Announcement

72 articles, 2016-05-10 06:01 1 Kochi-Muziris Biennale Announces First List of 25 Artists For Third Edition (1.05/2) Kochi-Muziris Biennale Announces First List of 25 Artists For Third Edition 2016-05-09 11:26 4KB www.blouinartinfo.com 2 Editors' Picks: 8 Art Events to See This Week From a psychedelic performance by Genesis Breyer P-Orridge to Rhizome's annual Seven (1.03/2) on Seven conference at the New Museum, we've got your week covered. 2016-05-09 16:21 6KB news.artnet.com 3 Art Fair Asses and New Radiohead: Last Week in Art What with Frieze New York, NYCxDesign, NADA New York, and the Met Gala, it was another week in NYC. 2016-05-09 13:40 5KB thecreatorsproject.vice.com

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4 The 17 Sexiest Works of Art at NADA An intentionally hot guide to the art that left us wanting more. 2016-05-09 22:15 7KB thecreatorsproject.vice.com

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5 aga khan award for architecture announces 2016 shortlist the 19 shortlisted projects for the 2016 aga khan award for architecture have been announced. the schemes were selected by the master jury from a total of 348 nominated (1.02/2) for the 13th cycle of the award. 2016-05-09 19:28 2KB www.designboom.com 6 Morning Links: Nicole Eisenman Edition Must-read stories from around the art world 2016-05-09 09:03 2KB www.artnews.com

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7 The Peripheral, the Edges, the Off-Screen: A Conversation with James Richards James Richards recently presented a cinematic program in collaboration with Leslie (1.00/2) Thornton on the occasion of the Walker premiere of Thornton’s Moving Image Commission They Were Just People (2016... 2016-05-10 00:53 959Bytes blogs.walkerart.org 8 The Shape of Doo-Bop to Come: Steve Lehman and HPrizm On Saturday, May 7, the Steve Lehman Octet will bring its spectral harmonies and cascading rhythms to the McGuire Theater. Lehman is a jazz stalwart, guided by (0.01/2) algorithms and an abiding musical in... 2016-05-10 05:55 881Bytes blogs.walkerart.org

9 Summers of Rock — Magazine — Walker Art Center Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on... 2016-05-09 21:39 12KB (0.01/2) www.walkerart.org 10 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-10 04:43 1KB gdusa.com 11 Sonic Youth visits the Walker Before they headed to the last night for a rain-soaked concert with the Magic Numbers and , Sonic Youth stopped by for a tour of the Walker galleries with Perform... 2016-05-10 00:53 789Bytes blogs.walkerart.org 12 In Which Hip-Hop Ends Up Saving Itself: On Charlie Ahearn’s Wild Style Considering its status as a founding document of one of the twentieth century’s defining cultural phenomena, it would be easy to forget Wild Style’s origins in the high art ferment of New York's... 2016-05-10 01:47 933Bytes blogs.walkerart.org 13 Pharrell Williams, Takashi Murakami Join Complex to Develop Cultural Festival, ‘ComplexCon’ Williams and artist Takashi Murakami will help develop Complex’s new pop culture and music festival, which will take place in November. 2016-05-09 23:00 3KB wwd.com 14 Ramy Brook Sharp, Essie Weingarten and Sandra Lee Receive Spirit of Life Awards The event raised over $400,000 for City of Hope. 2016-05-09 22:47 3KB wwd.com 15 Oscar de la Renta Inc. Helps with Samuel Waxman Cancer Research Foundation Event Oscar de la Renta Inc. to stage fashion installation for Samuel Waxman Cancer Research Foundation. 2016-05-09 22:37 952Bytes wwd.com 16 uslon concept swimwear disguises extra buoyancy to help keep afloat multiple tiny air-capsules are stitched into the swimwear's straps, waistline and neckline, providing the minimal sufficient volume to keep a body afloat. 2016-05-09 22:01 1KB www.designboom.com 17 Toms Launches Annual One Day Without Shoes Initiative To mark its 10-year-anniversary, Toms is encouraging Instagram users to take pictures of their bare feet, or Toms, and tag the photo #withoutshoes. Each tagged photo will go toward giving children … 2016-05-09 21:59 1KB wwd.com 18 Good Housekeeping Poaches From Women’s Health for Strategic Projects Role The Hearst-owned magazine has hired publicist Lindsey Benoit in a new role to help expand its editorial partnerships. 2016-05-09 21:58 2KB wwd.com 19 Sotheby's $144M Impressionist Sale Sputters— A Rodin set a record while a choice Derain went begging. 2016-05-09 21:55 3KB news.artnet.com 20 Ronald Chak on International Antiques Fair 2016 BLOUIN ARTINFO spoke with IAF director Ronald Chak to find out more about how the fair has evolved, its links to the elite coterie of French and European dealers, and shifting trends in the buying habits of their clients. 2016-05-09 21:42 5KB www.blouinartinfo.com 21 Bartle Joins Ralph Lauren as Senior Director, Global Fashion Public Relations and Communications She was previously with Michael Kors as communications director. 2016-05-09 21:36 1KB wwd.com 22 NPG London Acquires Photos by ‘Father of Art Photography’ The National Portrait Gallery in London has acquired a rare and important album of photographs by the early Victorian photographer Oscar Gustave Rejlander, the “father of art photography.” 2016-05-09 20:32 2KB www.blouinartinfo.com 23 huang yong ping's skeletal serpent for monumenta paris for monumenta 2016, huang yong ping has formed an immense installation that snakes through paris' grand palais as a symbol of today’s economic landscape. 2016-05-09 20:18 3KB www.designboom.com 24 Quotes Become Symbolic Geometric Art in ‘Aretephos’ New York-based philosopher Apostolos Stefanopoulos wants to turn famous writers and philosphers’ words into highly symbolic digital art. 2016-05-09 18:40 3KB thecreatorsproject.vice.com 25 EU Campaign Dear Friends, I’m sure you are also following with horror the rightwards drift and anti-EU sentiment brewing across Europe. The Dutch referendum... 2016-05-09 21:39 2KB tillmans.co.uk 26 Chiara Ferragni, Ladurée Said in Talks for Collaboration The Milan-born, Los Angeles-based blogger and the French tea salon are said to be in talks for a possible collaboration, which would involve a fashion macaron set and a special salad. 2016-05-09 18:31 1KB wwd.com 27 They Are Wearing: Kentucky Derby 2016 Fascinating — as in hats. That was the sartorial message at Churchill Downs over Kentucky Derby weekend. 2016-05-09 18:28 1KB wwd.com 28 Zana Bayne, & Other Stories Link on Fall Capsule Collection The collection of 30 designs will retail for a fraction of the cost of Bayne’s own line. 2016-05-09 18:00 1KB wwd.com 29 montblanc patron of art edition honors peggy guggenheim with a fountain pen 2016 pays tribute to the outstanding legacy of one of the most influential art collectors and exhibitors of 20th century art. 2016-05-09 17:57 10KB www.designboom.com 30 Turning Snow: Olga Viso on Martin Friedman’s Legacy Martin Friedman, the Walker's director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin... 2016-05-09 21:39 839Bytes blogs.walkerart.org 31 Art Fair Tokyo Stays Fresh in a Mature Market The event presents its largest roster ever: 138 Japanese dealers of contemporary and modern art and antiques, and 19 foreign galleries. 2016-05-09 17:48 2KB www.blouinartinfo.com 32 Video: A Light Show Takes Off in Brooklyn An artist, Duke Riley, has trained 2,000 pigeons to fly above the Brooklyn Navy Yard with tiny lights attached to their ankles in a performance that will run every Friday, Saturday and Sunday through June 12. 2016-05-09 17:46 898Bytes www.nytimes.com 33 An Optimistic Outing: ARCO Lisbon 2016 In a somewhat surprising move into the Portuguese market, the 35-year-old Spanish fair ARCO launches its inaugural edition at Lisbon’s 18th-century Fábrica Nacional da Cordoaria. 2016-05-09 17:41 1KB www.blouinartinfo.com 34 An Electronic Music Legend Talks Moog’s Modular App For the last five decades, Suzanne Ciani's been a total synthesis boss. She tells us about programming Moog’s Modular 15 app. 2016-05-09 17:40 6KB thecreatorsproject.vice.com

35 More or Less Than One: C. Spencer Yeh’s Sound Horizon To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and o... 2016-05-09 21:39 941Bytes blogs.walkerart.org 36 Antonio Marras to Show Men’s and Women’s Collections Together in September The Italian designer is not embracing the see-now-buy-now trend. 2016-05-09 17:15 1KB wwd.com 37 10,000 tree samples spanning millions of years form 'modernist grotto' in bristol katie paterson and zeller & moye have realized 'hollow', a meditative space made up of 10,000 unique tree species whose narratives span millions of years . 2016-05-09 17:10 4KB www.designboom.com 38 What to Expect at the 2016 Cannes Film Festival Cannes remains a focal point for world cinema, but some years are better than others — and the festival demands more questions than it can answer. 2016-05-09 17:10 5KB www.blouinartinfo.com 39 Zaha Hadis Gets a Retrospective in Venice A retrospective of Zaha Hadid's architectural and artistic legacy will be mounted at the Palazzo Franchetti in Venice this November. 2016-05-09 17:02 2KB news.artnet.com 40 As Chargebacks Soar 20%, Retailers Stung by Financial Pain of ‘Friendly Fraud’ Monica Eaton-Cardone, co-founder of Chargebacks911, discusses the impact of friendly fraud in a market seeing explosive growth on online shopping. 2016-05-09 16:59 5KB wwd.com 41 Justin Bieber’s Instagram: A Tale of Face Tattoos and Anime Erotica Justin Bieber has been known to share an oddly-timed throwback snap or two, but lately his Instagram has been a confusing mix of tigers, face tattoos and bleached dreadlocks. 2016-05-09 16:54 2KB wwd.com 42 Brazilian Flowers Blossom at the Jewish Museum Two flora-filled exhibitions at the museum celebrate the work of the landscape architect Roberto Burle Marx and the artist Beatriz Milhazes. 2016-05-09 16:34 5KB www.blouinartinfo.com 43 "Ragdoll Game" Physics Get Musical, Thanks to Adult Swim Here's the most sadistic music maker you'll play today, courtesy of Adult Swim. 2016-05-09 16:15 3KB thecreatorsproject.vice.com 44 Convivio Market to Include Design Products The Milan-based five-day charitable event will open to the public on June 8. 2016-05-09 16:14 1KB wwd.com 45 Richard Serra's Top 10 Works at Auction With a new show at the Gagosian Gallery in New York, artnet News is taking a look back at ten of Richard Serra's most expensive works at auction. 2016-05-09 16:12 4KB news.artnet.com 46 zipline uses drones to deliver necessary medical needs in minutes across rwanda zipline in partnership with the government of rwanda, will deliver blood for twenty hospitals and health centers starting this summer. 2016-05-09 16:01 1KB www.designboom.com

