.nytimes.com 41 When Classical Musicians Go Digital Players and scholars are turning to computer tablets and leaving paper scores behind. 2016-06-09 00:00 8KB www.nytimes.com 42 What’s on TV Thursday “Occupied” imagines Europe in an energy crisis. “Lip Sync Battle” goes Trekkie. And President Obama stops by “The Tonight Show Starring Jimmy Fallon.” 2016-06-09 00:00 3KB www.nytimes.com 43 Muhammad Ali, the Political Poet The fighter used verse to taunt his opponents. But he also used it to bring black radicalism into the mainstream. 2016-06-09 00:00 7KB www.nytimes.com 44 jean prouvé's maxéville design office at design miami/ basel on the occasion of design miami/ basel 2016, galerie patrick seguin presents the maxéville design office originally designed by jean prouvé in the 1940s. 2016-06-08 23:53 2KB www.designboom.com 45 Olafur Eliasson Invades Versailles with Giant Mirrors and Waterfalls The artist installed his iconic installations throughout the lavish palace and gardens. 2016-06-08 20:30 6KB thecreatorsproject.vice.com 46 Stanley Kubrick's Special Effects Guy Helped Make This Indie Sci-Fi Thriller Possible Douglas Trumbull (2001: A Space Odyssey) helped an emerging director make outer space in a fish tank. 2016-06-08 19:00 8KB thecreatorsproject.vice.com 47 Score an Entire Film on This Tiny Little Music Box Oslo-based new instrument designer Koka Nikoladze has created another boutique sound device. 2016-06-08 18:17 2KB thecreatorsproject.vice.com 48 mecanoo plans new kaohsiung station in taiwan dutch architecture studio mecanoo has revealed plans for the new kaohsiung station, an important transport hub in taiwan's second largest city 2016-06-08 18:14 2KB www.designboom.com Articles

48 articles, 2016-06-09 18:03

1 Swim With Balloons and Watch People Puke at the Park Avenue Armory (1.02/2) Half the air in a given space at Park Avenue Armory. Photo by James Ewing. Image courtesy Park Avenue Armory. I am allowed to enter the room full of oversized white balloons. Balloons fill up half of an ornate alcove at the Park Avenue Armory , and the door is wedged shut, to stop them from spilling into the hall. Handing my purse to a docent, I elbow my way in, climbing over balloons and spiking them into the air. I feel balloon baptized by Half the air in a given space , one of Martin Creed ’s multidisciplinary, esoteric works on display at the Armory this summer. Martin Creed: The Back Door is the first comprehensive US survey of the artist’s work, and the most expansive single-artist takeover of the Armory ever. Works large and small, visceral and puzzling roost throughout the building, with the potential to draw ire and admiration alike. “ The lights going on and off , can elicit very strong reactions. Someone once threw eggs at it,” curator Tom Eccles tells The Creators Project. The roving band at Martin Creed: The Back Door. Photo by James Ewing. Image courtesy Park Avenue Armory. “There was this uproar as to whether this was art, whether he was a con man. People said, ‘Anybody can make this art.’ And what’s kind of interesting is that anyone could make his art, to some degree, but when you see it together, you start to realize there’s a consistency, an honesty to the work, and an element of searching,” says Eccles. “Each idea seems pregnant with anticipation for the next, and it all starts to fit together. Though often presented in isolation, the Armory show is a deluge, and interpretation washes over viewers in waves. The works range from the relatively innocuous, like a slamming grand piano and ticking metronomes, to the controversial, like his infamous short films of people vomiting and defecating. A roving band of megaphone-toting musicians wanders the halls, performing the artist’s original music. Creed created a site specific film installation for The Back Door in the Armory’s drill hall, depicting people eating and opening their mouths. As each video ends, the door of a loading dock at the back of the cavernous space opens to reveal the bustling street outside. The view through the drill hall, out the Armory’s back door. Photo by James Ewing. Image courtesy Park Avenue Armory. “The sheer, massive size of the space was the single biggest motivating factor in thinking about what to do. It’s like fuck, this is an amazing space. Am I trying to compete with that?” Creed tells The Creators Project. “And that made me think of trying to not use the space. Instead of this massive space I have to fill with loads of stuff, why don’t I turn it inside out and look outwards? Who cares about the fucking big space, you know? I mean, I would like to have an exhibition in the toilet. That drill hall is no different. It’s just another room. A big room.” Though deeply conceptual, his work is imbued with anxiety and wit and grapples with being human. “That feeling of, ‘Oh god, I have to fill this space...’ I think that’s an analogy for a lot of things in life,” Creed says. “If you get a job or whatever, it’s like, ‘I have to do this thing. I have to put up a front. I have to fit in.’ And then it’s about thinking, ‘Wait a minute. I don’t have to put up a front. I don’t have to pretend.’” The slamming piano at Park Avenue Armory. Photo by James Ewing. Image courtesy Park Avenue Armory. By staring down the existential with self-awareness and mirth, Creed turns the Armory into a cultural fun house. Rebecca Robertson, president and executive producer of Park Avenue Armory says, “It’s a complete folly, this building. And frankly, we find it rather eccentric. We felt it was in the DNA of the building from the beginning.” Martin Creed. Photo by Hugo Glendinning. Martin Creed: The Back Door is on display through August 7, 2016 at the Park Avenue Armory. The show coincides with Public Art Fund’s presentation of Work No. 2630, UNDERSTANDING , a 25-foot-tall rotating ruby-red neon sculpture on display at Brooklyn Bridge Park’s Pier 6 through October 23. Related: A Giant Neon Sign Brings 'Understanding' to Brooklyn Not All Art Is Visible A Majestic Indoor Lake Fills the Park Avenue Armory 2016-06-09 12:30 Kara Weisenstein

2 venice architecture biennale: nordic pavilion (0.01/2) in therapy: the nordic countries confront their legacy at the venice biennale in therapy: the nordic countries confront their legacy at the venice biennale image © laurian ghinitoiu positioned at the heart of the venice biennale’s giardini, the nordic pavilion brings together the countries of finland, norway and sweden as part of a joint-exhibition. completed in 1962, the pavilion itself was designed by sverre fehn, a celebrated norwegian architect who was later awarded the pritzker prize in 1997. however, the success of fehn and his peers has long affected contemporary nordic practice, exerting profound influence, both consciously and unconsciously. consequently, the exhibition in venice — curated by david basulto and james taylor-foster — seeks to place the nordic nations ‘in therapy’, acknowledging the sometimes irrepressible presence of the modern masters. the nordic pavilion brings together the countries of finland, norway and sweden image © laurian ghinitoiu rather than filling the pavilion with models and architectural drawings, the interior forms a natural extension of the surrounding parkland. glass doors slide wide open, welcoming visitors in a manner benefiting of sverre fehn’s original intentions. at the center of the space, a step-pyramid constructed from swedish pine mirrors the treads and risers of the pavilion’s external staircase. as well as creating an amphitheater for debate and reflection, such a gesture is also an attempt to distance the intervention from the weighty context of its surroundings. liberated from history, the amphitheater allows new questions to be asked concerning architecture’s future direction. a step-pyramid mirrors the treads and risers of the pavilion’s external staircase image © laurian ghinitoiu the curators state that ‘in therapy’ isn’t really attempting to be an exhibition at all. intended as place of reflection, and almost distraction, the pavilion does not demand visitors’ full attention, nor does it crave it. only five couches dot the floor plan, each oriented towards its own television screen. the timber staircase — a large, but obliging presence — takes on a more symbolic quality, examining finland, norway, and sweden’s supposed position at the top of a social and cultural pyramid. the structure creates an amphitheater for debate and reflection image © designboom despite achieving a balance between capitalist society and welfare state, the three countries each face new and pressing challenges in the forms of immigration, social integration, ageing population, and a shift towards a post-industrial economy. these demands are considered in terms of the built environment, revealing conflicts and connections between architecture and nordic society. ‘it is architecture — in its broadest role as a spatial, social, and cultural practice — which sits at the center of this discourse,’ say the curators. the pavilion seeks to form a natural extension of the surrounding parkland image © laurian ghinitoiu for more images, follow designboom on our dedicated instagram account @venice.architecture.biennale. there is a deliberate absence of architectural models and drawings image © designboom the staircase distances the exhibition from the weighty modernist context of its surroundings image © laurian ghinitoiu ‘in therapy’ reveals conflicts and connections between architecture and nordic society image © laurian ghinitoiu the pavilion provides a welcome respite from the hectic surroundings image © designboom the pavilion remains on display at the venice architecture biennale until november 27, 2016 image © laurian ghinitoiu the nordic participation is a collaboration between arkdes – the swedish centre for architecture and design, stockholm, the museum of finnish architecture helsinki, and the national museum’s (nasjonalmuseet) department of architecture, oslo. the exhibition has been realized by marge arkitekter. 2016-06-09 13:10 Philip Stevens

3 Contemporary Art Projects USA/Gallery announces its participation in Art Santa Fe. (0.01/2) Miami, April 14, 2016– Contemporary Art Projects USA/Gallery announces its participation in ART Santa Fe at the Prime Fair Location of Booth #405; as the fair celebrates its sixteen successful year this summer July 7th to 10th, 2016, when galleries from around the world will once again offer an outstanding overview of modern and contemporary art. Designated as one of UNESCO’s Creative Cities, Santa Fe is a globally familiar art destination. The city claims the second largest art market in the United States, and draws scores of national and international visitors. The Wall StreetJournal’s Smart Money magazine recently noted: “Santa Fe is dotted with 240 art galleries, and is the home of ART Santa Fe, an international art fair that attracts buyers and tourists from around the world. The Santa Fe art scene is one of the best you will find anywhere.” The Gallery will be showcasing a selected group of contemporary artists curated by Silvia Medina, Chief Curator, that includes as Invited Artist Kelly Fischer, Switzerland, with her master piece, “Horizon”, honoring the theme of the Fair; Robin Apple, USA; Rosario AESTUS Vigorito/Italy; Rajvi Dedhia Unadkat/India; Eliel Perez/Puerto Rico; Miquel Salom/Spain; Ileana Collazo/USA; and the unique Kinetic Sculptures of Gary Traczyk/USA- among others. Well-established artist, Jorge Cavelier/Colombia, will present a curated project by Ms. Medina and Linda Mariano member of the curatorial team of Art Santa Fe titled, “Horizon”, for which he will create an imaginary forest with his murals. The media sponsors for Contemporary Art Projects USA are: Smiley Stones, Conexiones Publications, Art and Beyond Magazine, Art Daily News International Magazine, Art Miami Today, and Avior Magazine. So, join us this summer for Art Santa Fe 2016 alongside an illustrious line- up of art lovers and high-net-worth collectors with average household incomes of $200,000+! For More Information, please contact: Contemporary Art Projects USA Tata Fernandez, Director 786-262-5886 [email protected] www.contemporaryartprojectsusa.com 2016-06-09 09:40 Leticia Del

4 SO? architecture suspends interactive sky garden in istanbul SO? architecture suspends interactive sky garden in istanbul’s ortaköy square all images by yerçekim in the center of istanbul’s bustling ortaköy square, SO? architecture and ideas has installed an interactive ‘sky garden’ for visitors to experience and enjoy. a large, geometric frame hosts a series of suspended potted plants, each wrapped in a fabric-lined vessel. the botanical species range in quality and color, creating a vibrant landscape of greenery and floral blooms overhead. adding an interactive element to the installation, the instanbul-based studio has attached a system of pulleys to each pot, allowing visitors to draw the vessels downwards for a closer look. activated by the participation of the public, ‘sky garden’ dynamically undulates and shifts in space based on the ever- changing contact with its viewers. the garden provides seating for visitors to the square, and also serves as a shading canopy under which people can observe views of the adjacent bosphorus. benches positioned beneath the structural grid offer areas for locals and tourists to congregate and relax. while the ever-changing heights of the pots creates a dynamic visual effect against the landscape, the architectural installation simultaneously seeks to literally bring viewers closer to nature. the architectural installation is sited in the center of istanbul’s ortaköy square locals and tourists can congregate and relax beneath the grid of the structure pulley systems attached to each pot allow visitors to draw the pots nearer to them the ever-changing heights of the pots forms an undulating wave of plants the garden provides seating and shade for visitors the shifting landscape of potted plants changes throughout the day 2016-06-09 13:20 Nina Azzarello

5 These Experimental Sculptures Will Change the Way You See Books Beniamino Leone - Libro della morte in mare (Encyclopedia). Images courtesy White Noise Gallery The Any Given project is dedicated to pushing the boundaries of everyday objects. Last year dozens of artists repurposed Post-Its into unique works, displayed in the Any Given Post-It show. This year, White Noise Gallery in Rome has selected the book as the next everyday object to be morphed and adapted by 50 artists from 10 different countries. Any Given Book will bring together painters, sculptors, photographers, street artists, and performers, all finding something unique in an object. White Noise Gallery describes it as the “most executive and symbolic objects from everyday life.” Any Given Book will feature wide range of creative inspirations from sculptures and dioramas to labyrinths and kaleidoscopes. The artists curated by White Noise Gallery take inspiration and materials from the books themselves. Participants use everything from dusty old tomes to comic books in an effort to challenge the idea of what a book can be. So it's an exercise in not judging books by their covers, but what an artist can make with them. Daniele Aimasso - Don't read me (Artist Book) Jennifer Collier - Paper Microscope (Auguries of Innocence, W. Blake) 2 Jeus Herrera Martinez -Todos los libros (futuros y pasados) de Sidsel Falsig Pedersen (all Sidsel Falsig Pedersen's books) Julia Ganotis - Kalevala book (Kalevala, Elias Lönnrot) 3 Luca Di Luzio - ΚNΩΣOΣ - (Labyrinth + Artist Book) 1 Marco Minotti - Farmals (Animal Factory, Orwell) Matthew Cusick - Hyboria (Conan the Barbarian, Robert Ervin Howard) Meg Hitchcock - The Most Secret and Supreme Truth (from the Mahanirvana Tantra) - (Ancient German Bible) 2 Micaela Lattanzio - Incipit (Divina Commedia, Dante) 1 Roberto Fanari - composizione n°1 (Artist Book) Sebastiano Dammone Sessa - Piccolo girone organico (Divina Commedia, Purgatorio, XVI, 97) 2 Solo - Smascherato (Spider Man Classic - 1993) Stefano Gentile - ADAPTABILITY (On the Origin of Species C. Darwin) Vincenzo Russo - Bibbia 2.0_3_2016 (Bible) 1 Pax Paloscia - Tropica notte (Artist Book) 3 Any Given Book opens June 16th and will be on display at The White Noise Gallery until the July 31. For more information about the show click here. Related: How to Make an Augmented Reality Book "World's First" Bacteria-Grown Book Combines Science and Culture Fossilized Books Make Beautiful Sculptures 2016-06-09 13:00 Nathaniel Ainley

6 6 Maria Fernanda Lairet, Inaugurates the 2016 Winter Season at MDC-West|Art + Design Museum Miami, Florida Jan. 5, 2016 – The Miami Dade College (MDC) Campus Galleries of Art + Design presents several campus exhibitions to kick off the New Year. FUSION: Maria Fernanda Lairet at MDC- West, inaugurates the 2016 winter season with a student reception at Noon on Jan. 20. The exhibition runs through April 17, 2016. Born in Caracas, Venezuela. Lairet acquired a degree in Graphic Design at the Design Institute of Caracas in 1987. Throughout her career, Lairet has experimented and combined elements of graphic design, drawing, photography and painting to create exciting mixed media works. Currently the artist works in a more reflective and conceptual way through the redesign of paper money for countries globally and in different denominations and her works touch on the political, economic and social issues of each country. She has participated in solo and group exhibitions in universities, galleries, biennials, fairs and exhibitions, both in Venezuela and abroad. Lately, she has participated in Art Palm Beach and Art Santa Fe along with a solo show at Photo Lima. She received second place, Best Artwork during the “Cosmic Connections” fair in Miami in December 2014. The exhibition created in collaboration with Tata Fernandez of Contemporary Art Projects. This exhibition was created in collaboration with Contemporary Art Projects under the direction of Tata Fernandez. 2016-06-09 14:38 Leticia Del

7 no studio's microinstallations aim to restore neglected locations in poland no studio's microinstallations aim to restore neglected locations in poland no studio’s microinstallations aim to restore neglected locations in poland (above) the intervention took place during the lowersilesian festival of architecture in wroclaw all images courtesy of no studio founded by magda szwajcowska and michal majewski, wrocław-based no studio’s portfolio contains works that range from temporary architecture to product design to small architecture. for the local festival DoFA (lowersilesian festival of architecture) they have created the ‘microinstallations’, a series of small interventions in the urban space that aims to restore the forgotten city and its neglected locations. the project is located close to the historic bridge, on some unused concrete stairs that lead to the river, where the studio has placed simple half-chairs, half-sunbeds to recover the area, inviting people to sit down, sunbathe, and enjoy the view. ’microinstallations’ showcases a minimalistic design and was made with little financial resources. the project thinks the whole city based on needs analysis and exploration of rifts in urban planning. ‘microinstallation’ aims to recover forgotten spaces of the city the project is located next to a historic bridge consisting of half-chairs, half-sunbeds, the objects transform the stairs into a seating area people can enjoy the summer days thanks to the instervention the studio’s aim of recovering the space has been achieved designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-09 11:45 Michal Majewski

8 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and Buckminster Fuller; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and theFoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co- opting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed. 2016-06-09 14:37 Volume Inc

9 Lee Kit and the Fleetingness of Feelings “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-06-09 14:37 By

10 10 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman—who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artist-centric values. Following up […] 2016-06-09 14:37 By

11 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins’s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27–October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he […] 2016-06-09 14:37 By

12 New Sol LeWitt Work Unveiled on the Walker Rooftop A large-scale work by Sol LeWitt has just been installed on the Walker’s rooftop terrace, the first of 17 new outdoor works that will be joining the newly-renovated Walker campus. The piece—Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black […] 2016-06-09 14:37 By

13 mini all4 scrambler concept mini demonstrates its off- roading caliber with all4 scrambler concept all images courtesy of mini escaping the smooth city streets to a more rugged scenery, mini has decided to tune their four-wheel drive ‘all4’ to new heights with rugged elements influenced by the BMW ‘R nineT’ motorcycle. the union called the ’all4 scrambler’, guarantees maximum control in all conditions while continually offering enhanced personalization typical of the british brand. the concept made by mini in italy, reinterprets the past with an altered perspective with even more functionality. ‘clubman mini all4 scrambler was investigated by focusing on the design of the exterior and the interior details with the aim of giving greater prominence to the all4 can function as a real lifestyle, synonymous with freedom, originality and adventure, typical of motorbike café – racer as the highly acclaimed BMW R nineT.’ explains federico izzo, head of mini in italy. rugged design elements have been pulled from the BMW ‘R nineT’ the front features original circular headlights from the ‘R nineT’ motorcycle, while the roof includes a luggage rack typical for four-wheel drive off- roaders. the color has been customized specifically with an opaque tint, recalling the similarities of the motorcycle. inside, the mini ‘clubman all4 scrambler’ is wrapped in nappa leather and alcantara, matched to ensure maximum comfort and durability. 2016-06-09 10:49 Piotr Boruslawski

14 Live Then, Live Now — Magazine — Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s—on the cool side for the height of summer in Minneapolis. Diana Ross and Lionel Richie’s Endless Love was at number one on the Billboard Hot 100, and MTV had been on the air for precisely two weeks. This was uninteresting, though, to the crowd pushing into 7th St. Entry, a one-year-old, black-box annex to Sam’s Danceteria (months later to be rechristened First Avenue), a downtown music club in the former Northland-Greyhound bus depot fast becoming one of the Twin Cities’ premier music venues for emerging talent. They were here for punk rock, and for the homecoming of three young musicians from St. Paul: Grant Hart, Bob Mould, and Greg Norton—collectively known as Hüsker Dü—returning to town at the end of a tour they named the “Childrens’ Crusade.” The tour marked Hüsker Dü’s international breakout, as it began in Calgary and Victoria. It then meandered from Seattle to Portland to San Francisco and Sacramento and back to the Midwest through Chicago and Madison. But here at the Entry (as it was called by its regulars), Hüsker Dü was a fixture, having played the venue on at least 50 occasions—sometimes several times in one week—since January 1980. The cramped Entry—capacity 250—had been hewed from the bus depot’s former cloakroom and cafe. In its corner was the low-ceilinged stage, swathed in peeling black paint and scattered with plastic beer cups. It barely accommodated Hart, Mould, Norton, and Hart’s Ludwig drum kit, inherited at age 10 from his older brother, tragically killed by a drunk driver. The crowd in the smoke-filled room was partying, restless, waiting to experience the contagious energy that by now they knew well. Touring had tightened up the material, and new songs had been written on the road, so the band knew it was a moment to capture. Short on funds for a studio album, they had cobbled together $300 to record the show with the intent of releasing it as a live LP. From the moment Hüsker Dü took the stage, the first set was unrelenting. It began with “All Tensed Up” and proceeded to compress 17 songs into less than a half hour, kept on pace by Hart’s ferocious, high-speed drumming: insistent, decisive, with clear purpose. The LP would be called Land Speed Record and was released shortly thereafter with assistance from Mike Watt of the Minutemen and his label New Alliance. The jacket, like those of many hardcore punk and ska records of the time, was requisite black and white, its DIY graphics (designed by Hart via his pseudonymous Fake Name Grafx with Xerox copier and Sharpie marker) advocating the same urgency and immediacy as the music within. While less melodic and textured than Hüsker Dü’s subsequent albums, this one was special in its unruliness: it not only revealed a band on the verge of its collective potential, but also captured the essence of the venue that had been its incubator. For 26 minutes and 35 seconds within its enveloping black walls, 7th St. Entry became a creative tinderbox, encapsulated within Land Speed Record. Eighteen years later, Hüsker Dü had disbanded, as had Hart’s subsequent band, Nova Mob. By the channels through which artists and performers often discover shared sensibilities, Grant Hart, now a solo performer, met Chris Larson. Both were from St. Paul, both had a fascination with a certain history of American culture, both understood music’s relationship to art. Their friendship through the years became a collaborative one: Hart appeared in Larson’s live performance work Shotgun Shack and his film Crush Collision (both 2006), and Larson provided album art for Hart’s independent release Good News for Modern Man (2014). A musician in addition to being a visual artist, Larson has broad interests. His roots in sculpture have led him to explore film, video, photography, performance, drawing, and painting. His most memorable projects have stemmed from architecture—from vernacular building types (coal mine tipples, shotgun shacks) to imaginary, illogical structures—which inspire sculptural or filmic environments rooted in his skilled carpentry. These structures are layered with a strong narrative armature; he often lays plans within them for some unexpected action, such as the rural shack in Deep North (2008) encrusted inside and out with ice and housing a strange, human-powered machine, or the floating house adrift on a lake in the film Crush Collision (featuring Hart among its performers), in which a rough-hewn machine, a gospel quartet, and a drummer share parallel narratives and spaces within. Larson’s works are often linked—a sculpture becomes a film set that then becomes a photograph, for example—and are also regenerative, as an element used in one piece has the potential to appear again in another. While his earlier works embraced archetypal structures and improvised apparatus, more recent endeavors have investigated specific architectural sites. For Celebration/Love/Loss (2013), he meticulously constructed a full-scale wood-and-cardboard facsimile of the only Marcel Breuer–designed modernist home in the Twin Cities, then proceeded to torch it in a grand spectacle of flame. For Larson, the process of replication is a route to new meaning. With Land Speed Record , his latest video installation, he focuses on the objects (and memories) left behind when their context and architectural enclosure have disappeared. In 2011, Hart’s childhood home in South St. Paul caught fire and partially burned. The smoke-blackened contents—furniture, appliances, antiques and collectibles, Studebaker parts, ephemera from gigs, art supplies, clothing, master tapes, guitars, and drums—had to be quickly cleared from the home, and Larson volunteered his studio as a storage space. For almost two years, the accumulation occupied the studio, itself a former warehouse for furniture in transit from factory to home. Hart would occasionally rearrange things on periodic visits, but Larson lived with and contemplated the items as they sat dormant, without framework or circumstance, unmoored from the house in which they had been collected, where Hart had learned to play the drums used at 7th St. Entry on August 15, 1981. Larson did not focus on the house. Instead, he began to build another machine, this time a motorized track for a camera that could provide new perspective and capture a slow, methodical pan across the 85-foot-long drift of Hart’s possessions. This became a pair of films—one in color, one black and white—each mirroring the 26:35-minute duration of Land Speed Record. At first the films, at once reverential and haunting, were silent. But the work wasn’t finished. Larson began a new sculptural element, this time using the less physical materials of sound, memory, and place. He bought drums from Twin Town Guitars (“Keeping your life loud & local since 1997”)—a crystal-clear Ludwig Vista- Lite kit in mint condition. He commissioned a young musician with a passion for hardcore punk to learn the drum track of Land Speed Record , in its entirety and to meet him at 7th St. Entry when he was ready. The empty venue was unlocked, lights turned on, and the transparent drum kit arranged on the stage. Quietly placed alongside it was a Ludwig snare, unearthed from the pile of burned objects. After recording equipment was set up, the musician, sticks poised, donned headphones. Seven seconds passed, during which one could faintly hear through his headset the sound of a crowd, a squeal of feedback, and the opening chords on Land Speed Record . Then he began drumming, playing with surgical precision alongside the recording of Hart. Live then and live now. This time, distilled and stripped away from band and crowd, Larson’s recording captured just two things: the crystalline syncopation and the walls of 7th St. Entry that carried its sound. In Larson’s installation within the dark gallery space, this pure and specific sound is layered with sculpture (based on the venue’s black room divider/drink rail) and with the films. The sound interrupts, then fades through the filmed images, wrapping Hart’s inert and orphaned belongings in the moving image with the liveness of August 15, 1981. Recorded by the camera and scaffolded by sound, the charred objects are no longer ruins but are emancipated—they no longer require the enclosure of the house, the studio, or specific recollections. When Land Speed Record hit stores just before Christmas 1981, a local critic admiringly called it “a repository of strength and horror” ( City Pages ). For Larson, the notion of the repository remains rich and spacious, filled with the possibility for reinvention. Likewise, the vestiges of what a space has once held, whether objects, sounds, words, or memories, can perpetually be re-embodied. In Larson’s Land Speed Record , these remnants layer to form a larger narrative. Hüsker Dü was named after a family board game that tests one’s ability to recall images: a childhood home, a music venue, a furniture warehouse. The words are Norwegian for “Do you remember?” This essay will appear in the Chris Larson: Land Speed Record exhibition catalogue. To be released in August in commemoration of the 35th anniversary of the release of Hüsker Dü’s album of the same name, the catalogue will take the form of a clear vinyl LP bearing a new drums-only recording of the entirety of Land Speed Record , accompanied by four essays that appear as liner notes. Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017. Photo: Larry Smith Photo: Gene Pittman Photo courtesy the artist Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist Photo: Jordan Rosenow Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Photo: Jordan Rosenow 2016-06-09 09:42 By Siri

15 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […] 2016-06-09 09:42 By

16 Gregor Muir Named Tate's Director of Collection Gregor Muir, executive director of London's Institute of Contemporary Art , has been named the Director of Collection, International Art, at Tate , London. He succeeds Frances Morris, who was appointed director of Tate Modern in January after nearly a decade in the post. Muir moves into his new office in January. "Gregor has, for decades, played a central role in promoting British and international contemporary art and has a wealth of relevant experience," said Tate director Nicholas Serota in an announcement. "He has had a distinguished curatorial career to date, and has built longstanding relationships with a wide range of artists and colleagues in the field. " Director at the ICA since 2011, Muir earned a spot on the London Evening Standard 's list of that city's most influential art personalities. He's turned that influence to bring attention to, among other topics, the issue of rampant gentrification in the English capital, programming a series of Frieze fair talks on subjects such as "Can Artists Still Afford to Live in London? " Among the programming he's overseen at the ICA have been shows devoted to Tauba Auerbach, Isa Genzken , and Bruce Nauman. He's also taken the institution's programming on the road, organizing ICA exhibitions as far away as Hong Kong. Muir was director at Hauser & Wirth 's London venue from 2004 to 2011, after serving as a contemporary art curator at Tate from 2001 to 2004. He had established London's Lux Gallery in 1987, showing artists including Kutluğ Ataman, Carsten Höller and Jane and Louise Wilson. Follow artnet News on Facebook. 2016-06-09 09:41 Brian Boucher

17 Zac Posen, Brooks Brothers Host Dinner at Loulou’s in London Posen, a native downtown New Yorker, has strong London roots, having studied at Central Saint Martins, where he befriended the likes of the Dellal and de Villeneuve clans, who were out in force to support him. “He hasn’t changed at all since then – still generous and genuine,” said filmmaker Poppy de Villeneuve, who met Posen when they were both students in London. “He was feeling a little homesick, so we took him in,” she said, adding that he quickly became one of the family. Other guests at private club Loulou’s in Mayfair included Daisy and Jan de Villeneuve, Charlotte Olympia Dellal, Andrea Dellal, Erin O’Connor, Marissa Montgomery, Kinvara Balfour, Bay Garnett, Jasmine Guinness and Nina Marenzi. 2016-06-09 09:11 Samantha Conti