47 TM unveils latest edition of the inspiration pad the notepad features different line compositions that substitute the traditional rigid ones. 2016-05-09 16:00 1KB www.designboom.com 48 The Unseen Blondie: Chris Stein Reveals New Photos The Unseen Blondie: Chris Stein Reveals New Photos: report 2016-05-09 15:59 4KB www.blouinartinfo.com 49 Warhol Screen Tests: Even Better with Poetry Legendary poet John Giorno read alongside a multimedia installation of Warhol's 'Screen Tests.' 2016-05-09 15:55 5KB thecreatorsproject.vice.com 50 Drawings of Animals in Unlikely Situations | Monday Insta Illustrator These ink and graphite animals don't know how to animal. 2016-05-09 15:15 2KB thecreatorsproject.vice.com 51 Austin’s Blanton Museum Names Carter E. Foster Deputy Director for Curatorial Affairs Carter E. Foster BLANTON MUSEUM Today, The Blanton Museum of Art at The University of Texas at Austin announced the appointment of Carter E. Foster as Deputy 2016-05-09 14:29 1KB www.artnews.com 52 On ‘Taxi Driver,’ Through the Eyes of Travis Bickle Supercut master Jacob T. Swinney put together a video essay on subjectivity in Martin Scorsese’s classic 1976 film. 2016-05-09 14:25 2KB thecreatorsproject.vice.com 53 Sneak Peek: What to See at the Art16 London Art Fair Art16, London’s global art fair, returns to Olympia in Kensington for its fourth edition from May 20-22 with a lineup of more than 100 galleries from over 30 countrie 2016-05-09 14:12 2KB www.blouinartinfo.com 54 Lost Data, Neon Art, and Textiles Collide in an Electronic Art Exhibition In his new solo exhibition ‘ADC/DAC,' electronic artist Phillip Stearns explores the flawed humanity inherent in technology. 2016-05-09 14:05 5KB thecreatorsproject.vice.com 55 Mimi Gates on the Getty's Mogao Cave Exhibition- Mimi Gates is the plucky catalyst behind the Getty’s tentpole summer exhibition, "Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road. " 2016-05-09 13:58 7KB news.artnet.com 56 Tintype Photographs Yearn for the Analog Days | Not Dead Yet Photographer and filmmaker Julie Orlick makes work the ol' surrealists would adore. 2016-05-09 13:30 6KB thecreatorsproject.vice.com 57 The Man-Machine: Jordan Wolfson on his Giant New Robot, Hung by Chains at Zwirner Installation view of the 2016 solo exhibition Jordan Wolfson at David Zwirner, New York. COURTESY DAVID ZWIRNER Last July I was at Jordan Wolfson's house in 2016-05-09 13:17 8KB www.artnews.com 58 How 'Deadpool' Filmmakers Turned a Motorcycle into a Camera [Exclusive] Finally, a camera worthy of our favorite katana-tossing superhero. 2016-05-09 13:10 2KB thecreatorsproject.vice.com

59 ‘I Want to Be Fridge-Like’: Mark Leckey Gives a Freewheeling Talk About His Work at Frieze Mark Leckey, Pearl Vision, 2012, Quicktime video, 3 minutes, 6 seconds. COURTESY MARK LECKEY AND CABINET, LONDON “I do feel stuck between the past and the 2016-05-09 13:07 5KB www.artnews.com 60 Rag & Bone Appoints Chief Commercial Officer In the newly created role, Lydia Forstmann will lead wholesale, retail stores, merchandising and business development for the company. 2016-05-09 13:00 1KB wwd.com 61 This Art Robot Is Even More Vain Than You (Yes, Even You) Daniel Armengol Altayó's '#artificialselfie' machine is caught in an endless cycle of taking and uploading selfies. 2016-05-09 13:00 2KB thecreatorsproject.vice.com 62 Review: Liam Scarlett’s Ballet ‘Frankenstein”’ at the Royal Opera House The first ever dance adaptation of the gothic tale is not-to-be missed. 2016-05-09 12:33 3KB www.blouinartinfo.com 63 ‘Sam Jablon: Life is Fine’ at Freight + Volume Samuel Jablon, Life, 2015. COURTESY THE ARTIST AND FREIGHT + VOLUME Pictures at an Exhibition presents images of one notable show every weekday. Today’s 2016-05-09 12:31 1KB www.artnews.com 64 What To Expect From the Panama Papers Reveal Issued in the form of a searchable database, the data is set to be released today at 2:00 pm by the International Consortium for Investigative Journalists. 2016-05-09 12:11 7KB news.artnet.com 65 Sotheby's Misses Estimates Amid Slow Growth— Sotheby's released a disappointing first-quarter report that missed expectations as CEO Tad Smith conceded that growth has slowed. 2016-05-09 12:05 2KB news.artnet.com 66 Kenny Schachter at Frieze NY and Auctions 2016 Our roving columnist Kenny Schachter visits Frieze New York and the start of the spring auctions at Christie's and Phillips and lives to tell about it. 2016-05-09 10:43 12KB news.artnet.com 67 Rediscovered Rembrandt on View at Getty— A painting that soared at auction when the buyer identified it as a Rembrandt is now set to go on view at Los Angeles's J. Paul Getty Museum. 2016-05-09 10:25 3KB news.artnet.com 68 Greece Pushes UK to Return Elgin Marbles Greece didn't follow Amal Alamuddin-Clooney to sue the British Museum, but it may go through the UN for the return of the Elgin marbles. 2016-05-09 10:18 3KB news.artnet.com 69 Vagina Kayak Artist Found Guilty of Obscenity "Vagina Kayak" artist Megumi Igarashi was found guilty of distributing obscene images in a Tokyo court today, and will have to pay a fine of $3,500. 2016-05-09 08:07 2KB news.artnet.com 70 Olafur Eliasson Aims to Change World With a Cookbook artnet News met with the artist Olafur Eliasson in London to discuss his new cookbook "The Kitchen" and a plethora of other forthcoming projects. 2016-05-09 07:20 11KB news.artnet.com 71 Marseille to Host Manifesta in 2020 Ahead of the opening of Manifesta 11 in Zurich next month, the roving biennial has announced that its 13th edition in 2020 will take place in Marseille. 2016-05-09 06:36 3KB news.artnet.com 72 Guy de Cointet Culturgest / Lisbon When Paul Valéry viewed Stéphane Mallarmé’s poem “Un coup de dés jamais n’abolira le hasard” for the first time, he called it a “device”: a generic, ambiguous term that betrays... 2016-05-09 06:17 2KB www.flashartonline.com Articles

72 articles, 2016-05-10 06:01

1 Kochi-Muziris Biennale Announces First List of 25 Artists For Third Edition (1.05/2) Related Events Kochi-Muziris Biennale Artists Sudarshan Shetty Sudarshan Shetty, Curator, Koch-Muziris Biennale 2016 Seven Indian artists and the rest from countries as far apart as Colombia and China, or Norway and Pakistan figure in the first list of 25 artists who will participate in the third edition of Kochi- Muziris Biennale, to be held later this year. The first list includes poets, musicians, theatre and performance artistes, including Raúl Zurita, one of Latin America’s most celebrated poets. Zurita, the 66-year-old Chilean poet was announced as the first artist for Kochi-Muziris Biennale 2016 (KMB ’16) on December 15 last year. A civil engineering graduate, Zurita is a lauded poet — he was awarded the Pablo Neruda Prize in 1998, the Chilean National Literature Prize in 2000, a Guggenheim Fellowshop in 1984, and the Casa de las Américas Prize for Poetry in 2006, among numerous other recognitions. He is also Professor Emeritus at the Universidad Diego Portales in Santiago, Chile. The presence of artists and creative individuals from a variety of genre is in keeping with the mandate to broaden and blur the labels and lines attributed to art, according to KMB ’16 curator Sudarshan Shetty . “It is going to be an admixture of styles, schools and sensibilities,” said Shetty, long recognised as one of the most innovative artists of his generation; KMB ’16 is Shetty’s first curatorial project. Talking about developing a project of this scale and his curatorial vision, Shetty said, “I see the KMB as naturally embodying and carrying forward the multiculturalism of Kochi that is nurtured by both history and myth. The Biennale creates a space for cross-cultural interactions – something that is a fundamental aspect of Kochi’s historical and mythical identity – and can also be viewed as a means of connecting the past and the present, without looking at them in binaries. It is important that we look at this Biennale as part of that larger flow (from the past) that comes down as a great waterfall to the present and flows through our contemporary realities and artistic practices in the form of many streams or rivers.” The artist-curator whose work was featured at the debut edition of the Biennale, added, “I see my role as the curator of the Biennale as tracing the trajectories of those streams. Incorporating this idea of the streams or rivers into my curatorial approach allows me to see the Biennale as a force and flow that continues beyond its own physical time frame and space.” Following are the first 25 artists to be featured in the third edition of Kochi Muziris Biennale that will run from December 12, 2016 to March 29, 2017: Raúl Zurita (poetry/installation, Chile), Ouyang Jianghe (poetry/installation, China), Sophie Dejode and Bertrand Lacombe (sculpture/installation, France), Caroline Duchatelet (video, France), Achraf Touloub (drawing/video, Morocco/France), Sharmistha Mohanty (poetry/installation, India), Avinash Veeraraghavan (embroidery/video, India), Orijit Sen (graphic arts, India), Anamika Haksar (theatre, India), Praneet Soi (drawing/sculpture/installation, India/Holland), T. V. Santhosh (painting, India), Desmond Lazaro (painting, India/UK), Daniele Galliano (painting/performance, Italy), Yuko Mohri (installation, Japan), Katrina Neiburga and Andris Eglitis (installation, Latvia), Valerie Mejer (poetry/painting, Mexico), Camille Norment (sound installation, USA/Norway), Pedro Gomez-Egana (installation, Colombia/Norway), Hanna Tuulikki (sound/word/video, UK), Charles Avery (drawing/public space installation, UK), Gary Hill (video, USA), Dana Awartani (drawing/painting, Saudi Arabia), Erik Van Lieshout (performance, Netherlands), Naiza Khan (video installation, Pakistan/UK) and Pawel Althamer (performance/sculpture, Poland). Kochi-Muziris Biennale is the largest cultural event of its kind in South Asia and will comprise the main art exhibition and an ancillary programme of talks, seminars, workshops, film screenings, and music sessions across a range of venues in Fort Kochi and Ernakulam, in the bustling port city of Kochi in the southern Indian state of Kerala that established trade links with the world centuries ago. Follow@ARTINFOIndia 2016-05-09 11:26 Archana Khare