18 Bourne & Shepherd’s photographs reveal unseen views of 19th century India Related Artists Samuel Bourne While making my way through the narrow, dusty and populated lanes of Lado Sarai in south Delhi, I couldn’t help but think of a time when Delhi was bare of the infrastructure and population that burdens it today. As I found my way to Tasveer’s new exhibition ‘Bourne & Shepherd: Figures in Time,’ at Exhibit 320, the work on display showed exactly that and so much more from an India that is still unknown to many. Drawn from the photographic holdings of MAP (Museum of Art & Photography, Bangalore), the exhibition showcases a range of landscapes, architectural views and portraits by the photographers Samuel Bourne , Charles Shepherd as well as the Bourne & Shepherd studio, the Calcutta (now Kolkata) branch still in operation today. The minimalist layout in the gallery works perfectly for the photographs as the viewer is drawn into 19 th century India, where travellers and employees of the East India Company chose to photograph their journeys and also document important historical structures in various cities across the country. British photographers were of course the first to create these visuals by using a formalist approach in their composition to capture picturesque views in their representation of India. One such commercial photographer and explorer was Samuel Bourne , who arrived in India in 1863. Having let go of a bank job in Nottingham, Bourne chose to travel extensively in India in order to make a photographic career out of landscapes. His love for the Himalayas was well known and it was in Shimla that he established his photographic studio, in collaboration with William Howard. With Howard’s departure, in came Charles Shepherd, a photographer but also an expert printer with whom Bourne set up Bourne & Shepherd. Their Calcutta branch gained much patronage, especially by the royalty, European nobles and the rich Indians of the time. One of the most striking things about the exhibition is the magnitude of the prints considering that back in the day, owing to the technology of that time, the original prints were produced in a much smaller size. The finer details are thus more visible and this lends space to a more contemporary interpretation of those works. In most of Bourne’s photographs of historical monuments, there are a couple of noticeable commoners lurking about- and while one might think that there could have been an element of the manufactured pose given that the images were made using long exposures, it is also interesting to note that Bourne might’ve used human elements scantily in order to denote the difference in scale between the structure and the humans. It is clear that both Bourne and Shepherd had deep admiration for the historical significance of what they photographed, thus also revealing what caught the colonial eye in the photographic practice that existed then. Especially striking are the large prints of the port in Calcutta, Fatehpur Sikri and a top-view of Bombay’s elite quarter, Colaba. While it is clear that Bourne had a preference for the more scenic landscape, his photographs of busy ports, temple-ghats (in Varanasi) and daily-life scenes are as important and telling of those times. He often moved from the still to the dynamic in his choice of subjects and that is admirable, especially for that century’s aesthetic and practice. Moving to the portraits section of the show, the first photograph is by Charles Shepherd- an extremely arresting portrait of a group of men called the ‘Affreedies,’ at the Khyber Pass in Afghanistan. A significant departure from the posed portraits that most royals commissioned in that period (some on exhibit), Shepherd has a very modern style of shooting from the front, but framing just a side of the gun- yielding men. None of them are looking into the camera and that itself distances the viewer from the subjects in a manner that they don’t need to necessarily focus on just the men, but also the environs that they were photographed in. While Bourne travelled extensively in the subcontinent, producing over 2000 negatives and established a noteworthy tradition of travel photography, the Bourne & Shepherd studio then popularized those in the form of postcards, book illustrations and album views. Even today, postcards bear photographs which retain an aesthetic that is focused on the scenic landscape, thus keeping the tradition of the Bourne & Shepherd studio alive and kicking in the age of the selfie, where the background is supposedly just incidental. 2016-06-09 09:02 Paroma Mukherjee

19 tsai karopoulos & kil present finalist sea hotel concept a three person team consisting of jay tsai, dimitrios karopoulos, and kris kil, were selected as finalists in the lighthouse sea hotel contest hosted by young architects competitions. the brief called for reinvigoration of the murro di porco lighthouse and surrounding area. unfortunately, small details of the capo’s mystical landscape tend to becoming lost in its vastness. thus, the proposed intervention, ‘sea hotel’ attempts to frame key features, revealing nuances in small increments rather than in mass. to create various focal points a 70×70 meter canopy, lifted four meters from ground level, was situated on the site. smooth and white, its overt presence forces a visual break in the vista. this juxtaposition draws views inwards toward the lighthouse — the primary attraction — and immediate vicinity. the canopy does more than just emphasize the structure. dozens of square ‘frames’ allow natural light to stream into the ‘sea hotel’, also allowing for guests to catch small glimpses of the surroundings. below, black timber floors are punctuated identically. similar in function, glass sections reveal the earth’s surface. a forest of thin, tapered columns hold the roof. repeated rigorously throughout, various densities organize interior spaces. arrangement allows spatial division, while maintaining a light, porous environment. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-09 08:45 Jay Tsai

20 Absolut Announces Jury of 2017 Art Award Absolut has announced the jury for the 2017 Absolut Art Award, which will be led by Stockholm's Moderna Museet director Daniel Birnbaum, as well as the launch of a new prize: the Emerging Artist Award. The jury for the 2017 Art Award will be formed by Elena Filipovic, chief curator of Kunstahalle Basel; Jack Bankowsky, curator and editor-at-large of Art Forum ; Polly Staple, director of London's Chisenhale Gallery; and Simon Castets, director and curator at New York's Swiss Institute. “We are delighted to announce this year's Jury and begin our search for the winners of the 2017 Absolut Art Award. The Award offers artists and art writers the opportunity to realize their dream project and it is great to be able to support creative talent in this way," Saskia Neuman, global art manager at Absolut and director of the Absolut Art Award, said in a statement. “There are those rare awards in the cultural field that don't only honor what has already been achieved, but also function as catalysts for things yet to come," said Birnbaum in a statement. " The Absolut Art Award has established itself as one of these inspirational prizes, both for the most relevant artists and the key voices in contemporary art writing. I am honored to chair the 2017 installment of the award," he added. Last year's award was won by Frances Stark in the Art Work category and Mark Godfrey in the Art Writing category. Stark was selected from a shortlist that included artists Camille Henrot and Trisha Donnelly. Stark's resulting work, pedagogical opera of Mozart's The Magic Flute will be unveiled in autumn 2016. Mark Godfrey is editing The Black Art Debate , an anthology on African-American art in the 1960s and 70s. The Art Work category comprises of €20,000 cash prize as well as a €100,000 prize towards the production of the winning artwork and the winner of the Art Writing category will receive a €20,000 cash prize and €25,000 towards the production of a new art publication. The winner in the new Emerging Artist category, who will be picked from a selection of artists under 40 that have collaborated with the brand between 2015 and 2017, will receive €20,000 as a cash prize and a budget of €25,000 to realize the winning project. Follow artnet News on Facebook. 2016-06-09 08:38 Amah-Rose

21 21 Rosaria “AESTUS” Vigorito|Italy-USA Artist’s Statement: … most events are inexpressible, taking place in a realm where no word has ever entered, and more inexpressible than all else are works of art; mysterious existences, the life of which, while ours passes away, endure … Rainer Maria Rilke, Letters to a Young Poet I am an Italian-American, a lesbian, a retired NY lawyer, a law librarian professor, and an ovarian cancer survivor; but my calling is that of an artist. After a long hibernation, I rediscovered my childhood passion for art; and once re-awakened to my innate passion – which I refer to as my second coming out – I studied with various accomplished figurative artists in New York City, and went on to formalize my training by receiving my MFA from the Graduate School of Figurative Arts of the New York Academy of Art in 2003. Following in the example of one of my inspirations, i.e., Picasso, with his perchance for re-invention and bold experimentation, my versatility extends to painting, drawing, sculpture, photography, and the focus of my more recent works: innovative digital mixed media collage – which incorporates the fusion of elements taken from different media, both digital and non- digital, and their manipulation in computer post-production. Regardless of the medium I employ, I subscribe to the philosophy that art serves as a bridge from our primal essence to our higher selves, to the divine. As such, my “aestus,” or passionate fire, and underlying motivation, is to produce works intended to stimulate the senses, provoke emotional responses, elevate the spirit, and address issues that are dear to me. Interview with the Artist by Fatima Canovas|Art Daily News International Magazine 2016-06-09 06:41 tatafedez

22 22 Biennale Applauded for Shifting Focus to World Improvement From ‘Starchitects’: Review Related Events Venice Biennale Architecture 2016 Venues Venice Biennale Architecture Artists DAVID CHIPPERFIELD Alejandro Aravena This year’s Venice Biennale of Architecture is like none that came before. Take just the previous two, mainly focused on the theoretical aspects of the discipline. The 2012 edition took on the lack of understanding between architecture and society. The 2014 version investigated fundamental elements of the art of designing and constructing buildings. By contrast, the 2016 edition deals with the awareness of social needs more than with aesthetics. Whatever else, it successfully demonstrates that architecture and architects are ready to resume their mission for building a better world. This is the positive message that visitors receive after touring the 15th International Exhibition on Architecture, titled “Reporting from the Front” and curated by the Chilean architect Alejandro Aravena . There were questions raised about the Biennale’s changed focus, but there is a real journey of knowledge throughout the Arsenale, the national pavilions of the Giardini and all the satellite locations spread around the lagoon. The 2016 Biennale well expresses Aravena’s belief “that the advancement of architecture is not a goal in itself but a way to improve people’s quality of life.” There has been political pessimism on whether environmental initiatives can come fast enough to save the planet but the Biennale’s extensive and multifaceted reportage on the worldwide situation, including human- unfriendly territories as the Antarctic, affirms that many positive actions, based on social and environmental-oriented virtues, are successfully continuing. The exhibited projects range from small to large scale, and only in few occasions bear the signatures of famous “archistars” such as DAVID CHIPPERFIELD , famous for the Neues Museum in Berlin, who also did the Naga Site Museum in Sudan. The case histories focus more on the actions rather than on the authors, as in the landscape restoration of Vall d’en Joan waste landfill in Spain; the transformation of the notorious Warwick Junction into a vibrant part of Durban, South Africa; or the revamp of Medellín, Colombia. In the latter, a city, known as one of the most dangerous in the world, was improved by the Espana Library project, the pivot intervention of a wider system that includes transportation (cable cars), sanitization (water and sewage), other services (electricity, phone lines) and accessibility. If architecture reaffirms itself as a sustainable process of change for the better, it also builds on the prophetic role it had in the past. On the one hand, looking for a new land to inhabit, it presents visionary proposals centered on building new types of communities and inhabitable environments for the late 21st century and beyond in the Antarctic region. On the other hand, it offers the chance to build a bridge towards science, architecture and biology as suggested by the group including Dan Shechtman, a Nobel Prize Laureate, in the Israeli Pavilion. In both cases the discipline can count on high-end robotic and printed building technologies, bioengineered material technologies, sustainable food supply chains and energy. This discards the binary distinction between nature and culture. The research suggests changes of patterns in our everyday life and the needs of the contemporary nomads and refugees, suggesting (as seen in the British Pavilion) inflatable accommodation of comfort that could be used anywhere in the world. A very few pavilions or national participants missed the point of “Reporting from the Front,” the most evident being Russia, which devoted its space to Moscow’s so-called “Soviet Amusement Park,” the V. D. N. H., the Exhibition of Attainments of the National Economy, a unique complex in both scale and architecture celebrating the achievements of the former USSR. Australia too, with its perfectly designed swimming pool, was on the edge of missing the point, but saved itself by describing pools as “a social and personal frontier,” a community space, recalling that in New South Wales indigenous children were not allowed in, even in recent times. We could call the Biennale an anthropocentric approach to the art of building, as in the early Renaissance. One thing is sure: humans are at the center of the research in architecture. We may therefore assume that if this continues, the Biennale has changed for good. It will no longer be a wall of fame for the world’s archistars, who have left their imprint in iconic buildings, in some cases even constructing outscaled architectures in remote parts of the planet, but a platform to show the social conscience of this art. 2016-06-09 07:33 Laura Maggi

23 Pyotr Pavlensky Has Been Released Pyotr Pavlensky, the Russian performance artist who has continually foxed and defied the authorities, was released from prison on Wednesday, after a long-winded legal battle. Greeted by cheers and a huge crowd of reporters, Pavlensky was released yesterday by a judge after being found guilty on vandalism charges and being sentenced to seven months—which he has already served—and fined 500,000 rubles ($7,800). He was also ordered to pay 481,000 rubles to replace the door of the Moscow headquarters of the FSB security services, which he burnt as part of his performance Threat , which got him arrested in November 2015 and prosecuted. Pavlensky attended the Moscow court caged and guarded by a dog, which reportedly growled and gnashed its teeth at him when he addressed the journalists in attendance. "Thanks to all for the support, thanks to those who were not afraid," he told the crowd ahead of his sentencing, according to AFP . "It was in their interests to free me […] they wanted to show a hypocritical mask of humanity," he said of his release. "I can't pay the fine," he added, stating that even if he could, he wouldn't on principle. The judge opted to fine Pavlensky much less than his prosecutors had requested (1.5 million rubles, or $23,420), yet his lawyer, Dmitry Dinze, says he may face open prison if the lesser although still substantial fine is not paid. Pavlensky has been at odds with the Russian authorities since be began staging shocking public performances speaking out against what he sees as censorship and fear politics in the country. Since the arrest of the punk group Pussy Riot, Pavlensky has sewn his lips shut, nailed his scrotum to the pavement of the Red Square, burned tyres in a pro-Ukrainian protests, cut of part of his ear , and wrapped himself in barbed wire. Following his arrest in November last year, Pavlensky kept up his campaign against the authorities, and even refused lesser charges in sympathy with Ukrainians who have been given harsher sentences for similar crimes. Although apparently victorious, Pavlensky has, in the last few months, been beaten by prison guards and placed in a mental health facility . "They're trying to label me: to say this is how a criminal, or a sick mind, views those in power," Pavlensky told the BBC . “It's a fight for a label: criminal or mad? But I am an artist. I am doing political art, nothing less, and nothing more. " It seems that all the Russian authorities efforts to quell Pavlensky's spirit seem to have had the opposite effect, as, according to the BBC, he is now saying the entire incident—from the moment he set the doors on fire to his release—has been one long political performance. During his time in prison, Pavlensky has become increasingly famous, and last month he was awarded the 2016 Vaclav Havel International Prize for Creative Dissent for 2016 (past winners include Ai Weiwei and Pussy Riot). Pavelnsky donated the $42,000 prize, which was received by his girlfriend Oksana Shalygina in Oslo, to imprisoned group Primorye Guerrillas . In a shocking move, the FSB also nominated him for their Prize for Literature and the Arts last week. Follow artnet News on Facebook. 2016-06-09 07:12 Amah-Rose

24 State of the Tony Race: Can Cynthia Erivo of “The Color Purple” Break a “Hamilton” Sweep? Related Events Tony Awards 2016 Tony voters like to make history. They did so in 2001 when they garlanded “The Producers” with a record-breaking twelve awards. They did so again in 2014 when they gave a sixth Tony Award to Audra McDonald, making her the most lauded performer in the show’s history. “Hamilton” has the potential to make history by winning thirteen of its record- breaking sixteen nominations at the 70 th Annual Tony Awards on June 12 — even more in the unlikely event that there’s a tie in two of the acting categories that feature multiple performers from the mega-hit. But the expected wave may strike a breaker in two or three categories, namely best actress in a musical. The nominees in that highly competitive race are Philippa Soo (“Hamilton”), Cynthia Erivo (“The Color Purple”), Jessie Mueller (“Waitress”), Carmen Cusack (“Bright Star”), and Laura Benanti (“She Loves Me”). The buzz is that the actor taking home the prize will be Erivo, who makes a stunning Broadway debut as the much-abused Celie in the revival of the musical based on Alice Walker’s epistolary novel. Indeed, LaChanze won the Tony Award in the same role when the musical was first produced on Broadway in 2006 — the only trophy it garnered out of its eleven nominations. This time around John Doyle’s revival has been nominated for four Tonys. Along with Erivo, the acclaimed show is also expected to win best revival of a musical. That means audiences are likely to see Oprah Winfrey, along with her lead co-producers Scott Sanders and Roy Furman, in the winners’ circle on Sunday night. Like Sophie Okonedo, who is nominated as best actress in a drama for “The Crucible,” Erivo is a British-born actress of Nigerian parentage. Having starred as Deloris Van Cartier in the touring version of “Sister Act” in the UK, the actor’s star began to rise when her Celie was first greeted with rave reviews in the Menier Chocolate Factory’s production of “The Color Purple” in London. Winfrey and Sanders quickly decided to transfer the significantly slimmed-down version to Broadway, where it again received across-the-board approbation. Jesse Green, the critic for New York Magazine, asked, “How can deprivation become joy? That’s not only the animating question of “The Color Purple,” the 1982 Alice Walker novel made into a musical in 2005, but also the operating principle behind John Doyle’s triumphant revival of that musical, starring the stupendous Cynthia Erivo in her Broadway debut.” An Erivo win would take nothing away from her fellow nominees. Philippa Soo, as Eliza Schuyler, the long-suffering wife of Alexander Hamilton, gives a tender performance that in any other season would almost guarantee a Tony win. And she may yet win if a “Hamilton” tsunami sweeps everything in its path. (Renee Elise Goldsberry, as Eliza’s sister Angelica Schuyler, is the odds-on favorite to win in the supporting category.) At only 26, the actor of Asian-American heritage born in a suburb of Chicago, has had a meteoric rise. Almost immediately upon graduating from Juilliard, she won plaudits for her love-struck role in the musical, “Natasha, Pierre, and the Great Comet of 1812,” based on an excerpt of Leo Tolstoy’s “War and Peace.” Like Ervo, Jessie Mueller — last year’s Tony winner as Carole King in “Beautiful” — also plays an abused spouse, in this case in “Waitress,” the hit musical based on Adrienne Shelly’s 2007 indie film. Born in Evanston, Illinois, Mueller blazed onto Broadway out of Chicago in 2014 when she earned a Tony nomination for her debut in “On A Clear Day You Can See Forever,” and quickly followed up with “The Mystery of Edwin Drood” and “Nice Work If You Can Get It.” One of four siblings who are all actors, Mueller has a nickname pegged to her versatility: “the Unicorn.” Laura Benanti’s bell-like soprano and comic chops are put to superb use as Amalia in “She Loves Me.” She infuses an exuberant and charming energy into Scott Ellis’s hit revival of the 1963 musical based on the Hungarian play about squabbling co-workers in a parfumerie. That source material also inspired three film incarnations: “The Shop Around the Corner,” “In the Good Old Summertime,” and “You’ve Got Mail.” A Tony winner in the title role in the 2008 revival of the classic “Gypsy,” Benanti is at the top of her game — and one of Broadway’s sexiest actors too boot. In a reverse career trajectory from Erivo, Carmen Cusack, born in Denver, Colorado, first made her mark in London’s West End in a stirring debut as Fantine in “Les Miserables,” this after she’d starred in a Manchester, England production of “Phantom of the Opera.” She also appeared in a West End production of “The Secret Garden,” before she made her way back stateside to tour as Elphaba in “Wicked,” a role that she also played in Australia. She finally got a chance to make her Broadway debut in “Bright Star,” the Steve Martin-Edie Brickell bluegrass musical about a star- crossed romance that spans decades. As Alice Murphy, a no-nonsense editor of a literary magazine with a troubled past, Cusack delivers a knockout performance which, as with all her fellow nominees, makes the vote on this particular category all that much more difficult. 2016-06-09 06:58 Patrick Pacheco

25 25 sara ferrari's small side table collection is available in 48 different configurations sara ferrari's small side table collection is available in 48 different configurations sara ferrari’s small side table collection is available in 48 different configurations (above) one of the different tops available also functions as a tray, in this image the material is natural oak all images courtesy of sara ferrari sara ferrari is an italian product designer currently living in milan who likes traveling and cross-cultural investigation. her objects have one thing in common and that is the meaning she implements to each one of them. ‘tea’ is her latest collection designed for the young milanese company durame which consists of a series of side tables that can be combined in 48 different ways. the pieces can be configured differently due to the two different vases that come in four colors, and the two tops that are available in three different kinds of wood. according to the different configurations, the small tables can change completely their aesthetic each ‘tea’ table can also function as a container; a big glass-colored vase works as the base in which magazines, blankets, cushions or any other personal project can be stored and secured with the tabletop. the glass vase is available in different colors and forms as well as for the wooden tops, designed with different kinds of wood and finishes. the latter is characterized by nice details such as a leather handle in the smaller version, that facilitates the opening or a nice profile for the bigger one that turns the top into a tray. having all these possibilities to choose from offers the chance to create the 48 different combinations that will fit diverse interiors. 4 of the 48 different possible configurations the tops of the tables are used to cover the base, turning them into useful containers the base of the side tables is made out of glass and functions as a container the versatility of the collection allows combinations that go from very contemporary to more classical the collection was designed for the young milanese manufacturer durame detail of two different tops vases height: 25 or 40 cm top finishing: natural oak, dark colored oak, canaletto walnut top shapes: tray shape or smaller version with leather detail to facilitate the opening designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-09 06:15 Sara Ferrari

26 Keith Sonnier and Aaron Aujla Hybridize Rugs – THE DAILY PIC (#1567): I'd never been to National Exemplar gallery, far downtown in New York, when I ran across their latest show, which couples veteran American artist Keith Sonnier with Aaron Aujla, a Canadian who is 45 years his junior. Both artists' offerings include textile works. Aujla, source of today's Pic, has taken America's most popular machine-made carpeting and got the expert weavers of the Textile Arts Center in Brooklyn to reproduce patches of the rugs by hand. It's a lovely, clever reversal of the usual case, where factories try to copy the look of handicrafts. Sonnier's textile at National Exemplar is a small rug (see photo below) whose design is based on patterns sourced in India, but was actually made by craftspeople in Oaxaca, Mexico, in their own particular craft idiom. I love such hybridizing cross- culturalism; it's like using pollen from one place to fertilize flowers from another. In nature, of course, such tactics have risks, but I think that in culture the result is most often beauty and vigor. Of course, there's the case of McDonald's and Starbucks – cultural kudzu, for sure. For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-06-09 06:00 Blake Gopnik

27 Eliel Perez|Puerto Rico As an artist I strive to express the world I see onto a canvas to motivate, inspire, and stimulate other human minds to see the world as I do. My works inspiration is a combination of daily elements that are combined to form non-rigged and flexible images. I combine multiple materials of construction that allows me to free my ideas and create freely without material restrictions and in a freer flowing manner. 2016-06-09 08:37 tatafedez

28 kengo kuma: owan pavilion blends architecture and nature as part of the design at large program at design miami/basel 2016, galerie philippe gravier presents ‘owan’ by japanese architect kengo kuma. the project seeks to create a harmonious relationship between architecture and landscape. in response to the parisian gallery’s ongoing ‘small nomad house project’, kuma has devised a nomadic, removable, sustainable, and zigzag-shaped dwelling that blends interior and exterior space. drawing from the aesthetic of traditional japanese tea bowls and fish scales, ‘owan’ introduces a variety of spatial experiences for those it surrounds. its metal shell has an undulating and adjustable edge that allows it to seamlessly blend with its environment, while it is light enough to subtly and softly move in the wind. lined with a waterproof membrane, the pavilion’s framework is structurally malleable — upon application of heat, a memory alloy allows the form to bend to a desired manipulated position. ‘owan’ sees technical and aesthetic innovation come together to embody an ‘urban revolution’, where interactive technology, micro-architecture and architectural performance meet. the project seeks to create a harmonious relationship between architecture and landscape the shell has an unclear edge that merges the metal with the natural environment ‘owan’ is presented at design miami/basel 2016 by galerie philippe gravier the form is drawn from the aesthetic of traditional japanese tea bowls and fish scales ‘owan’ creates a variety of spatial experiences for those it surrounds its metal shell has an undulating edge that allows it to seamlessly blend with the environment the structure is light enough to subtly and softly move in the wind upon application of heat, the form bends to a desired, manipulated position 2016-06-09 04:36 Nina Azzarello

29 Coach’s Vevers to Offer Men’s Runway Exclusives Success breeds success — or so Stuart Vevers hopes. The executive creative director of Coach will use the runway at his men’s show in London on Monday to offer some “runway exclusives” for men for the first time. The designer has offered special bags at his past two women’s shows and made them available for sale immediately after the show. The “tremendous response” to these bags, which sold out in 90 minutes, led him to expand the idea to his men’s collection as well. “We thought there was a real appetite so we expanded on the concept,” he said. The runway exclusives will include apparel for the first time. Some 20 to 25 pieces of ready-to-wear, bags and accessories will be offered including “easy T-shirts, leather outerwear and bags.” Not every piece will actually walk down the runway, he said, and there will also be one-of-a-kind pieces that Vevers collaborated on with an artist whose identity has not yet been revealed. The women’s bags were only available in North America, but the men’s capsule will be sold worldwide, Vevers said. And once these runway exclusives are sold out on the Coach web site, they will never be offered again. That’s what’s different from the buy-now-wear-now phenomenon, he stressed. “Everything will be available after the show and will never appear later in a store. We’re celebrating the moment of the show,” which will live- streamed by the brand on its social media channels. “We’re seeing more of our clients engaging in our shows and we wanted them to have something special and fun.” 2016-06-09 04:01 Jean E

30 Sotheby's Hosts British Art-Inspired Feast Does a great work of art ever whet your appetite? Sotheby's London is hoping you're hungry of ahead of its June 13 and 14 Modern and post-war British art sale , which it is celebrating by hosting a pop-up restaurant from Michelin star chef Oliver "Ollie" Dabbous June 10– 12. For three nights only , Dabbous, who was dubbed "the most wanted chef in Britain" in 2012, will serve a special meal celebrating British culture at Sotheby's New Bond Street galleries. A select group of 70 diners, each paying £250 ($360), will enjoy wine, cocktails, and six courses by the master chef while sitting amid artworks from the upcoming sale, which features some of the Britain's greatest artists. "I picked out a few of the works that were my favorite and also ones where there was a link to an ingredient," Dabbous told artnet News in a phone conversation. To help him create, Sotheby's set up a special viewing room with Dabbous's chosen pieces, and the the chef got to sketching. "When creating each of the dishes I was drawn to the different colors and textures, particularly with the more shape-driven abstract artworks that diners will be surrounded by," Dabbous added in a statement. "I was also very interested in where the artists came from, and the regional stories behind the works, as I am passionate about the locations that I source ingredients from. " For some dishes, there is a direct visual parallel between the dish and the art work, while others share a more conceptual connection. Dabbous has titled the dessert course, a rhubarb crumble with rose, geranium, poppy seed, and Cornish clotted cream, "The Beginning and the End. " Visually, the dish pairs beautifully with Patrick Heron 's Sydney Garden Painting: February 1990: I , but it's actually made from ingredients linked to Barbara Hepworth , who has four lots in the sale. "Rhubarb only grows in the north of England where she was born and grew up," explained Dabbous of the Yorkshire-born artist. Hepworth went on to spend most of her life and ultimately die in Cornwall, which is known for its thick clotted cream. "There will be literally a Barbara Hepworth sculpture closer to you than your waiter," he added. Other dishes include the more straightforward first course, a dish of peas and mint based on Graham Sutherland 's green-hued Rock with Three Heads II. For Dabbous, the challenge is creating visually compelling food without compromising his flavors. "Presentation is something that young chefs sometimes prioritize more than they should," he admitted. "It's ultimately taste you remember. " It's not the first time the chef has teamed up with Sotheby's. In honor of the house's February contemporary sale, Dabbous prepared a similarly art- inspired meal. Although he's not an art collector himself, his eponymous restaurant, Dabbous, is just a few minute's walk from the Sotheby's office, so auction house staffers are among his regulars. "Working more with Sotheby's has made me more inquisitive" about art, the chef said. "There's something magical and charming about all these works surrounding the diners," Dabbous concluded. "And then they're all going to disappear. " Follow artnet News on Facebook. 2016-06-09 04:01 Sarah Cascone