2 Editors' Picks: 8 Art Events to See This Week (1.03/2) Wednesday, May 11: 1. Genesis Breyer P-Orridge , Creation Re/Created at the Rubin Museum British artist Genesis Breyer P-Orridge will perform live at the Rubin Museum as part of her ongoing exhibition " Try to Altar Everything ," which runs through August 1. Creation/Re- Created: Searching for a Mother Story , premiered at the Pompidou Centre, Paris, in 2009, explores creation myths and is based on allegorical representations of Adam and Eve. The performance will employ various forms of media, including music, spoken-word, and video, to impact the senses and create the sense of distorted time. Location: The Rubin Museum , 150 West 17th Street Price: $23 advanced tickets Time: 7:00 p.m.–8:30 p.m —Eileen Kinsella Wednesday, May 11–Sunday, May 15: 2. Radouan Zeghidour , " Hypogea " at Cantinca Tabacaru Gallery French artist Radouan Zeghidour, who won the 2014 Thaddaeus Ropac Award , builds architectural sculptures in underground tunnels and abandoned places in Paris, only revealing their locations after the illegal artworks have been removed. In his first New York exhibition, curated by Marie Salomé Peyronnel, Zeghidour offers six works, including a video of the artist traversing the Paris underground, and a hand-drawn map identifying the former location of one of his hidden installations. Location: Cantinca Tabacaru Gallery , 250 Broome Street Price: Free Time: Opening May 11, 6:00 p.m.–8:00 p.m —Sarah Cascone Thursday, May 12: 3. Nicole Eisenman in conversation with Massimiliano Gioni at the New Museum This Thursday, Nicole Eisenman will be sitting down with the New Museum's artistic director Massimiliano Gioni. With her first New York museum survey currently on view at the Bowery space, the artist will discuss her explorations on canvases that the museum describe as combining "the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. " Location: 235 Bowery Price: $15 general admission Time: 7:00 p.m. —Rain Embuscado Thursday, May 12: 4. Simon de Pury, The Auctioneer Book Launch at the Swiss Institute Simon de Pury , perhaps the world's best-known auctioneer, has documented his fascinating life —from his start as a failed artist to his stint as the curator for Baron Hans Heinrich Agost Gábor Tasso Thyssen-Bornemisza and on to the start of his own auction house, which merged with Phillips—in an equally intriguing book. The Swiss Institute will host the book launch for The Auctioneer: Adventures in the Art Trade (St. Martin's Press, May 2016) where De Pury will be in conversation with SI's director Simon Castets. Location: 18 Wooster Street Price: RSVP Time: 7:00 p.m. —Rozalia Jovanovic Saturday, May 14: 5. Seven on Seven at the New Museum Rhizome's annual Seven on Seven conference, which sees an all-star cast of women artists this year, will be held at the New Museum this Saturday. This year's lineup of creatives include polymath Miranda July and video artist Hito Steyerl. Admission to the event, however, is pretty steep. Interested parties will have to throw down $175 a pop for a full-day pass. Location: 235 Bowery Price: $175 conference ticket Time: 12:00 p.m.–6:00 p.m. —Rain Embuscado Friday, May 13: 6. Jennifer Elster , " The Retrospective of an Extroverted Recluse: Part One " at J. Elster Gallery This pop-up show from conceptual New York artist Jennifer Elster, who was once David Bowie 's stylist, will offer an immersive multi-disciplinary installation. In addition to photography, painting, and works on paper, the exhibition will feature video works that she has collaborated on with her subjects, who include Yoko Ono , Terrence Howard, Alan Cumming, Temple Grandin, Paz de la Huerta, Rufus Wainwright, Will Shortz, and Questlove. Mariko Anraku, lead harpist for the Metropolitan Opera; Trevor Gureckis, a producer on Kanye West' s The Life of Pablo ; and pianist Sugar Vendil will perform live during the opening. Location: 75 Leonard Street Price: Free Time: VIP preview May 12, 7:00 p.m.–10:00 p.m —Sarah Cascone Saturday, May 14: 7. Serkan Özkaya , " An Attempt at Exhausting a Place in New York " at Postmaster's Gallery This Saturday, Postmasters gallery in Tribeca is hosting Serkan Özkaya's latest video project, based on French Situationist writer Georges Perec's 1974 essay of a similar name, "Attempt at Exhausting a Place in Paris​. " In this installation, the artist will be placing cameras outside the building, and then projecting the real-time images onto the gallery's walls. "By looking at only a single detail," Perec writes, "and for a sufficiently long period of time (one or two minutes), one can, without any difficulty, imagine that one is in Etampes or in Bourges or even, moreover, in some part of Vienna (Austria) where I've never been. " Perhaps New Yorkers can do the same, decades later. Location: 54 Franklin Street Price: Free Time: 11:00 a.m.–6:00 p.m —Kathleen Massara Sunday, May 15: 8. Samuel Jablon , "Life is Fine" Closing Party at Bowery Poetry Club It's your last chance to catch the text paintings of Brooklyn's Samuel Jablon. To mark the closing of his second solo show, "Life is Fine" (the title comes from a Langston Hughes poem), the poet artist is holding a book launch party with a poetry reading led by poetry activist Bob Holman. Participants will include art critics Vincent Katz and Raphael Rubinstein. Location: 308 Bowery Price: Free Time: 6:00 p.m.–8:00 p.m. —Sarah Cascone Follow artnet News on Facebook. 2016-05-09 16:21 artnet News

3 Art Fair Asses and New Radiohead: Last Week in Art (1.03/2) Via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky—but all of them are worth knowing about. Without further ado: + Radiohead released a new album, A Moon Shaped Pool , last night. Our on-the-fly review: We'd have been happy with an album comprised entirely of Jonny Greenwood sound effects. [ A Moon Shaped Pool ] + This week heralded another big week in New York art fairs—from Randall's Island for the fifth edition of Frieze New York, to Industry City for NYCxDesign, and into Manhattan for NADA New York. Stay tuned for more coverage of all three art events on The Creators Project this week. + In the meantime, at Frieze, Maurizio Cattelan pissed off animal activists yet again with his live donkey "installation. " [ ARTNews ] + At NADA, artists allegedly released poisonous wolf spiders into the fair as a fundraising stunt: $100 for every spider spotted would go to cancer research. [ ArtFCity ] + Artist David Horvitz hired a pickpocket to roam Frieze and sneak editioned sculptures into people's bags. [ Observer ] + And, artists divulged their true feelings towards art fairs. [ Hyperallergic ] Via + Photographs inspired by Andy Warhol's Campbell's Soup Cans are currently on show at the Springfield Art Museum, taking the place of the original prints which were stolen from the museum's collection earlier this year. [ Springfield News-Leader ] + White, Southern Utah University undergrad Samantha Niemann is suing the Getty Foundation for a "discriminating" Multicultural Internship that only accepts students of African-American, Asian, Latino, Native American, and Pacific Island descent. [ The Daily Beast ] + Last week's Met Gala commemorated the opening of this year's exhibit at the museum's Costume Institute, "Manus x Machina: Fashion in an Age of Technology. " While some felt that the technology side of the fashion fell painfully short, we couldn't help ogling Claire Danes' glow- in-the-dark dress or Emma Watson's recycled plastic bottle gown. [ Engadget , CNet ; The Creators Project , Tech Insider ] + As for the show itself, critics seem to think it's well worth seeing. [ New York Magazine , WWD ] Via + Ai Weiwei will release a feature film about the refugee crisis. [ The Guardian ] + The Chinese artist is also planning his first trip back to the US since being re-granted his passport from his government. [ The Art Newspaper ] + Venezuelan-American sculptor Marisol passed away last Saturday. [ artnet News ] + Super 8 motels are giving away their old art as part of their current rebranding campaign. Amy Sedaris signed on to the project, naming each of the works and hosting a giveaway exhibition at Openhouse gallery on Wednesday night, When the Art Comes Down: Works from the Super 8 Collection. [ The New York Times ] Via + "OFAs (old French artists) are the new YBAs. " Stroke your chin to that. [ The Art Newspaper ] + After a 13-year allegiance, Julian Schnabel has left the Gagosian Gallery and is now, once again, represented by Pace. [ Page Six ] + $34 million worth of art was lost in a fire at artist Rosemarie Trockel's home in Cologne. [ Artnet News ] + ARTGun , a piece by artist Alton DuLaney, was removed from the University of Houston's Blaffer Art Museum—a true irony, given that the school will allow individuals to carry a concealed weapon on campus starting in August of this year . [ Houston Press ] Via + Jennifer Dalton and William Powhida are tackling the NYC affordable housing crisis with their new project, MONTH2MONTH, where participants are invited to experience the real estate divide by staying in both affordable and luxury New York apartments. [ Arch Paper ] + In pursuing a lead on the still unsolved Isabella Stewart Gardner Museum heist, the FBI searched mobster Robert Gentile's Connecticut home. [ The Boston Globe ] + The Iranian satirical cartoonist Atena Farghadani, who was sentenced to 12 years in prison last year, was let free. [ The Washington Post ] + And finally, bask in the internet's found art and poetry with VICE 's new column, "Accidental Internet. " [ VICE ] Via Did we miss any pressing art world stories? Let us know in the comments below! Related: NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes | Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art ¡Artistas, Arrested! : Last Week in Art [Cuba Edition] Kanye Kissing Kanye: Last Week in Art North Africa's Biggest Street Art Ever: Last Week in Art Bansky DOXED?: Last Week In Art Leo Got a Statue: Last Week in Art [Oscars Edition] 2016-05-09 13:40 Sami Emory