31 Maurizio Cattelan's Controversial Manifesta Project After a hiatus, art prankster Maurizio Cattelan is back with a new work, to debut at Manifesta 11 in Zurich. Ewa Hess interviews the artist in advance of the show, "What People Do for Money," which runs from June 11 – September 18, and the two discuss his collaboration with former Paralympics athlete Edith Wolf-Hunkeler, as well as the power of going viral, below. Zurich welcomes you back from your self- imposed retirement as an artist! Are you back for good? Let's say that I pretended to be dead for a while, but, as Dante did, after the hell's tour I'd rather come back to life…and if it's true that you never really lived until you never nearly died, now I'm ready to start my new life! As your Guggenheim show featuring a solid-gold toilet is postponed, Zurich will now become the first place to host a new work by you after your five-year hiatus. Why save this honor for Zurich? Christian Jankowski [who's curating Manifesta 11] is an old friend and I've been really happy to hear about his nomination. I loved his idea of creating joint ventures with local workers and I was enthusiastic when he invited me to collaborate with someone to produce a new work in Zurich. Your work was a collaboration with the former Paralympics athlete Edith Wolf-Hunkeler, how did this collaboration come about? We were looking for a person daring to be on water on a wheelchair, and she was perfect for this task. She took a while to think about it, understandably, and in the end she accepted. I feel lucky and honored to be hosted by her, I admire the way she approaches extreme challenges, I believe it's part of her sportive soul. A wheelchair rolling on water—what a powerful image! Is it relating to human kind's presumed omnipotence or perhaps to Jesus's frailty? None of the two, actually, it's more about hope, instead. Human progress has always moved forward through inspirational images coming from the arts. In 1865 Jules Verne's From the Earth to the Moon was a science fiction novel, a hundred years later it was a fact: as human beings we continuously raise the bar of our goals, and expand our frontiers. It is an image that speaks of the limits and the possibility to overcome them: in a couple of years we could also conquer water in a wheelchair. Did the fact that Zurich is a Protestant city have any impact on your idea? Zurich itself has been inspiring, it has always been a free port for thought! Think of [Richard] Wagner or [James] Joyce, Dadaism and the Cabaret Voltaire…it's a great place to get a second chance! Did you consider placing yourself in this wheelchair or putting one of your twin-figures, like Charlie, in it instead of a Paralympic athlete? A wheelchair is one of those objects that you wish to never encounter on your path, but at the same time it's there to remind us how fragile our bones, our muscles, and our brain are. It's something that I dealt with for a while, firstly in Lourdes, then in the ambulances, and I wouldn't wish those on anyone. Can you reveal anything about the technical feasibility of this daring project? There's a technical team working on it night and day, and I must confess it's no picnic, but I wouldn't know how to explain the functioning… I only know it's something about Archimedes's [principle]. Will the work be carried out in front of a live audience or is it going to happen without any one knowing and recorded? We're not looking for entertaining an audience: the focus is creating an inspiring image. If the safety of the persons involved will not be at risk we'll stream it live, otherwise not. It's not essential to the realization of the work. Manifesta 11's theme is "What People Do for Money. " It involves the suggestion that everyone has their price, but also that paid work is something that keeps us going in a constructive way. What's your relationship to labor? My relationship with the working world has been quite troubled, at least until I discovered that the problem wasn't the kind of job, but the idea of depending on others while doing what you don't like. From my point of view, the title would be "what people sometimes do to forget what they'd like to do for themselves. " In some of your works you approach capitalism quite angrily, and how it recuperates values and ideas—you sold your exhibition space in Venice and place a sculpture of a middle finger in front of Milano's stock exchange, for example. Are you a political person? It is said that the problem is not to make political works, but to make works politically. I don't believe that in order to be politically committed an artist must act as a member of a party or, worse, speak exclusively of contemporary social problems. Artists should be as politically engaged as any other citizen, at most, they can use their reputation to support a given cause, but I prefer to close my mouth and spread powerful images instead. One could think Donald Trump is a figure invented by an ironic artist. It wasn't you, by any chance? In Italy we already went through all this with Berlusconi, but this case is of course much more dangerous. He looks and sounds more as the invention of a sadistic screenwriter, the main character of a b-series. Trump is the answer to our perpetual and increasing need for entertainment…I really hope to hear soon more and more people yelling "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE! " That film is forty years old and has never been so relevant. What's your best guess at future scenarios for the world we live in, Orwellian dystopias or rather a grassroots resurrection? We are at a crossroads, nations on one side, corporations on the other, and since we're all connected, which law is the one that rules the world we're living in? It's like living in the Far West, we are at the beginning of a new era, where everything is legit, even NSA controlling everyone at every time. So its far more subtle than Orwell's society, as we believe that we are free and that we decide independently, while every choice we make is registered and sometimes steered: data today value much more than gold. The planned work for Guggenheim is a solid golden toilet and you call your publication—which you publish together with Pierpaolo Ferrari— TOILETPAPER… …and the show in Torino was called "Shit and Die" after Bruce Nauman… The fact is that we are what remains from our eating process. Speaking of toilets is more about our inner selves than you can state at first glance. Does the golden throne pay homage to Piero Manzoni's Merda d'artista, and his a commentary on the absurdities of the art market? I always saw his work as ecumenical, more than a specific commentary on the art market. As during the Catholic mass the priest gives away to the worshippers the Body of Christ, Manzoni gave away several parts of his body, his breath, his fingerprints, and also his shit; they're almost relics. America, on the other side, offers the possibility of being “face to face" with the newest objects of worship, works of art, inside their sacred spot, the museum. It's more about having a spiritual moment of pure, lonely contemplation in the less obvious area of an institution. That's something that doesn't happen so often anymore. Your works are often seen as provocations, but slowly unfold as complex and meaningful. Does this complexity just happen? It nice to hear this, thank you. I try to leave nothing to chance and do things at their very best, nothing just happens. It's not so far from making a newspaper: you collect the information, you fact check it, you go deeper and deeper, until you get to your personal opinion on that event and try to formalize it. A simple provocation is forgotten in two days, a good work would last much longer. How do you see the relationship between art and design? It almost seems like an incestuous relationship today! You call yourself an "image philiac," because you love to see a lot of images. Does this condition go hand in hand with being an iconoclast? Raise your hand if you're not image philiac yourself…We all are! What interests me is the images' inner power to stick in your mind permanently. This impact is inextricably linked to influence—the more impact you could create, the more influence you have. I'm fascinated by the ability to make things go viral, it feels like the closest that we could get to having a human superpower. Are you still member of the church? Let's say I do believe in religion: human beings are religious animals, and such a characteristic feature of human behavior cannot be ignored or dismissed. Manifesta 11 " What people do for money " takes place in Zurich, Switzerland from June 11 – September 18. Follow artnet News on Facebook. 2016-06-09 04:01 Ewa Hess

32 Top 6 Accidents in Museums There is a reason why some people feel uptight about visiting museums and galleries: they are packed full of beautiful, rare, fragile, and expensive things, to the extent that they need be physically guarded. That can make people nervous. But then there are those who seem completely unfazed by their surroundings, and who like to "touch the art. " So, when one hears of an over enthusiastic selfie taker , bored child, clumsy curator, an inconsiderate tourist, or just sheer bad luck, it's always fascinating to hear the how, the what, the where, the when, and most intriguingly, the why. Inspired by a rude man who recently knocked a rare clock off the wall at the National Watch & Clock Museum in Pennsylvania, we have compiled a list of our "favorite" art wrecking gaffs. We are sorry, but artworks were hurt during the occurrence of these incidents. 1. The Mystery of the Smashed Lego Statue There is an air of mystique surrounding the events last week that caused the Lego incarnation of Nick, the cartoon fox from the film Zootopia , to shatter into hundreds of blocks (see image above). The only facts that have transpired are that a four-year-old boy was responsible and that his parents said he didn't mean it … The artist responsible for the intricate Lego sculpture, which cost around $15,000 to build, posted a visual diary of his process, which ended with a shot of the decimated sculpture, pictures of which have now circulated all around the world. 2. The Boy Who Punched a $1.5 Million Baroque Painting Spare a thought for the 12-year-old boy who, on visiting the Huashan 1914 Creative Park in Taipei last August, stumbled and used a $1.5 million Paolo Porpora painting to break his fall. To add insult to injury, the boy was holding a soft drink in his hand, which went through the canvas. The boy, who was visiting the exhibition "The Face of Leonardo, Images of a Genius," punched a fist sized hole in the 350-year-old floral still life. In the video footage, which then went globally viral, the boy can be seen gazing in horror at his mistake. Luckily for the family, the Huashan 1914 Creative Park doesn't maintain a “you break it, you own it" policy and the damage to the masterpiece was covered by insurance. 3. The Cy Twombly Sculpture Debacle Last year, a Cy Twombly sculpture was knocked at the Menil Collection in Houston. The incident was witnessed by artist John Hovig, who took on the role of reporter and broadcast it online for all to see (and cringe). Hovig and a friend were visiting the Texas museum when they heard a crash in the next room. On rushing in, they were greeted by two curators hurriedly trying to right the toppled Twombly. Hovig posted a photo on his Facebook page of a surprised looking museum worker with text: "An untitled Twombly sculpture (1954) gets an accidental hit. When I heard the noise from the other room, I assumed it was a new piece of kinetic art. The two curators below were righting it as I left. " 4. The Fatal Fate of the Ancient Vase One unfortunate visitor to the Heraklion Archaeological Museum in Crete tripped and fell while admiring a display, and grabbed a 4,000-year-old Minoan vase on her way down. Sadly, she broke the vase and suffered minor injuries to her legs in the process. But, luckily, the artifact was promptly repaired and put back on display. It later transpired that the vase had been already broken once before by some clumsy Cretan thousands of years ago, and repaired around that same time. 5. The Doomed Party Installation When Italian artists Goldschmied & Chiari installed their party-themed piece Where Are We Going to Dance Tonight? (2015)—a jolly display of empty champagne bottles, streamers, glitter, and cigarette butts—they were so happy with it they took a photograph and posted it to social media. Later that night, though, when the cleaners at the Museion Museum for Modern and Contemporary Art in Bolanzo, Italy, dutifully came in to work, they cleaned the entire work away and threw it in the bin, as they thought the artwork was the remainder of an actual party. "We told them just to clean the foyer because that's where the event on Friday night had been. Evidently, they mistook the installation for the foyer," the museum's director Letizia Ragaglia told Italian paper Alto Adige at the time. To put the accident in perspective, some factual information: a painting from the same series by Warhol sold in November 2014 at Christie's New York for $81.9 million, according to the artnet Price Database. Ouch. Follow artnet News on Facebook. 2016-06-09 04:00 Amah-Rose

33 konforist edu.suites male dormitory by renda helin design ‘konforist edu.suites’ is an all-male dormitory developed by renda helin design & interiors. two blocks, placed in separate areas of a common building in eyüp, istanbul, turkey provide students distinct areas for private and public needs. the custom suites are furnished with all necessities, and available in private or multi-roommate variations. for shared rooms, signage (A, B, C, etc.) and colors prevent possible confusions between occupants. in contrast to private areas, ‘konforist’ features a plethora of common areas to promote socialization. these include: café, two VIP lounge/living spaces (with terrace), barbecue patio, hobby kitchen, study hall, computer room, in-house cinema/ video game room, and game room — ping pong, pool, darts, pinball. sports and fitness is also emphasized. students have full access to a gym, sauna, massage room, and infirmary. ‘konforist edu.suites’ bestows many luxuries to its inhabitants; to keep them from swaying in their academic attentiveness, helin introduced symbolic blackboards throughout select commons areas. placing importance on the near future, it stands as a constant, if subtle, reminder about the purpose of their stay. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-09 02:16 Renda Helin

34 Pakistani Artist Ghulam Mohammad Wins Jameel Prize 4 Related Venues V&A Ghulam Mohammad has been announced as the winner of the Jameel Prize 4 by London’s V&A. The Pakistani artist was awarded the £25,000 prize for a series of five paper collages made by adding components of gold and silver leaf and ink to individual paper cuttings of Urdu script. The judges praised Mohammad’s work for its excellence of concept and execution. Mr Fady Jameel, President of Community Jameel International, said, “We would like to congratulate Ghulam Mohammad, the first artist from Pakistan to win the Jameel Prize. Using second-hand books, Mohammad’s intricate collages of paper cuttings of Urdu script pasted on Wasli paper create new meanings and celebrate the great heritage of Islamic art, craft and design.” The winner was decided by a panel of judges chaired by Martin Martin Roth, Director of the V&A, who said: “Over the four cycles of the Jameel Prize so far, the award has been made to artists and designers at every stage of their creative lives. I am pleased to see that Jameel Prize 4 has been won by such a promisıng young artist at the beginning of his career.” Launched in 2009 and organised by the V&A in partnership with Art Jameel, the Jameel Prize is an international award for contemporary art and design inspired by Islamic tradition. The exhibition of works by the 11 shortlisted artists and designers will be on show at the Pera Museum in Istanbul, Turkey from June 8 to August 14, 2016. Jameel Prize 4 - Ghulam Mohammad from Victoria and Albert Museum on Vimeo . 2016-06-09 01:50 Nicholas Forrest

35 Christie’s to Offer Moore’s 1951 Festival of Britain Masterpiece Related Artists Henry Moore Henry Moore’s “Reclining Figure: Festival” will lead the sculpture section of Christie’s 250 th anniversary “Defining British Art” sale in London on June 30. Commissioned by the Arts Council for the Festival of Britain in 1951, the groundbreaking modernist masterpiece will be offered with an estimate of £15-20 million. The 228.5cm long “Reclining Figure: Festival” was produced in an edition of five bronze casts with one artist’s proof. Christie’s set the current world auction record for Moore in 2012 when it sold another cast from the edition for £19,081,250 against an estimate of £3.5 - 5.5 million. Moore said of the work, “it is perhaps my first sculpture where the space and the form are completely dependent in and inseparable from each other. I had reached the stage where I wanted my sculpture to be truly three- dimensional. .. Now the space and the form are so naturally fused that they are one” Cyanne Chutkow, Deputy Chairman, Impressionist & Modern Art, Christie’s said: “Reclining Figure: Festival is one of the great masterpieces of Moore's oeuvre and is arguably his most masterful and elegant sculptural synthesis of form and space. Privately held in an American collection for almost a half century, this work is a testament to the owners’ discerning and sophisticated artistic sensibility.” 2016-06-09 01:13 Nicholas Forrest

36 11 Artists ‘Tell Me a Story’ at Shanghai's Rockbund Art Museum Related Events Tell Me A Story: Locality And Narrative Venues Rockbund Art Museum Artists Apichatpong Weerasethakul Koki Tanaka Chen Chieh-Jen 11 artists explore the regional cultures of Asia in “Tell Me a Story: Locality and Narrative,” the latest exhibition at Shanghai’s Rockbund Art Museum, which runs until August 14. In this exhibition, which is mostly made up of video installations but also features performances, drawing, photography, and found objects, the artists explore Asian cultures and their development in varying ways. In the first work, Thai artist-director Apichatpong Weerasethakul — best known for his 2010 Palme d’Or-winning “Uncle Boonmee Who Can Recall His Past Lives” — takes gallery-goers on what a press release calls “a surreal night-journey through a temple on the border of Northern Thailand.” In “Fireworks (Archive),” 2014, temple sculptures are lit by light flashes and fireworks, representing the region's ongoing political turmoil and the bombing of the area by Viet Cong-hunting Americans in the 1970s through a surreal bombardment of lights. Similarly preoccupied with magical realism is the MAP Office (Laurent Gutierrez and Valérie Portefaix) installation “Hong Kong is Land,” 2014-16. In this work, featuring videos and cartography, eight imaginary islands are constructed around Hong Kong in order to “forge[...] an allegory for the future that deals with facets as varied as ecology, territory, economic models, and modes of living.” Other works in the exhibition include photographs by Tomoko Yoneda of an uninhabited island off Japan; an installation recounting a trip that artists Guo Xi and Zhang Jianling took to uncover the colonial past of otaksa flowers; as well as projects by Au Sow-Yee, Haejun Jo and Kyeong Soo Lee, Filed Recordings, Su Yu-Hsien, Koki Tanaka , and Watan Wuma. 2016-06-09 00:21 Samuel Spencer

37 Rania Stephan Explores the Spaces Between Her Films at Marfa’ Lebanese director Rania Stephan’s first solo art exhibition, which documents the artistic process around two of her previous films, is being held by Beirut gallery Marfa’ until August 31. Befitting an exhibition that focuses on being between two things, this show is entitled “On Never Being Simply One,” and features a number of works that make this liminal space literal. In the series “Invisible Images to the Naked Eye,” 2016, Stephan presents a series of stills of double exposures achieved by photographing the exact moment at which two shots in her ongoing film project “Memories for a Private Eye” (2015-) cross-cut into each other, creating what Stephan calls “fictional memories.” On the other hand, “64 Dusks,” 2010-16, can be considered part of the project that resulted in Stephan’s best-known film “The Three Disappearances of Soad Hosni” (2011), which ruminates on the life and mysterious death of the eponymous Egyptian cinema star through footage from Hosni's movies. “64 Dusks” looks in more detail at her death, with Stephan taking photos wherever she was at the exact time of day that the actress fell from a London tower block window, “ hoping, perhaps, to capture her last light,” according to a press release. “64 Dusks” also features a film that the artist shot in 2010 around the scene of Hosni’s death. Another installation in the exhibition, “Who Else Could It Be,” 2016, is a further instalment on what Stephan sees as the enigma of Soad Hosni. 2016-06-09 00:18 Samuel Spencer