4 The 17 Sexiest Works of Art at NADA (1.02/2) Erin Jane Nelson, Key.swallower, 2016 (detail). Pigment on organza, linen, Spanish moss, cellophane, gypsophila, earthenware, pearls, sea shells, aluminum. 60 x 48 inches. Courtesy of the artist and Hester, New York If art is about sex, and it is , an art fair is an orgy, replete with materials hanging from the rafters, and a booth for every curiosity. Of course, the most fertile ground is where New Art Dealers Alliance (NADA) touches down , bringing with it cycle after cycle of up-and-coming gallery talent. Held for the second year at Basketball City, this year's NADA New York was no cold fish; from Naama Tsabar's felt-and-guitar-string touch instruments, to Chloe Wise's pierced papaya sculpture, all of the sensations, soft and hard, were represented. I even caught a bit of the art world basketball tournament outside, maybe the lowest-scoring games in history, but art girls love dudes in basketball shorts, and women rule the art world, so things were hot from the get-go. In this vein, the Creators Project compiled a list of the 17 sexiest artworks at NADA. 17, because, obviously. Dale Lewis, Deep Fat Fryer, 2015. Oil, acrylic and spray paint on canvas 200 x 400 cm. 78 3/4 x 157 1/2 in. Image courtesy Edel Assanti, London Moms who lean back and let their kids figure it out have been erotica mainstays at least since Clytemnestra, foursome in the back room notwithstanding (too obvious). Also, this painting is 13 feet wide. If someone invites you back to their home and has art this big, you're a nihilist for not sticking around for a second drink. Lisa Tiemann, NOTIZ APRICOT / NOTE PEACH (2016). Ceramic, glaze, rubber (61x23x85 cm). ​Courtesy of fiebach, minninge, Cologne Ceramic, glaze, rubber: The "phone, keys, wallet," of a better bachelorette party. Suzanne Lacy, Anatomy Lesson #1: Chickens Coming Home to Roost, 1975-76. Four elements comprising the complete series. Lithograph on both sides of four postcards. Each 4 1/2 x 6 7/8 inches. Courtesy of the artist and Alden Projects, New York Between Lacy's "Eyes up here" gaze and the text down below, there's so much visual tension packed into this photo, I'm having chest pains just writing about it. Photo courtesy Water McBeer By commissioning miniature works by Elizabeth Ferry , Jamien Juliano-Villani , Last Renissance , Annie Pearlman , Cosmo DeBrie , and Matthew Palladino and situating them inside a single, standing desk-sized booth, the elusive Water McBeer managed to assemble every crushing fetish at once. Yael Kanarek, Terrain7a_5: Bits, 2002. From the series 48 Nowheres. Ink drawing on Lambda print, pleximounted 44 x 34 in / 112 x 86 cm. Photo: John Berens When we're finally able to upload our consciousnesses and explore the web with avatars, every "hot dog legs" photo on Instagram will be an endless desert. Davida Numeroff, Muscles (Shadow), 2016. Edition of 2, 1 AP. Inkjet print. 46 x 36 inches (116.8 x 91.4 cm) Courtesy of the artist and COOPER COLE, Toronto. Don't ask. Matthew Chambers, The goalies anxiety at the penalty kick, 2015 Acrylic and three part monterey blue enamel and acrylic on canvas. 96 x 48 inches (243.8 x 121.9 cm). Courtesy of the artist and FEUER/MESLER MESLER/FEUER, New York Everyone has a thing for Spandex, not everyone's willing to admit it. They're sleek, made for soaking up sweat, and bunch up in all the right places (they are ; you're just weird about it). Kspxbai. Daniel Boccato, courtesy of FORMATOCOMODO and the artist Say what you will about the fact that there were a couple nudes with birds at NADA, and I chose this one—getting naked with a box of Crayons is everything that one scene in Titanic wasn't. Alexander Nolan, Masseuse by Candlelight, 2015. Encre sur papier Ink on paper. 38.1 x 27.94 cm 15 x 11 in. Courtesy of the artist and Galerie François Ceysson, Luxembourg DO : "A grown-ass man should be able to change a tire, drive stick, do CPR, set a bone, gut a fish, build a wall, throw a punch, shoot a gun, shotgun a beer, build a fire, run a barbecue, change a diaper, recite three lines from Animal House , light a fart, give a massage, and eat a pussy. " I added "give a massage," but a grown-ass man should. Erin Jane Nelson, Key.swallower, 2016. Pigment on organza, linen, Spanish moss, cellophane, gypsophila, earthenware, pearls, sea shells, aluminum. 60 x 48 inches. Courtesy of the artist and Hester, New York The mediums used to make this read like a Martha Stewart guide to tentacle porn. It's a great thing. Pawel and Kosma Althamer Lump Hammer, 2014 Bronze. 23cm (9.06 inches). Edition of 10. Courtesy of the artist and ICA London. According to historical record, crucifixes actually looked a lot more like uppercase letter "T," which is atrocious if you've ever watched a dog polish off a T-bone. Sacrilege = sexy. Alphachanneling, Honorable warrior captured by the enemy!, 2016. Colored pencil on paper. 12 x 18 inches. Image courtesy of the artist and Jack Hanley Gallery I dream this every night. Jamie Sneider. Untitled (Bedpan and Holder). 14.5 x 12 x 5.25 inches Concrete and steel NEOCHROME Courtesy of the artist Q: What's sexier than a concrete bedpan? A: A concrete bedpan in a steel diaper. Jennifer Chan, Body Party, 2015. Digital print on microfiber bedding. 40 x 75 in. Courtesy of the artist and ltd los angeles Jennifer Chan's dudebod bedspread will let you sleep on belly of the beef. David Armstrong Six, A Bright Blot, 2015. Steel, plaster, paint, pigment, ink, lacquer 72 x 17 x 13 inches. Courtesy of the artist and Parisian Laundry, Montréal The rubber boot that holds this piece together literally puts the "ass" in assemblage. Ben Thorp Brown, The Last Oysters, 2015. Photo by the author The artist Ben Thorp Brown 3D-printed an oyster shell in order to simulate what buying the aquatic delicacies might be like in a future where water resources have all but been depleted. If natural aphrodesiacs and intimations of scarcity don't get you hot, I honestly don't know what you're doing at an art fair. Sally Saul, The Attack, 2016. Glazed ceramic. Image courtesy of the artist and the Landing, Los Angeles Granted, there's nothing sexy about David or Charles, but this fanfic-worthy ceramic is making my Koch hard. What turned you on at NADA New York? Tweet us everything: @CreatorsProject. Related: Sculpture Gets Steamy at Frieze New York Hot, We Walked in on Paint Tubes Having Sex Our 11 Favorite Works from the Dallas Art Fair 2016-05-09 22:15 Emerson Rosenthal

5 aga khan award for architecture announces 2016 shortlist (1.02/2) the 19 shortlisted projects for the 2016 aga khan award for architecture have been announced. the schemes were selected by the master jury from a total of 348 nominated for the 13th cycle of the award. the aga khan award for architecture was established by the aga khan in 1977 to recognize examples of architectural excellence in the fields of contemporary design, social housing, community improvement and development, historic preservation, reuse and area conservation, as well as landscape design and improvement of the environment. the 19 projects are now undergoing rigorous investigations by on-site reviewers — architects, conservation specialists or structural engineers themselves — who visit and evaluate each project first-hand. the projects competing for $1 million USD in prize money are as follows: morocco: guelmim school of technology, guelmim (architect: saad el kabbaj, driss kettani, mohamed amine siana); casa-port new railway station, casablanca (architect: AREP and groupe 3 architectes) micro yuan’er, beijing (architect: ZAO/standardarchitecture / zhang ke) image © designboom / see more of the project on designboom here superkilen, copenhagen (architect: BIG — bjarke ingels group) image © AKTC / kristian skeie / see more of the project on designboom here issam fares institute, beirut (architect: zaha hadid architects) image © AKTC / cemal emden / see more of the project on designboom here makoko floating school, lagos (architect: NLÉ – shaping the architecture of developing cities / kunlé adeyemi) image © AKTC / NLÉ / see more of the project on designboom here doha tower, doha (architect: ateliers jean nouvel) image © AKTC / cemal emden / see more of the project on designboom here king fahad national library, riyadh (architect: gerber architekten international) image © AKTC / cemal emden / see more of the project on designboom here 2016-05-09 19:28 Philip Stevens

6 Morning Links: Nicole Eisenman Edition (1.02/2) Eisenman. COURTESY JOHN D. AND CATHERINE T. MACARTHUR FOUNDATION ‘KAFKA WITH A BRUSH’ Peter Schjeldahl reviews the New Museum’s Nicole Eisenman show. “Eisenman’s resourceful Expressionism hints at the power of narrative painting to re-situate the art world in the world at large,” he writes. [ The New Yorker ]Meanwhile, Eisenman, a so-called “Kafka with a brush,” chats with Grace Dunham and Deborah Solomon about formalism, private planes, gender fluidity, and much more. [ The New York Times ] TRANSFORMATIONS Richard “Dickie” Landry, a member of the Phillip Glass Ensemble, on his work at Frieze: “A lot of people didn’t even know I painted.” [ Page Six ]The Asian Art Museum in San Francisco is planning a multi-step “transformation” for the coming few years. Once financially unstable, the museum is set to build a pavilion that will become one of the largest exhibition spaces in San Francisco. [ San Francisco Examiner ] POP ART In what seems laughable, but is actually an important stride for artistic freedom in Japan, a woman who made sculptured modeled on her vagina will not be subject to obscenity laws. The sculptures have instead been called “pop art.” [ Reuters ] THE INFORMATION AGE Josh Kline talks with Kevin McGarry about his excellent new show at 47 Canal on New York’s Lower East Side. “This new [show] is about the middle class as it loses its jobs to software over the next quarter century,” Kline says. [ T Magazine ]Here’s a clear, succinct history of data art. Data visualization, in which information becomes images, is being called “the first step in data art.” [ Tech Crunch ] EXTRAS A report from the Dak’Art African Contemporary Art Biennial in Senegal, where young artists are coming to the fore. [ NPR ]Kathryn Adams at the Museum of Contemporary Art Chicago. [ Contemporary Art Daily ] 2016-05-09 09:03 The Editors

7 The Peripheral, the Edges, the Off-Screen: A Conversation with James Richards (1.00/2) James Richards recently presented a cinematic program in collaboration with Leslie Thornton on the occasion of the Walker premiere of Thornton’s Moving Image Commission They Were Just People (2016), as well as the opening of the exhibition Less Than One. Richards’s own Moving Image Commission, Radio at Night (2015), can be viewed online for a limited run as well […] 2016-05-10 00:53 By

8 The Shape of Doo-Bop to Come: Steve Lehman and HPrizm (0.01/2) On Saturday, May 7, the Steve Lehman Octet will bring its spectral harmonies and cascading rhythms to the McGuire Theater. Lehman is a jazz stalwart, guided by algorithms and an abiding musical intuition which carried the Octet’s most recent release, Mise en Abîme, to the top spot on the 2014 NPR Music Jazz Critic’s Poll. At the same time, […] 2016-05-10 05:55 By

9 Summers of Rock — Magazine — Walker Art Center (0.01/2) Launched in 1998, the Walker’s now-annual Rock the Garden festival has gone through plenty of changes—from its inception as an intermittent, on-the- street jam to a 10,000-fan party on the Walker hillside, a two-day festival to, in 2016, a one-day, two-stage affair at Boom Island Park. Here’s a look back at the varied and vibrant history of what’s traditionally been considered the launch of the Twin Cities’ summer concert season. The Jayhawks headlined the inaugural Rock the Garden—preceded by the Steve Millar Band and the Hot Head Swing Band —in an event that was deluged by rain, sending scores of fans into the Walker lobby to await a break in the clouds. Returning to the stage, Gary Louris, in a green Lacoste windbreaker, a Flying V strapped around his neck, enthusiastically fronted the band for this historic first-ever RTG. After a year off, the fledgling festival returned, with a killer lineup: Sonic Youth headlined, with Stereolab and Sunship Sextet opening. Walker senior performing arts curator Philip Bither’s recollection of the show: “Kim Gordon’s hair blowing in the wind, stoically beautiful in the midst of Thurston Moore and Lee Ranaldo’s sonic squall storm force of Sonic Youth playing a blistering set.” Band members would return several times: Gordon gave a talk on Yoko Ono’s influence in 2001; Ranaldo performed in 2004 as part of the group playing a live score for Stan Brakhage’s films; and, in town to play the 2006 Minnesota State Fair, the entire band stopped by the galleries to check out a solo show by their friend, Cameron Jamie. Medeski Martin & Wood got top billing in a year that saw Iffy (a side project of the late Run Westy Run co-founder Kirk Johnson) and Marc Ribot and Los Cubanos Postizos open the show. “Beloved—and missed—locals Iffy, along with Ribot’s ‘fake Cuban’ band, nearly stole the show from MMW,” recalls Performing Arts associate curator Doug Benidt. Jazz trio The Bad Plus —featuring drummer Dave King —heated up the stage in a year when Andrew Broder, aka Fog , opened and , fresh off the release of their heralded album Yankee Hotel Foxtrot (which earned a perfect-10 rating from Pitchfork ), headlined. The array of bands, especially Wilco’s performance, is “perhaps my best musical memory of all Rock the Gardens,” says the Walker’s Bither. David Byrne ’s attire matched his RTG 2004 set, which Bither calls “masterful” and “elegantly thrilling.” The former Talking Heads frontman arrived for an afternoon soundcheck on a bike wearing knee socks and pinstriped overalls. Later, when he hit the stage, he wore white and brown saddle shoes and matching gray work pants and shirt, embroidered with a quote from Martin Luther King, Jr.—from King’s 1967 book Where Do We Go from Here: Chaos or Community? —on the back. Byrne headlined, preceded by local opener Barb Cohen (co- founder of Brother Sun Sister Moon) and Brooklyn’s Antibalas Afrobeat Orchestra. Touring around the album Who Is This America? (Ropeadope), Antibalas ’s horn-heavy brand of Afropop stirred crowds with numbers like “ Pay Back Africa ” and its sharp-edged commentary on American politics, “ Indictment .” Remembers Benidt, “The Fela-riffic Antibalas groove really set the stage nicely for the globally eared David Byrne performance.” Bither remembers Byrne , with full funk-adept rock band plus the New York–based Tosca String Quartet , “wailing into the setting sun his own very moving version of Verdi’s ‘Un Di, Felice, Eterea,’ and soon after kicking it with a blistering version of ‘Burning Down the House.’” Four years before winning dual Grammy awards, opened Rock the Garden as the “local” act. Bither remembers the singer-songwriter “mesmerizing everyone within hearing distance.” After the set, Bither spent time hanging out with Bon Iver’s Justin Vernon backstage, “discovering what a regular, sweet guy he was. We talked about everything, including basketball and Eau Claire, and he reminisced about the mind-opening shows he’d seen at the Walker as a young guy.” Vernon was in good company: on the bill with him were , The New Pornographers , and Andrew Bird . 2008 also marked the first year of the Walker’s ongoing partnership with 89.3 The Current to copresent Rock the Garden. When an epic squall appeared on the horizon—complete with lightning, no friend of the electricity-conducting stage and equipment—2008 Rock the Garden coordinator Ellie McKinney nervously signaled to Andrew Bird that she needed the microphone to announce a rain delay. “As soon as I finished, I looked out into the crowd for the first time and realized a man in the front row was screaming ‘NOOOO!’ in slow-mo. Then I heard the boos,” McKinney says. “I was being booed. Booed by 10,000 people. As I walked off that stage—my first and only time onstage in front of 10,000 people—Andrew said to me, ‘I forgot my shoes up there.’ And then came a call on the radio: ‘I think your fly was down.’” Soon after, as Bither recalls, “The dramatic dark clouds broke open for a fantastic sunset behind the city skyline as Andrew returned to the stage.” By reorienting the stage to face the Walker hillside for its 2009 edition, Rock the Garden’s capacity increased by around 3,000 fans. “Turning the stage toward the grassy amphitheater really made the event feel more natural and convivial,” says Benidt. The lineup: Solid Gold , Yeasayer , Calexico , and headliners The Decemberists. Betsy Carpenter’s top Rock the Garden moment came in 2009 when The Decemberists performed Heart’s “Crazy on You.” “The female lead singers were wearing white business suits with peplum jackets and were belting out the lyrics while enacting the most bizarre stage moves,” the former Walker visual arts curator recalls. “The audience was going crazy with the requisite head-banging and hand gestures, and the band seemed to be having a blast. It was just so surprising and incongruous.” OK GO hit the confetti cannon in 2010, a year that saw the LA-based foursome play in the biggest RTG lineup yet, along with Retribution Gospel Choir (featuring Low’s Alan Sparhawk), Sharon Jones & the Dap-Kings , and MGMT . “2010 was my favorite Rock the Garden to date,” says Benidt. “The blend of sounds and killer performances really made for a long and oh so beautiful day.” In a sequined aquamarine dress with white fringe, Sharon Jones , along with her Dap-Kings, was a crowd-pleaser, especially so for one audience member. ’s then-Mayor RT Rybak took to Twitter , punning: “Sharon Jones, former prison guard, has Rock the Garden crowd in custody. Love her sound!” Rain—drenching, all-morning rain—nearly put the kibosh on this year’s concert. But the show went on, as the Walker hillside turned to mud as Tapes ‘N Tapes , Booker T. Jones , Neko Case , and wrested the stage away from the dreary weather. Yeti boots: check. Scarf: check. Cape: check. In proper rock star attire, My Morning Jacket front man Jim James “put the ‘rock’ into Rock the Garden,” as Bither put it, “in both great and ridiculous ways.” With 2012’s nearly all-local lineup— Howler , tUnE-yArDs , , Trampled by Turtles , and — the tenth edition of Rock the Garden didn’t disappoint. “It’s great to be home, and in such a beautiful part of our city,” THS’s Minnesota-raised front man Craig Finn told the crowd of more than 10,000. At the 2011 concert, he was in the audience, but this year he was on stage: “Thanks for making another of my dreams come true,” he said. Right out of the gate, Rock the Garden 2013 was met with bad weather, but we made the most of it, and spectacularly so. Facing a rain- (and lightning-) delay, opening act Dan Deacon had a suggestion, “I can play in the garage.” As Benidt later wrote, “What ensued in the depths of the parking garage is one of the most spontaneously joyous performance moments I have witnessed. Electro Pied Piper Dan Deacon led an ecstatic dance party with thousands of wet and ponchoed people—all dancing, drinking, and feeling the relief of being dry just for a moment.” Yet, Deacon’s buzzed-about underground rave wasn’t the only landmark moment of 2013’s concert. Back outside after the weather cleared, the Duluth trio Low used its entire 27-minute set to play one song, a drone version of 1996’s single “Do You Know How to Waltz?” Front man Alan Sparhawk concluded the set with three now-infamous words: “Drone, not drones.” More than a few angry fans immediately went online to share their reactions. Afterwards, an unapologetic Bither took to the Walker blog to compare the set to Stravinsky’s riot-inducing premiere of The Rite of Spring in 1913, noting that the annual concert event “grew out of a 50- year old Performing Arts program at the Walker dedicated to new sounds, new movements, and new forms of theater and interdisciplinary art, where traits like innovation and audacity rank high.” RTG 2013 also marked a homecoming for , who co-founded the punk band Hüsker Dü here in 1979. His rousing set included classics from both his 1990s band Sugar and his solo work, including the new song, “ The Descent.” Blazing through their sets, Silversun Pickups and alt-rockers Metric wrapped up the 2013 festival in memorable fashion . In 2014, Rock the Garden expanded into a two-day festival , kicking off on Saturday with sets by Lizzo (whose single “Batches and Cookies” became the festival’s unofficial anthem ), Jeremy Messersmith , Best Coast , Matt and Kim , and, headlining, hip-hop pioneers De La Soul Memphis-based Valerie June opened up Sunday’s concert, bringing her distinct brand of “organic moonshine roots music.” Following her were Kurt Vile and The Violators , Doomtree emcee , the ever-prolific Guided by Voices , and Spoon . Local favorite Lizzo said that being a part of Rock the Garden made her feel like a “ gift- wrapped package with glitter coming out of the top .” May we suggest a cherry on top as well? With Spoonbridge and Cherry just across the street in the Minneapolis Sculpture Garden, it’s only fitting that the 2014 edition concluded with headliner Spoon . Again presented as a two-day festival, RTG15 saw a momentous first day: the reunion of 1990s Minneapolis punk trio Babes in Toyland , as well as showstoppers by young St. Paul phenoms thestand4rd , followed by Lucius , Courtney Barnett , and . All the way from Glasgow, headliners Belle and Sebastian regaled audiences with tales of their trip to Minneapolis—including a dip in Cedar Lake—and wrapped the night with an on-stage dance party/singalong to their classic, “The Boy With The Arab Strap.” Before taking the stage at Rock the Garden 2015, the members of Lucius took a private tour of the Walker’s International Pop exhibition, stopping to spend a bit of extra time with a particularly inspiring work, Evelyne Axell’s Ice Cream (1964), which graces the cover of the band’s 2014 album Wildewoman . The final day of RTG15 aimed for diversity of styles and geographies: New York’s The Ghost of a Saber Tooth Tiger (with Sean Lennon) , Oklahoma roots rocker JD McPherson , Lagos-based Seun Kuti & Egypt 80 (the son of, and band that backed up, Afrobeat sensation Fela Kuti), seminal punk band Babes in Toyland , and Washington State indie band Modest Mouse . This year’s festival brings eight bands to the Mississippi riverfront for one unforgettable day of music. Due to renovations at the Walker and Minneapolis Sculpture Garden, we’re moving to Boom Island where, backdropped by the downtown skyline, we’ll hear from LA punk quartet Plague Vendor , local hip-hop supergroup GRRRL PRTY (Lizzo, Sophia Eris, Manchita, DJ Shannon Blowtorch, and Quinn Wilson), Missouri’s Nathaniel Rateliff & the Night Sweats , , M. Ward , Poliça (fresh off their United Crushers album), Chicago’s Chance the Rapper (whose highly anticipated release Chance 3 comes out May 13), and headliners The Flaming Lips. One day, two stages, eight bands. We hope to see you on the island , and back on the newly renovated Walker campus for Rock the Garden 2017. 2016-05-09 21:39 www.walkerart

10 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-10 04:43 GDUSA Staff

11 Sonic Youth visits the Walker At the concert they anounced they were heading to Mickey’s dinner in downtown SP so I guess the got the whole tour of hotspots. That photo is awesome. Their set was pretty good, but it seemed like most of the people came to the show to see the Flaming Lips. Despite that, they rocked out anyway. 2016-05-10 00:53 By

12 In Which Hip-Hop Ends Up Saving Itself: On Charlie Ahearn’s Wild Style Considering its status as a founding document of one of the twentieth century’s defining cultural phenomena, it would be easy to forget Wild Style’s origins in the high art ferment of New York’s 1980s Downtown scene. Sampled and interpolated for decades by everyone from “conscious” rap standard bearers Black Star to commercial giants like the […] 2016-05-10 01:47 By