38 Japanese Pop Culture from Hokusai to Hello Kitty at MKG-Hamburg Related Venues Museum fr Kunst und Gewerbe Artists Katsushika Hokusai Utamaro Toshusai Sharaku A new exhibition at the Museum für Kunst und Gewerbe (MKG) in Hamburg will explore Japanese popular culture from 1680 to the present day, tracing a timeline from woodblocks to comic books, and from Hokusai to “Hello Kitty.” “Hokusai x Manga,” which runs June 10 through September 11, will see the museum displaying works from its collection of 5,000 Japanese woodblock prints alongside contemporary art and pop culture artefacts from the worlds of Manga, Anime, and Cosplay. This juxtaposition highlights key themes that have carried over from the past into the present, such as the prominence of samurai-like hero figures and ghosts, as well as a focus on relationships to changing environments, be they Hokusai’s views of Mount Fuji, the lush landscapes of Studio Ghibli films or the urban dystopias in the film “Akira” (1988). Other comparisons made in the exhibition are more obvious. For instance, a copy of Katsushika Hokusai’s iconic print “The Great Wave off Kanagawa” (here labeled as “High Sea at Kanagawa, Wave Trough,” 1931) is exhibited beside film stills from the 2015 film “Miss Hokusai,” showing scenes from the movie directly inspired by the woodblock master’s prints. Also on display are works by artist Jed Henry, who has resurrected the woodcut form to combine manga imagery with traditional woodblock techniques. The exhibition also features historical artworks including prints by great Ukiyo-e masters such as Kitagawa Utamaro and Toshūsai Sharaku, and modern illustrations by Jiro Taniguchi, Hiroshi Saito, and Isao Takahata. 2016-06-09 00:12 Samuel Spencer

39 All That Sex and Blood, Mr. De Palma! These are grim times for cheap thrills. I knew this way before I sat down for a third helping of Brian De Palma ’s “Dressed to Kill.” But there was something freshly moving about listening to the poor, sexually exasperated Kate Miller (Angie Dickinson) talk to her shrink (Michael Caine) about faking another marital orgasm. She’s tired of “wham- bang” specials from her husband. She wants passion. The longer she goes on, the more I thought, Hear! Hear! The capes, remakes and movies engineered for late-year acclaim? Stop playing footsie and make love to me. More, please, of the bloody film ecstasies of Mr. De Palma, the relentless American director to whom the Metrograph, on Manhattan’s Lower East Side, has devoted the month to cinematic French-kissing — courtesy of a retrospective. Living elsewhere should deter no one from drumming up private De Palma marathons (or finding “De Palma,” the new career documentary that Noah Baumbach and Jake Paltrow have made). If you miss homicidal mania, gonzo sexual desire, cruelty lugubriously avenged, camerawork and editing that never sleep, or arriving at the closing credits and exclaiming, “Again!”, “What the hell was that?” or sometimes both, then you can certainly salute Mr. De Palma at home. His body of work is large and varied. He’s given us carnal disturbances (“ Phantom of the Paradise ”); adolescent-hormone horror (“Carrie” and “The Fury”), personal dramedy, assorted paranoia thrillers; a couple of moralist combat dramas; and more crime-world escapades than you’d think (starting with “Scarface” and peaking with “The Untouchables”). We’re talking about an auteur but a completely heterogeneous one, whose thematic promiscuity ranges from counterculture-era black comedies (“Greetings” and “Hi, Mom!”) to rotten eggs like “Mission to Mars” (2000) and the notorious, picked-over 1990 turkey “The Bonfire of the Vanities.” This is also the director who, in 1996, launched the “Mission: Impossible” series. Mr. De Palma promises nothing (well, he never seems to run out of music; his movies do promise too much of that). He can’t even guarantee quality. After almost 26 years, I thought going back to “Bonfire” would help recast it as a timely (or timeless) race farce. Nope. Its badness is forever. And yet here’s the thing about Mr. De Palma. He never stops — never stops trying to pull the rug out from under us, never stops trying to twist our arm, never stops believing that nonsense can be an aphrodisiac, too. I mean, who has better understood the elastic power of slow motion? It’s the sort of only-in-the-movies effect that no one’s actually experienced but that everybody’s felt. It’s the speed of dreams and nightmares — REM sleep at minimal m.p.h. With Mr. De Palma, though, the dreams favor the dewy, and the nightmares run red. Death, ecstasy and humiliation can all happen at well under 24 frames per second, all the better for the movies to show us what we see when our eyes are shut. That’s what’s wrong with that adaptation of Tom Wolfe’s “The Bonfire of the Vanities.” By Mr. De Palma’s standards, it’s bloodless in every way. Even real time feels too slow. In his prime, which was the paranoid Nixon ’70s, the excessive Reagan ’80s and just a touch beyond, Mr. De Palma made thrillers that thrilled. And cheap was fine. We’re cheap. Just don’t treat us that way. De Palma didn’t. He winked and ribbed and elbowed, but he also knew how to freak you out and turn you on. There’s a spot for perversity and transgression that certain moviegoers have, and Mr. De Palma knew how to hit it. You could count on him to put a frame around desire and fear. In “Dressed to Kill” (1980), toward the end of her session with Mr. Caine’s Dr. Elliott, Kate comes on to him. He declines. And a scene later, she is sitting alone at the Met, too distracted to engage with the art. She scribbles in her datebook stuff like “nuts,” “eggnog” and “pick up turkey!” Then a man in sunglasses sits beside her and starts sucking on a golden pen. The next shot shows her with one leg wrapped around the other. He gets up, and she chases after him from gallery to gallery. An Alex Katz, a Frank Stella, Rauschenberg and Johns: all afterthoughts. As they go, the score rises and falls — panting, basically. Then he stops and cruises her, and she walks past, exhilarated but ultimately too embarrassed to respond when he comes up behind her and places a gloved hand on her shoulder. She runs off and looks at a museum map (for sexual orientation, more than anything else). Then she realizes that the glove was hers, and she starts scanning these rooms full of art for the work of trashy masculinity who’s getting away. But when she exits, there he is in a cab wagging that glove. She goes to thank him. He pulls her in and starts going to town on her right there in the back seat. The turkey’s picked her up! It is such obvious surface, but the surface goes on for miles. As a formalist, Mr. De Palma repeatedly cast his lot with the films of Alfred Hitchcock — in “Blow Out,” “Body Double” and “Raising Cain,” too. The museum sequence is like an exhibitionist “Vertigo” whipping open its trench coat and flashing its great big Judith Krantz. Mr. De Palma’s baldness can still be brow-furrowing. The wonderful Ms. Dickinson’s function here is the same as Janet Leigh’s in “Psycho”: cautionary. Indeed, Hitchcock’s female trouble is also Mr. De Palma’s — judgment, sexual confinement. He’s just not as icy. Indeed, “Dressed to Kill” features the sort of queer killer who slays out of sexual confusion (or jealousy) that cropped up that year (also in 1980, N. Y. P. D. detective Al Pacino went gay, in “Cruising,” to stop murders in S-and-M communities) and reached a mass-media boiling point 12 years later with “Basic Instinct.” If you’re not straight, these movies end punitively for you. But there’s a kind of touching ignorance at work in “Dressed to Kill.” When the movie wants us to understand transgenderism, it splits the screen and, on both sides, plays an actual talk show featuring Nancy Hunt , who explains her life to a live studio audience. Dr. Elliott isn’t on the show; he’s watching at home, studying it. That’s this movie: Phil Donahue is its Freud. (Mr. De Palma is stranger with black people in his movies. There’s the fascinating experimental-theater sequence in “Hi, Mom!” in which a bunch of black actors in whiteface put white audience members in blackface so they can sample the black experience. And “Sisters” is built around an interracial relationship. But, until “Bonfire,” those scenes appear to have obviated a reason for black people in his films to do much more than deliver exposition and jive.) But with sex, no one in America is doing this kind of cheap-thrill stuff anymore. The accusations of misogyny against Mr. De Palma were always complicated. Sexuality constitutes a survival skill and power play for some of these characters. The women in a block of his films are more than victims; and carnality is both weapon and currency. In “Body Double” (1984), Melanie Griffith plays a porn actress named Holly Body. Some of the appeal in casting her had to have been that her mother was Tippi Hedren, the Popsicle at the center of Hitchcock’s “The Birds” and “Marnie.” Mr. De Palma, who wrote the movie with Robert J. Avrech, gives Ms. Griffith a monologue about her rules for kink that is pretty much unprintable. But I typed it out just to feel the tingle of Ms. Griffith’s confident obscenity. Mr. De Palma used to conjure that vicarious kick of attraction — but also the viciousness and risk in it, that the danger for women came at the hands of men. If anything, his true thematic pursuits were privacy and invasions of it. The opening scene of “Sisters” (1973) is from a television show he cooked up called “Peeping Tom.” But ways of seeing are also crucial to “Casualties of War” (1989) and “Redacted” (2007). The erotics of looking gave his sex movies both some of their sensation and their paradoxical moral tinge: that which feels right but is wrong. There you have the engine for an entire generation of delicious De Palma cousins and knockoffs: the erotic thriller, movies where plot and sensation went at it until some kind of soft-porno-orgasmic ridiculousness was achieved. These films thrived for two decades (“Jagged Edge,” “Body of Evidence,” “Color of Night”) incongruously amid the fear of AIDS and newer sexual freedoms. They treated lust as sin but also as inevitable. In “Dressed to Kill,” Kate succumbs to both. And paying attention to Mr. De Palma’s mastery of them doesn’t constitute nostalgia so much as a call to arms. There hasn’t been his kind of casual sex in movies for almost a decade. Kate’s moaning in the back of that cab leads only to bad news. But who cares? Things are so chaste now that I’ll even have what she’s having. 2016-06-09 00:00 By

40 A Rising Chinese Actor, Dong Zijian, on Where the Good Movies Are Now The actor Dong Zijian was in his late teens when he was tapped by the director Liu Jie to play the starring role in his 2013 film “ Young Style ,” about Beijing high school students preparing for university. Since then, Mr. Dong, now 22, has gone on to star in a number of films. Last year, he was nominated for best actor at the Cannes Film Festival for his role in Jia Zhangke’s “ Mountains May Depart.” For his latest film, he teamed up with Mr. Liu once again to make “De Lan,” in which Mr. Dong plays a loan officer who travels to an ethnic Tibetan area of Yunnan Province and falls in love with a local woman. The film has been nominated for the main competition Golden Goblet award at this year’s Shanghai International Film Festival , which opens on Saturday. In an interview, Mr. Dong talked about life as a young actor, the state of independent films in China and why he idolizes Mr. Jia. How did you get into acting? It was pretty random. My mom works in the entertainment industry, but I never even considered going into it because I was too heavy, and I had never been asked to be in a movie. Then, when I was 17 or 18, I met the director Liu Jie. I was working out at the gym, and he called out to me and said, “Come here, kid.” So I picked up my sneakers and went over to him. He asked me to act in one of his movies, and I agreed. What’s it like working as a young actor in China? People like me are usually at a bit of a disadvantage, because I am not that tall, handsome or talented. I can’t sing or play any instruments. But I’m lucky to be entering the film industry at a propitious time. I’ve had the opportunity to act in some art-house movies and work with a lot of new directors, like Xiao Yang and a Taiwanese director called Zeng Jingshu. Many of the postproduction companies are run and staffed by people from the post- 1990 generation. It’s great to see these changes in the Chinese movie industry. What are your thoughts on the state of independent films in China today? When people talk about Chinese films, they often talk about the brilliant art- house films of 30 or 40 years ago. They wonder why such films aren’t produced in China today. But, actually, these films do exist. It’s just that people aren’t paying attention. It used to be that the market was small, and those art-house films were the only movies people could watch. I’m talking about films like “ Farewell My Concubine ,” Zhang Yimou ’s “ To Live ” and other films by Chen Kaige or Xie Jin. If you make the effort, you can still find these films today. There are more independent-leaning movie directors — people like Liu Jie, Jia Zhangke and Zhang Yimou, to a certain extent. Perhaps it has more to do with distribution. Even though these films are getting made, it’s hard for independent films to get wide distribution in theaters. Yes, it’s a good time for commercial films and a bad time for serious movies. Some countries have art-house movie theaters dedicated to showing more independent films. China doesn’t have anything like this. What was it like working with Jia Zhangke ? Amazing. He’s my hero. The first time I saw one of Jia’s movies was when I was 11 or 12 years old. I found a disc on my parents’ DVD shelf. I thought it was a comedy, so I watched it. It was “ Platform ” [a 2000 film that traces the transformation of Chinese society from 1979 into the early 1990s through the fortunes of a group of young stage actors]. I didn’t know about Jia and, even though I didn’t understand the film, I watched it until the end because the scenes were interesting and fresh. When I met Jia a few years ago, I rewatched all his films, including “Platform.” It was totally different than I remembered. It was amazing. To put it plainly, Jia is my idol, a godlike figure to me. It’s great to have a director like him in China who tells the story of the people and discusses social issues. Which directors do you admire? That’s a tough question. Xavier Dolan is a director I admire a lot right now. He directed “I Killed My Mother.” When I learned that he made the film when he was 20, it was like a slap in the face. It inspired me to work harder. Who are the Chinese directors you like the most? There are too many excellent Chinese movie directors. I can’t name them all. Jia Zhangke, Jiang Wen and Zhang Yimou are at the top of my list. The media talks a lot about competition between China and Hollywood. What are your thoughts? I think the comparison itself is pretty boring. The reason why the market in China has grown so quickly is because China has a huge population. People have more money now, so it’s just filling a demand. 2016-06-09 00:00 AMY QIN