13 13 Pharrell Williams, Takashi Murakami Join Complex to Develop Cultural Festival, ‘ComplexCon’ More Articles By Complex Media is in the process of developing a live event, which it is billing as “the first cultural World’s Fair for this generation.” The Millennial- leaning music and pop culture media company has tapped entertainer Pharrell Williams as cultural director and host committee chair to help put together the event, which is called “ComplexCon.” Complex revealed details of the event, which will take place in Long Beach, Calif., from Nov. 5 to 6, at its Digital NewFronts presentation in New York Monday evening. According to Complex, the festival will include concerts, shopping, panels and conversations, art and food, and it will be produced with ReedPop, the company behind New York’s Comic- Con and Agenda. Williams will make use of his “I am Other” creative collective and record label, to help bring together the worlds of pop culture, art, music, food, style and sports, the New York-based company noted. “I’m inspired by myriad different events I’ve had the fortune of being a part of…whether they’ve focused on art, design, music, food or science,” Williams said. “When ‘I am Other’ connected with [cofounder and chief branding officer] Marc Ecko and the Complex team, we were instantly aligned — we wanted to combine a little bit of all these elements and create a unique, new initiative.” Contemporary artists Takashi Murakami has also signed on as host committee member for the event. He is responsible for designing the event’s brand identity and will lend his oversight to the overall design and aesthetic experience. “When Marc Ecko approached me about being on the host committee, I met with him in their office on 50th Street and felt firsthand the good vibe and untamed, youthful energy they possess,” Murakami said. “It was that spirit that led me to participate in the project. It looks like it’s going to be a lot of fun. I hope it will turn into something crazy.” Complex told WWD that it is still in the process of putting together its lineup, which will be updated throughout the summer. Tickets will cost $35 for one day and $60 for the whole weekend. Panels and speakers will take place during the day, and concerts, at night. Concert tickets will be an additional yet-to-be determined fee, but will include the day pass for ComplexCon. Ecko offered: “Our audience, and all the contributors that shape our like-minded universe of content are some of the most influential people in the world. Period. We wanted to create an event that celebrates them and creatively push ourselves to constantly elevate and re- imagine our shared horizons.” Complex was acquired by Hearst and Verizon via a 50-50 joint venture in April, after Hearst ’s initial $21 million investment in the company in September. 2016-05-09 23:00 Alexandra Steigrad

14 Ramy Brook Sharp, Essie Weingarten and Sandra Lee Receive Spirit of Life Awards Ramy Brook Sharp, founder and creative director of Ramy Brook, Essie Weingarten, founder and global creative director of Essie Cosmetics Ltd. and Sandra Lee, philanthropist, author and TV personality, all received City of Hope’s Spirit of Life awards Monday. The presenters were Hoda Kotb of NBC’s “Today” show, Rosanna Scotto of “Good Day New York,” and Dr. Jill Biden. Some 450 women attended the luncheon at The Plaza Hotel, which raised more than $400,000 for the City of Hope, the comprehensive cancer center in Pasadena, Calif. About 100 million people benefit from City of Hope’s research a year. In presenting the award to Weingarten, Kotb said that if you’ve ever been to a nail salon, you know Essie. She said that Weingarten was born with a gift because she knew at a young age that she loved color. As a young woman Weingarten loaded up 12 different nail polishes and headed to Las Vegas and started selling door to door. Today, she oversees a company that produces more than 1,000 nail polish colors and makes up their names as well, such as Ballet Slippers, Wicked and Berry Naughty. She said one of her finest moments occurred when the Queen of England’s stylist called up Essie’s people and said, “Your Royal Highness loves Ballet Slippers.” Weingarten said when she originally decided to go out on her own with her nail color business, her mother told her she can try it for a year, and if it doesn’t work out, she can come back to the family business. She told the audience that her sister is suffering from pancreatic cancer, the same disease that killed her father and that’s what motivated her to accept the honor. “We must eradicate pancreatic cancer,” said Weingarten. Knowing that the fashion crowd would be out in full force on Monday, Scotto said she put on three pairs of Spanx. “I’m wearing Ramy Brook and it’s timelessly sexy and sophisticated. It’s a major line that’s in every department store. After lunch go to Bergdorf Goodman , Saks or her downtown store. She’s going to be huge and the prices will be going up,” said Scotto. “I’m so excited I get to spread the word of the incredible work that City of Hope does,” said Sharp, who showed 30 looks from her spring Ramy Brook contemporary collection on the runway. For sales of these items at her own store, ramybrook.com and Saks Fifth Avenue , the company will donate a percentage of proceeds to City of Hope. Biden said she was pleased to be at the event “to recognize all of the fighters and survivors of breast cancer who are here today.” She said that City of Hope treats not only the physical needs of their patients, but their emotional needs as well. Lee, who is a breast cancer survivor and advocate, took her story to social media and posted throughout her treatment. She said that she hopes her story will inspire and help other people. “That is why we’re here today, to find a cure and communicate,” she said. 2016-05-09 22:47 Lisa Lockwood

15 Oscar de la Renta Inc. Helps with Samuel Waxman Cancer Research Foundation Event Seventy-five attendees are expected at the luncheon which is being hosted at a private residence on the Upper East Side. Restaurant Associates’ CxRA will be providing the catering and Palm Bay will be offering the wine. Oscar de la Renta Inc., John Varvatos, Roberto Cavalli, Hugo Boss and St. John are some of the designer resources that have donated items for the event. Pamela Morgan and Marion Waxman will serve as this year’s chairwomen. 2016-05-09 22:37 Rosemary Feitelberg

16 uslon concept swimwear disguises extra buoyancy to help keep afloat uslon concept swimwear disguises extra buoyancy to help keep afloat all images courtesy of katerina semenko and valery graznov ‘uslon’ designed by katerina semenko and engineered by valery graznov is swimwear with multiple tiny air-capsules stitched into its straps, waistline and neckline that provide the minimal sufficient volume to keep a body afloat. disguised to look like regular swimming attire, the flotation system does not need any instructions for inflation and uses atmospheric pressure with no risk for punctures. research behind the project states that if the human body receives two to three kilograms of additional buoyancy (depending on body size), it becomes much harder to drown. ‘uslon’ offers those extra three kilograms in a slim design which has life saving potential that always stays on. dozen of small air tubes are placed into collar while another portion is in air-capsule pads there are twelve rows of elastic air tubes sewn into the trunk’s belt encapsulated tubes are in bodice and hip strap designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-09 22:01 www.designboom

17 Toms Launches Annual One Day Without Shoes Initiative More Articles By The brand, which celebrates its 10-year anniversary this year, is encouraging social media users to take a picture of their bare feet or their Toms and tag the photo with a #withoutshoes hashtag. Every photo taken will count toward giving up to 100,000 new pairs of shoes to children in 10 countries. “With One Day Without Shoes, we want to bring the Toms community together to raise awareness for the millions of children around the world that grow up without shoes,” said Blake Mycoskie, Toms’ founder. “It’s important for us to come together with a shared goal, and continue to create exposure for the children in need. It’s inspiring to see so many people around the globe get involved and share the message.” 2016-05-09 21:59 Aria Hughes

18 Good Housekeeping Poaches From Women’s Health for Strategic Projects Role Good Housekeeping has nabbed Women’s Health’s Lindsey Benoit as brand communication and strategic projects director. In the newly created role, Benoit, Women’s Health’s former director of communications and special projects, reports to Jane Francisco , the Hearst-owned glossy’s editor in chief. Although Benoit was the head publicist for the Rodale- owned magazine, she also booked talent and put together partnerships across television, print, digital and social platforms — skills that caught the eye of Good Housekeeping as it looks to expand its reach. “When we started the search for this, we realized we were looking for someone with a special set of skills that went across departments,” Francisco told WWD. “The role ties in closely to communications and marketing…it is really about being quick on your feet and seeing possibilities in a simple idea.” Francisco explained that the job is unique to Good Housekeeping and not a role that necessarily exists at other Hearst titles, although, she did acknowledge that many of the larger magazines have strategic positions. “We stand to build out the brand beyond the page,” the editor noted, turning to rival sibling publications. “People are multitasking more and more. Each brand is competing internally. It’s encouraged. We look over our shoulder and say ‘How can we do something similar and better?’ That’s sort of the nature of the business right now.” At Good Housekeeping, Benoit will join the editorial side, and be responsible for developing new editorial partnership opportunities, and “contribute to the overall brand conversation,” the company said. She will “maximize efforts and communication across all departments including the Good Housekeeping Institute, GH Seal, events and brand development.” In 2014, Benoit was named a “Rising Star” by Folio: Mag and in 2015 PR News recognized her among the “Top Women in PR.” Before that, Benoit worked at Condé Nast’s Self magazine as the associate director of p.r. Benoit starts her new gig at Good Housekeeping on May 31. 2016-05-09 21:58 Alexandra Steigrad

19 Sotheby's $144M Impressionist Sale Sputters— Sotheby's Monday evening sale of Impressionist and modern art sputtered, as fully a third of works on offer in the New York salesroom failed to find buyers. The sale totaled $144.4 million, falling well short of its low estimate of $164.8 million. That makes it the house's worst Impressionist sale of the last five years. Over the 80-minute sale, no less than 21 of the 62 lots on offer went begging. The leading lot of the evening, Auguste Rodin 's marble sculpture Éternel printemps (1901-03), scored $20.4 million, setting a record for the artist and well exceeding the $12 million high estimate. But some of the top-billed lots, such as an André Derain canvas tagged at up to $20 million, failed to elicit any bids at all. “Derains from that period are quite rare," Helena Newman, worldwide co-head of Impressionist and modern art, said at a press conference after the sale, “so they're very hard to price"—an implicit acknowledgement of an overly ambitious estimate. In the last five years, May sales of similar material have ranged from $170 million to $368.3 million in 2015, led by a $66.3-million Vincent van Gogh painting. “There were mixed results," acknowledged London dealer Pilar Ordovas, speaking to artnet News after the sale, adding that the works on offer were of uneven quality. “It felt quite tough in the room," she said, noting that auctioneer Oliver Barker sometimes had to wait a long time for bidders to materialize. “He had a hard time drawing out bids. " “Lots of works failed to sell, even though Phillips' and Christie's sales last night went well," collector Robbie Antonio told artnet News on his way out of the salesroom. Among the evening's other top sellers were Maurice de Vlaminck 's brightly hued landscape Sous-Bois (1905), which approached its high $18 million estimate to sell for $16.4 million, and Paul Signac 's Maisons du Port, Saint-Tropez (1892), which Sotheby's had estimated at up to $12 million. It found a buyer at $10.7 million. An upbeat moment was provided by Claude Monet 's landscape Marée basse aux Petites- Dalles (1884), which doubled its $5 million high estimate to fetch $9.9 million after a spirited two-minute contest. The sale came on the second night of a grueling week, with six evening sales across three houses over five nights. Christie's New York and Phillips both staged Sunday sales to kick off the week, with Christie's totaling $78 million, near its $81-million high estimate, and Phillips bringing in a modest $46.5 million . Still to come are sales of postwar and contemporary art at Christie's on Tuesday and at Sotheby's Wednesday ; and, closing out the week on Thursday, Christie's sale of Impressionist and modern art. The lackluster auction came on the same day as an earnings report that showed Sotheby's revenue declining by almost one-third during the first quarter of 2016 when compared to the same quarter last year, falling short of analysts' estimates. The house is also experiencing a major exodus of longtime talent. Follow artnet News on Facebook. 2016-05-09 21:55 Brian Boucher

20 Ronald Chak on International Antiques Fair 2016 Related Events International Antiques Fair 2016 Venues Biennale des Antiquaires Le French May The International Antiques Fair (IAF) returns to the Hong Kong Convention and Exhibition Center at the end of May for its ninth edition with an expanded lineup that includes many veteran French and European dealers in specialized fields. Christian Deydier, an expert in Chinese archaic bronzes and the former president of the Syndicat National des Antiquaires and of the Biennale des Antiquaires, has convinced several new European galleries to join him at this year’s fair. Instead of taking full booths, several dealers including Oscar Graf and Galerie Pascal Lansberg, which both specialize in decorative arts, and Galerie Mermoz, a specialist of pre-Columbian art, are joining forces to present a selection of objects from their galleries in the Les Pavillons section. However, with a total of only 80 exhibitors, the fair will retain its boutique atmosphere, with a strictly curated roster overseen by a selection committee that will promise collectors only the cream of the crop. Although IAF has previously focused mainly on Oriental antiques, this year’s edition will also welcome the likes of Galerie Vallois, known for its expertise in Art Deco furniture, Galerie Bernard Dulon, a specialist in African tribal arts, and Librairie Jean-Claude Vrain, a well-known dealer in antique books. BLOUIN ARTINFO spoke with IAF director Ronald Chak to find out more about how the fair has evolved, its links to the elite coterie of French and European dealers, and shifting trends in the buying habits of their clients. The International Antiques Fair was always more focused on oriental antiques. Over the years, IAF has attracted the attention of many international dealers and exhibitors, which has provided us with the opportunity to meet many different dealers and exhibitors from all over the world. Specifically, my father William Chak met Christian Deydier, the former president of the Syndicat National des Antiquaires and of the Biennale des Antiquaires, who helped us to bring many French and European dealers to the fair. This allowed us to expand the platform for dealers to meet and learn from each other. IAF 2016 has also been selected as an Associated Project of Le French May. The antiques market today has reached a state of equilibrium, making it the perfect stage for western antiques to join the mix. Therefore, we decided to bring in more French and European dealers to the fair this year. No, the “Basel effect” has not had any influence on the antiques market. Many people who go to Art Basel or other contemporary art fairs go to appreciate contemporary art, to follow certain trends, or even for investment purposes. However, contemporary art and antiques are two very different types of art, and those who follow contemporary art are not usually antiques followers. Therefore, I don’t think Art Basel will have any influence on the antiques market. In the beginning, when IAF first started, the fair was dominated by antiques connoisseurs and experts who made purchases for their collections or for business purposes. They mostly bought pieces from the Ming and Qing period. In more recent years, we’ve noticed more antique collectors and museum curators who are interested in pieces from the Song period, oriental antiques, decorative pieces, Western furniture, Art Deco, and paintings. And instead of purchasing for investment or business purposes, we’ve noticed a heightened level of interest and appreciation in recent antique buyers. Many private museums consult my father, William Chak, for advice on their antique pieces — whether they’re good pieces or not, whether they’re real or fake, and so on. In terms of recent shifts in the general public interest in antiquities and traditional art in Hong Kong, I’ve noticed a shift from previous preferences in pieces from the Ming and Qing period to a new interest in pieces from the Song period, oriental antiques, and more decorative pieces. Earlier on, people were more particular about and interested in the color of the pieces. For example, in the case of a green celadon glazed porcelain vase, they would try to look for the brightest color and most beautiful shade of vase. I’m particularly excited about our fair this year, as this is the first year that the IAF has welcomed so many international exhibitors from all over the world. It’s also the first time that we’ve toured Southeast Asia and China to raise awareness about arts and antiques. This will be Asia’s first ever antique event that will draw so much attention to the antiques world. It’s our goal to provide a platform for everyone to come together and learn to appreciate the true beauty of antiques. 2016-05-09 21:42 Darryl Wee

21 Bartle Joins Ralph Lauren as Senior Director, Global Fashion Public Relations and Communications Prior to her role at Michael Kors, Bartle was global communications director for Belstaff, and before that communications director for Diane von Furstenberg. Last week, Malcolm Carfrae said he had resigned as global head of communications, public relations and media at Ralph Lauren to open his own global consultancy. Part of his responsibilities will be assumed by Florinka Pesenti, vice president, public relations, luxury collections, who will oversee all brands globally, including special events and celebrity relations, and Ryan Lally, vice president of corporate communications, who has been elevated to vice president of global corporate communications. 2016-05-09 21:36 Lisa Lockwood

22 NPG London Acquires Photos by ‘Father of Art Photography’ Related Venues National Portrait Gallery The National Portrait Gallery in London has acquired a rare and important album of photographs by the early Victorian photographer Oscar Gustave Rejlander, the “father of art photography.” Probably born in Sweden in 1913, Rejlander is best known for his pioneering combination prints which he created by combining multiple negatives in the darkroom to create new, artificial compositions. The album was acquired in November 2015 for £74,651 following receipt of a grant from the Art Fund after a temporary Export Bar was placed on it in March 2015, preventing the album from leaving the UK after it was sold to an overseas buyer last year. The album was sold by a Yorkshire auction house after lying undiscovered in a family collection for more than 140 years. Most of the works in the album have never been exhibited before, with the previously unseen photographs including several self-portraits, one of which is of Rejlander himself, taken in the 1850s, and another being a previously unknown portrait of Rejlander and his wife Mary Bull (a frequent collaborator and model for her husband). Dr Nicholas Cullinan, Director, National Portrait Gallery, London says: “We are delighted to welcome this album into the Gallery’s Collection, not least because it will provide access to important examples of portraiture from the history of photography. We also hope it will enable visitors to engage with Victorian photography in a new way and make comparisons with later developments.” Dr Phillip Prodger, Head of Photographs at the National Portrait Gallery, London, says: “The Rejlander album becomes one of the jewels in the crown of our already impressive collection of 19th century photographs. It transforms the way we think about one of Britain’s great artists. And it contains some of the most beautiful and expressive portraits of the Victorian era.” 2016-05-09 20:32 Nicholas Forrest

23 huang yong ping's skeletal serpent for monumenta paris huang yong ping snakes 250 meter skeletal serpent through paris’ grand palais all images © adagp, paris 2016 / courtesy of the artist and kamel mennour, paris photos by didier plowy for rmn-GP beneath the immense glass dome of the more than 13,000 square meter nave of paris’ grand palais, franco-chinese artist huang yong ping has formed an immense immersive installation for monumenta — now in its 7th edition. ‘empires’ — organized by the réunion des musées nationaux in collaboration with the french ministry of culture and communication — intends to serve as a symbol of today’s economic landscape. huang yong ping uses the architecture of the industrial-age grand palais to represent political and economic powers, the rise of new geographical regions, the decline of ancient empires and the arranged emergence of new candidates for power. the installation comprises a vibrant architectural arrangement of eight ‘islands’ interspersed with oversized objects, over which looms an enormous skeletal frame of a snake. the massive bone structure of the serpent spans a total of 254 meters in length, weaving in and around the nave of the grand palais. the sculpture comprises 316 vertebrae and 568 cast aluminum ribs assembled around a central tube and distributed over 28 steel posts. ‘empires’ is housed beneath the immense glass dome of the nave of paris’ grand palais the serpent is configured around an architectural arrangement of 305 metal shipping containers that form the centerpiece of the installation. these stacked compositions are distributed among eight islands, bearing a vibrant mix of colors and logos from different shipping companies that forms a colorful mosaic. installed on two piles of containers — forming a sort of ‘arc de triomphe’ above the central walkway — yong ping had added an oversized historical hat. the sculptural ‘bicorne’ is an enlargement of the hat worn by napoleon bonaparte at the battle of eylau in 1807. it has been reproduced, down to the very last detail, from the original model scanned in 3D at the musée de l’armée in paris 2014. finally, in the middle of the installation, the ‘rubber tyre gantry’ overlooks the main central walkway formed by the containers. the functional, motorized bridge-like structure supports the snake skeleton at five intersecting points. the exhibition intends to serve as a symbol of today’s economic landscape huang yong ping uses the architecture of the grand palais to represent political and economic powers the massive bone structure of the serpent spans a total of 254 meters in length the serpent weaves in and around the nave of the grand palais ribs are assembled around a central tube and distributed over 28 steel posts the serpent is configured around an architectural arrangement of 305 metal shipping containers the stacked container compositions are distributed among eight islands the exhibition seeks to symbolize the rise contemporary context of political and social situations 2016-05-09 20:18 Nina Azzarello

24 Quotes Become Symbolic Geometric Art in ‘Aretephos’ Images courtesy the artist In the last two centuries, many a writer's been interested in the look, shape, and overall visual flow of the word-as-object. Early (and later) concrete poets fashioned their poems into visual artworks, while Blaise Cendrars’ 1913 poem "The Prose of the Trans-Siberian and of Little Jehanne of France," which unfolded like an accordion and map, was given a sense of abstract motion by painter Sonia Delaunay. New York-based philosopher Apostolos Stefanopoulos has a rather different idea for turning words into art. With Aretephos , Stefanopoulos renders language into symbolic art through computer code written primarily in Python, then printed on Hahnenühle fine art paper. “Quotes are by various philosophers, scientists, musicians, spiritualists, poets, and dramatists that have shaped humanity into what it is today,” Stefanopoulos explains on his website. "[A]rt can visually express words geometrically: lines as length, color as dominance, circles as continuity, and triangles as stationary objects in space-time. Words finally have a real visual presence; a new way to be understood and appreciated. " Stefanopoulos uses Aretephos to transform words from the likes of William Shakespeare, Friedrich Nietzsche, Oscar Wilde, and other writers and philosophers into computerized geometric art. The results are minimal and digital, but conceptually intriguing pieces of symbolic geometry. “It is the blending of mathematics and art into a fluid living work of art,” he tells The Creators Project. “The world is how you perceive it, and this is how I see language. I thought to myself, language is abandoned in the art world, let me do something about it , and I did.” Again, it’s not as if words were absent any visual presence in the past. Concrete poets certainly explored words as geometric shapes, and painters and media artists have used words artistically. Even something like James Joyce’s Finnegans Wake has a certain visual beauty and dream logic to it. But Stefanopoulos does hit upon a unique angle of the word as art, made so by the code in Aretephos. Click here to see more work from Aretephos. Related: A Twitter Bot Is Generating Fantastic New Words An Army of 3D Printers Immortalizes the Words of Gabriel García Márquez Learn the Depressing Vocabulary of '70s Korean Sweatshops 2016-05-09 18:40 DJ Pangburn

25 EU Campaign Dear Friends, I’m sure you are also following with horror the rightwards drift and anti-EU sentiment brewing across Europe. The Dutch referendum should be the final wake-up call, alerting people to the real risk of the UK’s EU referendum resulting in a victory for Leave. The official ‘Remain’ campaign feels lame and is lacking in passion. It also lacks an active drive to get voters registered – and with the deadline already falling two weeks before the referendum, this should be an urgent priority. I want to get involved and actively campaign. In particular, I want to work towards maximizing turnout among younger voters by focusing on the first, crucial step: voter registration – the deadline for which is June 7! So anyone who hasn’t registered before this date has no chance of having a say, no matter how strongly they feel about the issue. So the really crucial date is June 7. Everyone’s grannies registered their vote long ago, but students no longer get automatically registered by their unis. This is because of a new law brought in by the Conservatives that makes it possible for them to disenfranchise up to 800,000 students, who as a group tend to move around a lot more and so drop off the voter register easily. I feel that we have reached a critical moment that could prove to be a turning point for Europe as we know and enjoy it – one that might result in a cascade of problematic consequences and political fall-out. Firstly, the weakening of the EU is a goal being actively pursued by strongmen like Vladimir Putin and European parties on the far-right. Brexit could effectively spell the end of the EU. It’s a flawed and problematic institution, but on the whole it stands for a democratic worldview, human rights and favours cooperation over confrontation. It could prove to be a one-in-a-generation moment. Can you imagine the years of renegotiations for undoing treaties, and all the negativity that would surround that. In the past weeks myself and assistants at my London and Berlin studios and Between Bridges worked on these texts and designs. Please feel free to share these posters, they work as print your own PDFs, or on social media, or in any other way you can think of. I consider them open- source, you can take my name tag off if more appropriate. Let’s hope for the best - but hope may not be enough Wolfgang download all posters as .pdf for home-printing HERE download all posters as .zip for social media sharing link to share this site on social media: http://tillmans.co.uk/campaign-eu 2016-05-09 21:39 Wolfgang Tillmans