41 When Classical Musicians Go Digital Among the exhibits on display at the Royal Academy of Music during its centenary tribute to the violinist Yehudi Menuhin is a single page of a Bach violin sonata. The printed page is darkened with Menuhin’s pencil markings fixing the contours of a phrase, the direction of bow strokes, fingerings, the speed and width of vibrato: the expression, in graphite, of a player’s interpretation and craft. Peter Sheppard-Skaerved , a violinist and scholar who organized the exhibition, said in an email that the page creates “a sense of ‘digging away’ at the material, almost as if going at it again with the pencil might reveal more, find more of the vein of ore which we all hunt.” That hunt is still central to the art of a classical musician. But these days there are new weapons. Increasing numbers of players are using iPads and laptops instead of sheet music, especially now that the latest generation of tablets come in the same size as a standard score. And styluses like the Apple Pencil, which was released in November, are beginning to take the place of pencils and erasers. If, say, in the course of a summer festival, a pianist plays a familiar quintet with a new set of partners, she can save the group’s interpretive markings in a neatly archived file without having to erase her usual dynamics and tempos. A young professional hopping from one master class to the next can keep track of multiple, even conflicting, instructions, traditions and technical tips. But the advantages of the new technologies aren’t just clerical. Mr. Sheppard-Skaerved pointed out that the advent of the mass-produced graphite pencil in the second half of the 19th century coincided with profound changes in the way a performer engaged with a musical text. The generation of musicians who benefited from the new tool — capable of making durable, but erasable, markings that didn’t harm paper — were, he wrote, “the first where practice was aimed at perfection of execution, and not developing the skills for real-time extemporization on the material in front of them, or improvisation ‘off book.’” What changes does the new digital technology reflect or enable? Conversations with some of classical music’s most passionate advocates of the gadgets and with developers like forScore and Tonara that write applications for them reveal a number of developments. The traditional top- down structure of teaching has been shaken loose. The line between scholarly and practical spheres of influence is becoming blurred. And the very notion of a definitive text is quickly losing traction — and with it, the ideal of that “perfection of execution.” An unexpected consequence of the digital shift is that it has brought performers closer to historical sources, including composer manuscripts. The pianist Wu Han , one of the artistic directors of the Chamber Music Society of Lincoln Center, said in a Skype interview from Seoul, where she was leading workshops: “It’s not like the old days where you only have information passed down by a teacher. Now everyone is a detective.” Ms. Wu takes pride in being an “early adopter” of the iPad and can rattle off its benefits to the traveling musician. By her own count, she is performing 42 works this summer. In the past, the attendant sheet music would have filled three quarters of a suitcase. Now she carries an entire library in a sleek tablet. Page turns have become quiet and elegant thanks to a wireless pedal. (Where her enemies were once awkward page turners, they’re now Chinese concert halls with Bluetooth blockers.) She needn’t worry about losing her scores or seeing the paper deteriorate over the course of a long tour. And in master classes, she scribbles notes for her students onto her tablet, saving a separate file for each player. But what most shapes her music making — the myriad decisions on how to pace a phrase or to build character through articulation and dynamics — is the musicological groundwork of combing through early editions and manuscripts for clues of the composer’s intentions. “In the old days, I had to wait until I could go to the library to seek them out,” she said. But now that foundations like the Beethoven-Haus in Bonn, Germany, are painstakingly digitizing material, it’s on the internet. With free downloads replacing expensive and unwieldy Photostats, musicians are increasingly reading music directly from manuscripts. The cellist Matt Haimovitz has been performing from handwritten scores on his iPad, including Schubert’s “Arpeggione” Sonata and Anna Magdalena Bach’s manuscript copy of the suites for solo cello by her husband, Johann Sebastian. Nicholas Kitchen, a violinist with the Borromeo String Quartet , recalled the frustrations of his early encounters with manuscripts in the days when studying them meant visiting a library’s rare books room and donning white gloves. With his fellow Borromeo players , he now reads the late Beethoven quartets directly off a manuscript, which he can display — and mark up — on his screen. Comparing it with respected printed editions long known as the “Urtext” — the uncontaminated, definitive version of the score as determined by musicologists — he has found all sorts of details that never made it into print. “In our printed music, we have about nine dynamics, while in the manuscript there about 20 different ones,” he said describing tiny alterations to the single letter p — for “piano,” or soft — that Beethoven marked. Some have a cross on the stem, for instance, others a double cross. “There are 10 distinctions just in the area of piano.” At the same time, the traces of Beethoven’s creative process, with passages crossed out and amended, sometimes with visible impatience, inspire a different kind of playing. For a noted improviser like Beethoven, Mr. Kitchen said, “it was important to react to the page, but just as important was the incredible freedom to go where the ear leads you.” The composer Dan Visconti , who uses iPads in his work with the Chicago- based Fifth House Ensemble , said the technology is “changing the culture a little bit.” He added: “Now that you can get different versions of sheet music easily, I don’t see performers looking at something and thinking, Oh, this is set in stone. As a result, you no longer have quite the same slavish worship of the text.” With performers engaging in the sort of sophisticated archaeological work that used to be the province of academics, professional music editors may become an endangered species. Or at least the nature of their work will change, with revised editions released on a more fluid time scale. But Ron Regev , a pianist and the chief music officer of Tonara, the software company, said he does not believe that the professional editor is going anywhere as long as classical musicians demand high-quality scores. Indeed, the digital age brings with it advantages. “Until now, editors only had one chance to put what they knew into a fixed edition,” he said. “Now you can continually change the score according to the most recent scholarship, and instead of having to reshoot and spend millions on a new edition, you update a file.” With composers also in on the digital revolution, their own creative process — the drafts, corrections and discarded dead ends that performers puzzle over on manuscripts — is often captured in a sequence of updated files. Mr. Kitchen said that when his quartet workshops a new piece with the composer, changes are sometimes made on the spot and shared wirelessly with the players. “What we end up with doesn’t at first glance look like the wonderfully expressive sketches of Beethoven,” he said. “But there was a final version, and then the really final version, and perhaps the final, final version. A musicologist some day far from now will be doing the same thing we do now looking at corrections in a Beethoven manuscript.” In the cool clarity of the new medium, some things may be lost. The sort of expressionist fury with which Menuhin marked up Bach or the stenciled grace of a Schubert manuscript reveal much about the human behind the artist. Ms. Wu said she enjoyed sorting through the psychological clues earlier composers left behind in their handwritten scores. “If you have the neat printed score, you don’t see the struggle,” she said. “You can detect how brilliant Mozart was writing individual parts instead of vertically. Mendelssohn’s ‘Songs Without Words’ have those beautiful paintings in them. Today, we don’t know if a composer is messy or meticulous.” 2016-06-09 00:00 By

42 What’s on TV Thursday “Occupied,” the Norwegian political thriller that irked the Russian government , imagines Europe in an energy crisis . “Lip Sync Battle” goes interstellar with performances by Zoe Saldana and Zachary Quinto of “Star Trek Beyond.” And President Obama makes his first appearance on “The Tonight Show Starring Jimmy Fallon.” OCCUPIED on Netflix. In the near future in Norway, a new Green Party government decides to address climate change once and for all by cutting off the country’s oil and gas production, plunging Europe into an energy and fiscal crisis and prompting an intervention led by Russia. The United States, meanwhile, has withdrawn from NATO. Henrik Mestad stars as Prime Minister Jesper Berg, determined to stay in power until the situation calms down; Eldar Skar is Hans Martin Djupvik, the bodyguard who protects him in ways beyond his job description; and Vegar Hoel is Thomas Eriksen, the reporter frantic to get the facts out there. The crime writer Jo Nesbo conjured up the situation behind this series, the most expensive ever made in Norway. BORGEN on iTunes. In honor of Hillary Clinton’s historic nomination, stream all three seasons of this Danish cult hit about the rise to power of Birgitte Nyborg (Sidse Babett Knudsen), a fictional prime minister of Denmark. And then ponder these lines from Alessandra Stanley’s review in The New York Times : “Behind every great woman there is a manservant. Or there should be.” A ROYAL AFFAIR (2012) on Amazon and iTunes. Speaking of manservants: The Academy Award-winning Alicia Vikander plays Queen Caroline Mathilda of Denmark, who succumbs to a rakish court physician ( Mads Mikkelsen ), while the infantile King Christian VII (Mikkel Boe Folsgaard) flounders in mental illness. Writing in The Times , A. O. Scott described this drama as an “Advanced Placement bodice-ripper.” BONNAROO MUSIC & ARTS FESTIVAL 2016 Starting at 8 p.m. on Red Bull TV. Live coverage from Tennessee runs throughout the weekend and includes performances by Ellie Goulding, Pearl Jam, Dead & Company, Macklemore & Ryan Lewis, Miguel and Death Cab for Cutie. LIP SYNC BATTLE 8 p.m. on Spike. Zoe Saldana and Zachary Quinto, who play Uhura and Spock in “Star Trek Beyond,” opening July 22, face off in tunes from TLC and Missy Elliott. “Guys Choice: Perfect 10,” at 9 p.m., honors the things men like most. Those include Ben Affleck and Matt Damon (Guys of the Decade); Julia Roberts (Woman of the Decade); Kobe Bryant (Athlete of the Decade); and Robert De Niro and Joe Pesci, the stars of Martin Scorsese’s “Casino” (Guy Movie Hall of Fame). John Legend and Andra Day perform “The Greatest Love of All” in honor of the Muhammad Ali. STREETS OF COMPTON (2016) 9 p.m. on A&E. The rapper the Game leads a celebrity tour of the Southern California city he once called home in this three-part documentary. Niecy Nash; Paul Rodriguez; Eazy-E; DJ Yella; and Robert Johnson, a former Black Panther, reminisce. The video for the Game’s new single, “Roped Off,” will debut at 11 p.m. THE TONIGHT SHOW STARRING JIMMY FALLON 11:35 p.m. on NBC. President Obama makes his first appearance on the show, alongside Madonna. 2016-06-09 00:00 By

43 Muhammad Ali, the Political Poet A friend asked me the other day to choose my favorite Muhammad Ali fight. “The Rumble in the Jungle,” I responded. I was thinking of all the rhymes that accompanied it, from “You think the world was shocked when Nixon resigned? Wait till I whip George Foreman’s behind,” to the very phrase “rope-a-dope”, as he named the strategy he used to defeat a superior opponent in the heat of Kinshasa. It was an athletic event but it was also a linguistic one. Almost from the beginning of his career, when he was still called Cassius Clay, his rhymed couplets, like his punches, were brutal and blunt. And his poems, like his opponents, suffered a beating. The press’s earliest nicknames for him, such as “Cash the Brash” and “the Louisville Lip,” derived from his deriding of opponents with poetic insults. When in the history of boxing have critics been so irked by a fighter’s use of language? A. J. Liebling called him “Mr. Swellhead Bigmouth Poet,” while John Ahern, writing in The Boston Globe in 1964, mocked his “vaudeville” verse as “homespun doggerel.” Time magazine, in a particularly nasty triple dig in 1967 over Ali’s opposition to the Vietnam War, his embrace of the Nation of Islam and his name change, called him “Gaseous Cassius.” But the same verse can strike one critic as doggerel and another as art, and not everyone missed the power — and the point — of Ali’s poetics. Even Ahern admitted that “the guy is a master at rhyming,” and The New Yorker editor and Ali biographer David Remnick would eulogize him as “ a master of rhyming prediction and derision.” Perhaps Maya Angelou , whose own poetry is sometimes labeled doggerel, said it best: “It wasn’t only what he said and it wasn’t only how he said it; it was both of those things, and maybe there was a third thing in it, the spirit of Muhammad Ali, saying his poesies — ‘Float like a butterfly, sting like a bee.’ I mean, as a poet, I like that! If he hadn’t put his name on it, I might have chosen to use that!” Edmund Wilson once said that “we have produced some of our truest poetry in the folk songs that are inseparable from their tunes.” Likewise, the power of Ali’s poetry, often bland on the page, is inseparable from the compelling resonance of his voice. A century ago, the great literary historian George Saintsbury, in his monumental “A History of English Prosody,” defined doggerel “in the worst sense” as “merely bad verse — verse which attempts a certain form or norm, and fails.” But Saintsbury maintains that there is another sort of doggerel that “ought never to die.” “This doggerel,” he wrote, “is excused by the felicitous result. The poet is not trying to do what he cannot do; he is trying to do something exceptional, outrageous, shocking — and does it to admiration.” If ever there is to be a collection of Ali’s verse, Saintsbury’s observation is the perfect blurb for the dust jacket. So many of the deeply moving tributes pouring out in memory of Ali have stressed his centrality in mainstreaming black radicalism, in broadening the appeal and reach of black cultural nationalism. (He also mainstreamed the complexity of being a black human being by trumpeting both his ego and id.) And there is no gainsaying the importance of Ali to our people’s embrace of the word “black” as a replacement of Negro, along with the right to change one’s religion and one’s name: “I am America,” he once said. “I am the part you won’t recognize. But get used to me. Black, confident, cocky, my name, not yours; my religion, not yours; my goals, my own; get used to me.” The question is: How did Ali help to accomplish this transformation, help to mainstream black radicalism? The first way was by challenging the Negro establishment with his change of religion, his change of name and then his stance against the war. Two of our greatest athletes, Floyd Patterson and Jackie Robinson, denounced Ali; Patterson for changing his name and religion; Robinson for his anti-war stand. But Ali also helped move black radicalism into the mainstream through his voice, his canny use of rhyme. Black poets had been using rhyme effectively for decades, both formal poets such as Langston Hughes and Countee Cullen, but also, on the streets, anonymous “barbershop poets” engaging in colorful linguistic rituals of insult such as “playing the dozens,” “woofing,” “capping,” all subsets of the language game of “signifying.” But Ali used rhyme in powerful new ways. He was, if anything, a master signifier, the Shakespeare of linguistic pugilism, using his words to counterpunch his opponents, well before they stepped in the ring: It would be a mistake to say that Ali made black oral poetry more sophisticated or complex, but he did make it more political. After learning his local draft board had declared him eligible for induction into the Army in 1966, Ali recited this poem: When Ali described himself as “the astronaut of boxing,” that Joe Louis and Jack Dempsey “were just jet pilots — I’m in a world of my own,” he was right at least about the last part: The politics of his change of name, the politics of his religious conversion and the politics of his opposition to the Vietnam War gave his poetry a political context that Ali couldn’t have escaped if he had wanted to. In 1964, Cassius Clay upset Sonny Liston to become the world heavyweight champion, and the Rev. Dr. Martin Luther King Jr. was awarded the Nobel Peace Prize. Who could have imagined that three years later, Dr. King would denounce the Vietnam War just a few weeks before Ali would refuse induction. Dr. King, the resonant voice of the civil rights movement, turned to Ali, the renegade lyrical poet from the ring, to justify his position: “Like Muhammad Ali puts it, we are all — black and brown and poor — victims of the same system of oppression.” A saint quoting the words of our most radical versifier. I’m not arguing that Ali should be added to the next edition of The Norton Anthology of Poetry. But I am arguing his importance to the shaping of the black poetic tradition. There was certainly a direct connection between the politics of Ali’s rhyme schemes and spoken word poetry of both the Last Poets group, formed on Malcolm X Day in Harlem in 1968, and Gil Scott- Heron, who recorded his first album in 1970, a hip and a hop between them and the birth of rap music just a few years later. As George Saintsbury argued back in 1906, there was a kind a doggerel that could achieve for its creator a form of immortality. “Like the other kind, it has never died,” he wrote. “And unlike the other kind, it ought never to die.” Perhaps these words anticipate the literary legacy of Muhammad Ali. 2016-06-09 00:00 By

44 44 jean prouvé's maxéville design office at design miami/ basel on the occasion of design miami/ basel 2016, galerie patrick seguin presents the ‘maxéville design office’ originally conceived by jean prouvé in the 1940s. the historic structure had remained in north eastern france at ateliers jean prouvé until its restoration by the gallery in 2015. the model of this 8×12 meter demountable house, created for the noisy-le-sec experimental site, was successfully presented at the ministry of reconstruction’s new house competition in early 1947. while originally intended as a demonstration, it proved an efficient method of prefabricated housing. the building was originally conceived by by jean prouvé in the 1940s production began in 1947, but never reached its intended success. one of its rare uses was as the design office of jean prouvé’s atelier, where it was installed in 1952. strategically positioned at the entrance of the factory, the structure contained design prototypes before they were reviewed for production. in 1953, due to a disagreement with majority shareholders l’aluminum français, jean prouvé stepped down from his post at the maxéville factory, which remained active until 1983. following prouvé’s departure, the structures that bore his imprint were either destroyed or dismantled, with only the ‘design office’ left unharmed. preserved behind cladding, the building then became a plumber’s office, a restaurant, and, in latter years, a swingers’ club called ‘le bounty’. the ‘maxéville design office’ was meticulously dismantled and restored by galerie patrick seguin in 2015. presented during design miami/ basel 2016, the building uses axial portal frames in order to create an open, fluid internal space that can incorporate interchangeable partitions and one-piece facing panels. the original building had a range of uses, including as a swingers’ club called ‘le bounty’ the building employs axial portal frames in order to create an open, fluid internal space the scheme was strategically positioned at the entrance of the factory, across from prouvé’s office image © fonds jean prouvé, bibliotheque kandinsky, centre pompidou, ADAGP 2016 2016-06-08 23:53 Philip Stevens

45 Olafur Eliasson Invades Versailles with Giant Mirrors and Waterfalls Olafur Eliasson Waterfall, 2016. Photos by Anders Sune Berg. Images courtesy the artist; Neugerriemschneider, Berlin; Tanya Bonakdar Gallery, New York Versailles isn't just for selfie- snapping tourists, but has become a playground for internationally-acclaimed artists as well. Following in the footsteps of Jeff Koons, Takashi Murakami, and Anish Kapoor, Danish- Icelandic artist Olafur Eliasson , decked out the 15th century palace and surrounding gardens with his signature mind-bending waterfalls and mirror installations, on view through the end of October. Olafur Eliasson, Solar Compression, 2016 Eliasson's Versailles encompasses three installations in the gardens and six inside the palace, created after the artist made several contemplative trips to the site. “Olafur chose works for Versailles that pick up the importance of mirrors and water, and especially to the role that vision played at the historical court; the mirrors made every action visible, the garden was planned according to visual axes,” Martin Enoch of Studio Olafur Eliasson tells The Creators Project. “This was a site very much about power and control. Eliasson’s intervention is aimed at changing the experience by activating the viewers.” Olafur Eliasson, Fog Assembly, 2016 Outside, Eliasson's first work is Fog Assembly , embodying water in its gaseous form. The open-air structure emanates a circular veil of fog through pumps, which artist says will, “amplify feelings of impermanence and transformation.” Olafur Eliasson, Glacial Rock Flour Garden, 2016 Glacial Rock Flour Garden is Eliasson’s take on water as a solid. The open-air area known as Bosquet de la Colonnade has had its grey floor replaced with a "carpet" of blue glacial rock flour, sedimented rock generated by glacial erosion, surrounding the central sculpture of the space. Eliasson brings to this piece his experience carting glacial ice to Paris for a project called Ice Watch when the city hosted international climate talks. Olafur Eliasson, Waterfall, 2016 Visitors will find liquid water in one of Eliasson's iconic Waterfall s, the most visually spectacular piece of the exhibition. The artificial water feature falls into the basin of the Grand Canal near the end of the gardens. Slender and tall, Waterfall is supported by a tower that pumps waters through pipes that crash back into the basin in an effort to emulate one of nature’s wonders. “The waterfall realizes a dream of the chief landscape architect who created Versailles, André Le Nôtre. There are drawings in which he imagined a waterfall tumbling into the Grand Canal,” Enoch explains to The Creators Project. André Le Nôtre, Versailles Drawings, 1768 Olafur Eliasson, Deep Mirror (Yellow) and Deep Mirror (Black), 2016 Inside the palace, the works take on dramatically different form and intention. Working with mirrored surfaces, Eliasson has installed six reflective installations designed to, “challenge our vision of the world through projected light, kaleidoscopic views, mirrors, and complex geometric sculptures,” in the words of Alfred Pacquement, the exhibition’s curator. Olafur Eliasson, The curious museum, 2010 A trio of installations cleverly use Versailles' existing mirrors to disorient and delight visitors. Deep Mirror (Yellow) and Deep Mirror (Black) are circular sculptures equipped with lights and black paint, both of which bounce off of the many reflective surfaces within the palace. The Curious Museum creates the illusion that you are staring at yourself from across a balcony. Solar Compression uses lights and a convex mirror dangling from the ceiling to imitate a celestial body. Olafur Eliasson, Your Sense of Unity, 2016 The Hall of Mirrors, the Versailles Palace’s main attraction, is a hall made of seventeen arches each equipped with twenty-one reflective surfaces. Here, Eliasson has installed Your Sense of Unity , a series of circular mirrors and LEDs that reflect and refract its hyper-mirrored environment. Olafur Eliasson, The Gaze of Versailles, 2016 The Gaze of Versailles is the final sculpture in the exhibition. It's Eliasson’s smallest piece, but perhaps the most experientially unique. Continuing with the theme of reflection, he created two small golden baubles shaped like beading eyes, mounted on a door to the gardens. The eyes are like small fish-eye lenses, reflecting a distorted version the surrounding area as you peer into the metallic surface. Perhaps these are meant to replicate the ambitious eyes of King Louis XIV, who outlined a highly specific way in which the Gardens should be shown to visitors. Still from Olafur Eliasson ‘How to View the Gardens’ Louis XIV’s itinerary was so incredibly specific and rigid that Eliasson has responded with an interactive website displaying a series of drawings that suggest an alternative, non-linear route to experience the gardens. “The Versailles that I have been dreaming up is a place that empowers everyone. It invites visitors to take control of the authorship of their experience instead of simply consuming and being dazzled by the grandeur,” Eliasson boldly states. If you find yourself in France in the coming months, see Olafur Eliasson Versailles with your own eyes until October 30th, 2016. If you can’t make it, check out the online-guided tour of the space and the works here. Related: A Look Inside Olafur Eliasson's 368-Page Vegetarian Cookbook Olafur Eliasson Hauls Icebergs into the Middle of Paris Anish Kapoor’s ‘Vagina Sculpture’ Graffitied Again—But This Time He’s Not Cleaning It 2016-06-08 20:30 Andrew Nunes

46 Stanley Kubrick's Special Effects Guy Helped Make This Indie Sci-Fi Thriller Possible Courtesy Paramount Pictures and Ad Explorata Special effects master Douglas Trumbull ( 2001: A Space Odyssey , Blade Runner , Close Encounters of the Third Kind ) withdrew from Hollywood blockbusters in the 80s, returning only for Terrence Malick's 2011 opus, The Tree of Life —until now. Trumbull recently opened his vintage special effects lab in Massachussetts to director Mark Elijah Rosenberg for his first feature, Approaching the Unknown. The film follows a lone astronaut played by the ubiquitous Mark Strong, who embarks on a one-way mission to Mars. Along the way, he experiences unimaginable visions of deep space, visualized through incredible analogue effects. He and Trumbull eschew the ubiquitous application of CGI, opting instead for an experimental process that involves mixing large amounts of colored liquids in massive water tanks. "Rather than going for computer graphic realism, we wanted an impressionistic tactile feel for all the space sequences," Rosenberg tells The Creators Project. "It’s a psychological drama more than an action film, so it’s about his mental state deteriorating as he faces the momentous decision he made while he’s on a nine-month journey. " His special effects artists worked closely with Trubull to create interplanetary scenery that, by its alchemical nature, is impossible to imagine. Whereas computer-generated effects are planned out frame-by- frame, the final product for Approaching the Unknown was just that— unknown. We spoke to Rosenberg about making low-budget sci-fi in 2016, how he modernized the craft of special effects, and what he learned from the legendary Trumbull. This interview has been edited for brevity and clarity. Courtesy Paramount Pictures and Ad Explorata The Creators Project: Where did the inspiration to do this film come from? I decided to make Approaching the Unknown because I was interested in human beings alone, pushing themselves to extreme isolation and wonder. I wanted somebody who was exploring the edge of human experience; someone who was willing to sacrifice everything in their entire life for a glimpse at something glorious and unique. How would you describe your approach to the visual effects? I wanted to have a tactile and a visceral experience of space. I didn’t want to use computer graphics because, really, it is about the character’s sensory imagination of what’s out there more than the actual emptiness that’s in space. So I wanted to have models and space itself have texture and weight and depth that you can’t get with CGI. To create space, the closest analogy that I could get to what it would be like to be in space would be to be deep under the ocean. It looks empty, but you know that there’s tiny little microbes and whales and this enormous, rich substance all around you. For the emptiness of space, we actually created these giant tanks that we fill with glycerin and corn syrup and saltwater. And then it’d be swirling in inks and dyes and glitter and dust so that space itself was viscous and present. And we built these physical models. You can really feel that on screen, that these are real things that are there that are creaking and shaking around in a way that’s very natural because they’re real. Courtesy Paramount Pictures and Ad Explorata How did you come to work with Douglas Trumbull? Not many people work in practical models anymore, so we were looking for who some of the experts of this in the world. Trumbull is the godfather of all modern miniature making and special effects. So we tracked him down and he was amazing because he’s somewhat left the Hollywood world to create his own studio in the Berkshires. His studio is a wonderful place to play and to experiment, but with the guidance of the world’s leading expert in it. Your improvisational approach to special effects is very different from the way you would do this in CGI, where you have the concept and execute it with a lot of busy work. The way you guys are doing it is more playful. Working with practical models was very much an improvisation. There was a lot of play and experimentation and things that would go wrong and happy accidents. That terrified me as the director, because I have a vision and then sometimes you can’t exactly get that vision. But there were so many wonderful things that happened that were solutions to problems that we didn’t know we’d have, and then we’d have to come up with some great shot. So that kind of pressure on me—and really on the entire team—to come up with something great when we didn’t know exactly how to do it was really stimulating. The stuff with outer space and working in the cloud tank where we were making all these crazy mixtures and we have hundreds of hours of dye and inks splashing around in super slow motion in these tanks: You really never know what you’re going to get when you start mixing up these crazy potions. And then you’re taking all those layers of the image and compositing them and creating beautiful images that I never could have storyboarded in advance. Courtesy Paramount Pictures and Ad Explorata What is the most difficult part about working with this type of approach to special effects? When you’re working in practical models and doing continuous motion animation, you actually need to let a shot play out in real time. So for a 15- second shot, that means that we need to actually shoot frame by frame over the course of about an hour and a half. We would spend six or eight hours setting up a shot, setting up the camera movement, the lights, the ship movement, the background had to be perfect. Then you press play and record on all the machines and they do their own thing for two hours. No one can move and you hope that nothing goes wrong. If someone bumps the camera, or the light, or the ship, part of the ship flakes off because it’s all glued together, then that whole take is ruined. There was a tremendous amount of stress where we’d spend hours setting something up, and then everyone would hold their breath and press play and record. Courtesy Paramount Pictures and Ad Explorata You’re using almost 1980s-era kind of visual effects technology, but then also very modern motion-controlled camera programming kind of stuff. We used 80s-style motion-controlled cameras, and what we did have from the 21st century was the pre-imaging. So we could map out a shot using contemporary computer graphic programs to say “Well, the ship is gonna do this and the camera’s gonna do that, and the light will be here so it’ll flare at this point.” But then when we actually had everything onto the motion- controlled machines, those are that 40-year-old machines that are running this DOS software that no one except the original operator knew how to run at all. So there was this crazy problem of trying to translate our 2015 computer imaging back to 1980s software. When did you decide it was important to do a film that had visual effects and go into outer space and do something that’s very inaccessible to a low budget film maker? I chose to do a sci-fi film with practical special effects because I was crazy ambitious and didn’t know any better. I actually thought that this would be easier. I thought, “Well, but it’s all in one room. It’s just this one guy in this one space. I don’t need to go out and get 18 locations the way that some mumblecore film does.” And of course I was wrong. This was much more complicated. And I similarly thought, “Well, I don’t know about computer graphics and that sort of stuff, but I can make a model and I can put a camera on it.” So part of it was kind of quixotic naïveté on my part, but then I also wanted to do something that was ambitious and distinctive. We could do something on a relatively low budget that was creatively ambitious, and that you don’t need $100,000,000 to imagine what space is like. Watch our full documentary about Mark Elijah Rosenberg's film, Creating Cutting-Edge Sci-Fi with Analog Effects | The Process , below. Related: 'Blade Runner' Meets 'Bullit' in Trailer for Indie Sci-Fi Epic Sci-Fi Vlog Tells an Anatomically Strange Story of Body Parts How Sci-Fi Invented the Superman Memory Crystal 2016-06-08 19:00 Beckett Mufson

47 Score an Entire Film on This Tiny Little Music Box In the era of software and boutique hardware effects, the musician or composer has an expansive palette for sound design. While digital effects rely on the software designer’s programming prowess, hardware effects require a talent for designing electronic circuitry. With Soundtrack Box No. 1, Oslo-based new music technologist Koka Nikoladze pursues quite another approach. “Soundtrack Box No. 1 was made to produce music for a feature film,” Nikoladze explains. “Later that beautiful production was suspended and I was left with the box.” This multi-faceted sound generator is acoustic, with sounds merely amplified by a contact microphone inside the box. When plucking metal rods, the player can make vibrations that can either be percussive or resemble the sound of stand-up bass. Another aspect of Nikoladze’s music box sounds almost like prepared piano notes. “I often have to convince my friends that the box has its own reverb and no additional effect is used,” he adds. This isn’t the first experimental music box Nikoladze has created, last month he showed off his Beat Machine No. 2, an electromechanical programmable drum and rhythm machine. Between the two music boxes, which have a sort of retro-futurist design about them, one could conceivable write and record entire songs. Even better, this could be done without breaking the bank on expensive hardware, or gazing into a screen for hours on end. Koka's Soundtrack Box No. 1 from nikoladze on Vimeo . Click here to see more of Koka Nikoladze’s work. Related: Building a Handgun Music Box Is a Crapshoot Hear a Yaybahar Vs. Synth Jam Session Rubik's Cubes Become a Musical Instrument 2016-06-08 18:17 DJ Pangburn

48 mecanoo plans new kaohsiung station in taiwan mecanoo plans to unite new kaohsiung station with landscaped roof canopy all images courtesy of mecanoo dutch architecture studio mecanoo has revealed plans for an important transport hub in taiwan’s second largest city. the new kaohsiung station features an organic, curvilinear shape with a landscaped canopy that offers a generous amount of public space. this area of greenery both unifies different modes of transport, and represents kaohsiung’s desire to be a sustainable city. the scheme forms the centerpiece of the vast kaohsiung metropolitan area underground railway project, which includes seven subterranean stations along a 9.75 kilometer (6 mile) railway tunnel. the planned transportation hub integrates train, metro, and bus services, and accommodates the needs of taxis and bicycles. as a main point of arrival, mecanoo’s above-ground station forms a new stage on which to present the city’s identity. arriving from the underground train and metro platforms, kaohsiung station’s central hall is a sunken plaza situated beneath a bright ceiling of oval-shaped lights. the overarching canopy connects a hotel, retail outlets, restaurants, and other facilities intended for both the local community and travelers. atop the multi-layered landscape is a bike path running east to west. the colonial japanese station building, which will be relocated to its original site, is embraced by the structure and symbolically reconnects old and new aspects of kaohsiung. ‘the most important events in taiwanese villages take place on the main square in front of the temple, lit with traditional red lanterns,’ explains francine houben, creative director of mecanoo. ‘the central hall has been designed as a contemporary equivalent of this, creating a memorable experience for travelers. the sprawling green canopy protects the open public plaza underneath from kaohsiung’s tropical climate like large trees would do. here people can meet, enjoy a refreshing breeze, or visit events that take place at the station, like a farmers’ market, second hand market, traditional open air opera or a mobile library.’ work on the kaohsiung metropolitan area underground railway project and underground station commenced in 2014. completion of the kaohsiung station is expected in 2024. the project will form a new stage on which to present the city’s identity the exiting site in the taiwanese city of kaohsiung 2016-06-08 18:14 Philip Stevens

Total 48 articles. Created at 2016-06-09 18:03