26 Chiara Ferragni, Ladurée Said in Talks for Collaboration SWEET TOOTH: The Blonde Salad’s Chiara Ferragni has got a penchant for macarons. The Milan-born, Los Angeles-based blogger is said to be in talks with Ladurée for a possible collaboration, which would involve a fashion macaron set and a special salad. Past Ladurée’s fashion tie-up include Pucci, Marie-Hélène de Taillac and Lanvin. The French tea salon is slated to open two new locations Stateside this fall, in Los Angeles and Washington D. C. The blogger, who has 5.9 million Instagram followers, collaborated with different companies and brands, including Italia Independent, Calvin Klein and Levi’s. 2016-05-09 18:31 Laure Guilbault

27 They Are Wearing: Kentucky Derby 2016 More Articles By Fascinating — as in hats. That was the sartorial message at Churchill Downs over Kentucky Derby weekend, when women showed a clear preference for fanciful fascinators over more traditional wide-brimmed pictured hats. They were the event’s crown jewel accessory, most accented with feathers and flowers, topping off colorful dresses and heels. As for the gents, they opted for Southern Dandy style: candy-colors, seersuckers, pocket squares and bow ties. As the rain started on Saturday, some of the cocktail hats wilted a bit. Not so the mint juleps. 2016-05-09 18:28 Kristi Garced

28 Zana Bayne, & Other Stories Link on Fall Capsule Collection Bayne has created a capsule collection of 30 designs that will range from $29 for a choker necklace to $245 for a leather bustier. A release date has not yet been set. “& Other Stories gave us an incredible amount of creative freedom in putting together the collaboration. Those who already love our brand should be very excited about the new pieces, and through this collaboration, we hope to reach a new audience who may never have worn leather pieces like these,” Zayne told WWD. “We set out to create a leather collection for modern women, juxtaposing the hard and soft throughout; taking pieces such as the leather harness out of its connotations and making it an elegant accessory for layering over any wardrobe in all types of occasions,” she added. & Other Stories, a subsidiary of H&M , has made strides to collaborate with American designers as it expands its retail footprint in the U. S. The retailer has previously teamed with labels including Rodarte and Clare Vivier. 2016-05-09 18:00 Misty White

29 29 montblanc patron of art edition honors peggy guggenheim with a fountain pen montblanc patron of art edition honors peggy guggenheim with a fountain pen a tribute to an eccentric supporter of modern art montblanc‘s patron of art edition 2016 pays tribute to the outstanding legacy of one of the most influential art collectors and exhibitors of 20th century art, peggy guggenheim, who dedicated most of her life to protecting the art of her time by discovering and nurturing new talent; while building an important collection of works housed today in a venice museum that still carries her name. as part of its ongoing commitment to actively engage in the promotion of arts and culture worldwide, german luxury brand montblanc has recognized for over 25 years the invaluable contribution of modern day patrons of the arts in 16 countries. the prestigious cultural prize has been awarded since 1992 in 16 countries, honouring today’s patrons who continue to allow the arts to flourish by selflessly committing financial resources, time and energy to cultural projects. ‘the art of patronage award is a visionary prize and when the program was created, it surprised many with its unusual focus on those working behind-the-scenes and contributing their resources to the arts,’ explains till fellrath of the montblanc cultural foundation. each year an independent jury of eminent personalities selects and awards these global supporters of culture of our times. past winners having included HRH the prince of wales, queen sofia of spain, architect renzo piano and yoko ono. from left: montblanc CEO, jérôme lambert with gallerist giorgio marconi and the new co-chairs of the montblanc foundation, till fellrath and sam bardaouil at the 2016 montblanc de la culture arts patronage awards in venice designboom was invited to the 2016 montblanc de la culture arts patronage awards in venice when montblanc honored the founder of the historic studio marconi in milan. gió marconi established the marconi foundation for contemporary and modern art in 2004, a non-profit institution for the promotion and diffusion of contemporary art and culture through exhibitions, publications, cultural events and meetings. marconi received a patron of art peggy guggenheim limited edition fountain pen encased in a trophy, and 15,000 euros ($17,160) to be donated to a cultural project of his choice. a red lacquer inlay spiral refers to the striped mooring poles lining the canals of venice, limited edition of 4810 image © designboom every year, to coincide with the award, a unique limited edition writing instrument inspired by a historical patron of the arts is commissioned to honour the contemporary ones. the montblanc patron of art 2016 peggy guggenheim fountain pen limited edition 4810 features the geometric art deco design on a black lacquered and platinum-coated cap and barrel, contrasting with the red and platinum-coated stripes on the cone of the writing instrument. the platinum-coated ring is elegantly embossed with the lion heads associated with peggy guggenheim’s venice. the montblanc emblem is crafted in traditional black and white resin image © designboom the platinum-coated ring is elegantly embossed with lion heads, referring to the lion of saint mark, symbol of venice image © designboom the engravings of lion heads on the red gold cap ring are inspired by the exterior of the ‘palazzo venier dei leoni’, peggy’s home for 30 years richly decorated with this symbol of venice. the cap ring has been embellished with a set of 10 garnets in the eyes of the lions, while the cone, designed like the red and white striped mooring pillars found on the venice waterways in red gold and translucent red lacquer, features a brilliant cut diamond ring at its end. the montblanc emblem in white marble crowns the art-inspired writing instrument. the paws engraved on the au750 solid gold nib recall the special affection she had for her 14 lhasa apso dogs. peggy guggenheim’s ‘beloved babies’ not only accompanied her on her gondola trips down the grand canal, but were laid to rest next to their eccentric owner in the grounds of her palazzo. the peggy guggenheim 888 limited edition pen with lhasa apso dog paws engraved on the au750 solid gold nib 3D printing was employed during the process of making of prototypes for the limited edition pen image © designboom the sun over venice on the occasion of the 2016 montblanc de la culture arts patronage awards image © designboom a cocktail party was held on the roof of the peggy guggenheim collection at the 18th century palazzo venier dei leoni on the grand canal, once inhabited by the great patron of art peggy guggenheim and now home to her significant collection of modern art. overlooking the canals, guests had the chance to enjoy a calligraphy live performance by french Star-calligrapher nicolas ouchenir. following the cocktail, an intimate seated dinner was hosted at the mid-fifteenth century palazzo polignac, a masterpiece of renaissance architecture with its remarkable stone and marble facade. inside the candlelit rooms of the historic palace, montblanc had brought together each of the 25 patron of art edition writing instruments that had been created every year since 1992 to honour historic patrons of art. happy birthday! the recently launched montblanc campaign celebrates the maison’s history of being the forerunners of innovation over the past 110 years — that its name has become one that hardly needs an introduction. artisanal dedication and fine craftsmanship reveal themselves through luxurious writing instruments, leather goods, timepieces, fragrances and eyewear, since montblanc’s debut in 1906. hugh jackman presents the montblanc story: pioneering since 1906. for the pioneer in you. see images of the montblanc venice event and more information about the other winners in the gallery below: montblanc patron of art peggy guggenheim limited edition 81 limited to just 81 pieces as a reference to the age at which she passed away, the montblanc patron of art peggy guggenheim limited edition 81 is a personal homage to her life from her arrival in europe to her later life in venice. created in the montblanc artisan atelier from the finest materials and shaped by highly skilled master craftsmen, the design of the writing instrument echoes the art deco style that surrounded the collector as she arrived in paris in the 1920s, with clean lines forming the straight shape of the cap, clip and barrel. the skeletonized au750 solid champagne gold structure of the barrel mirrors the dramatic entrance gates to the guggenheim collection in venice, created by the prolific modernist sculptor claire falkenstein. the barrel design mirrors the dramatic entrance gates to the guggenheim collection in venice the limited art edition fountain pen reflects details of the peggy guggenheim museum in venice image © designboom image © designboom the other winners of the 2016 montblanc de la culture arts patronage awards are: claudia hakim (colombia) receives the award for her role in supporting the development of visual arts in colombia and latin america. she is the director and founder of montblanc sends greetings from venice with loveimage © designboomclaudia hakim (colombia) receives the award for her role in supporting the development of visual arts in colombia and latin america. she is the director and founder of NC-arte , a cultural and educational space that is part of the neme foundation; maria arena bell (USA) for her philanthropy and patronage of the arts in los angeles; sir john CBE and lady sorrell (UK) for the contributions of the sorrell foundation ; henry levy (switzerland) for the creation of BINZ39 ; andrea von goetz und schwanenfließ (germany) for her on-going patronage of artists. the collector and curator is also the owner of the VG&S art development in hamburg; elena ochoa foster (spain) for her extensive patronage of the arts and the creation of ivorypress publishing house ; leonid mikhelson (russia) for his patronage of russian art and the creation of the V-A-C foundation ; designboom's dear friend soumaya slim (mexico) for her vast initiatives for social responsibility and philanthropy, and especially her role in leading cultural activities - from 1996 to 2006 she was the director of museo soumaya ; johnnie to (hong kong) is best known internationally for directing and producing action and crime movies, but he has also devoted much effort to promoting the development of the hong kong film industry and nurturing new talent; sang-duck yoo (korea) for his commitment to promoting contemporary art to the korean public through the songeun art and cultural foundation ; the B&M theocharakis foundation for the fine arts & music (greece) for its commitment to promoting music and fine arts in greece; louis roederer foundation (france); and ryuichi sakamoto (japan) for his numerous projects supporting young artists in the field of music and performing arts. xu zhen (china) is being honoured for his outstanding contribution to the contemporary art scene in china as an artist, art promoter and curator based in shanghai. he has won many awards internationally and was the youngest chinese artist to participate in the venice art biennale in both 2001 and 2005; and laís bodanzky & luiz bolognesi (brazil), both award-winning screenwriters and filmmakers, are being recognized for creating cine mambembe. the montblanc arts patronage award 25th anniversary dinner was held at the mid-15th century palazzo contarini polignac view of the exclusive montblanc dinner in venice view from the terrace of the peggy guggenheim museum in venice view from the terrace of the peggy guggenheim museum in venice 2016-05-09 17:57 Nina Azzarello

30 Turning Snow: Olga Viso on Martin Friedman’s Legacy Martin Friedman, the Walker’s director from 1961 to 1990, passed away in New York City on May 9, 2016. When I began my tenure at the Walker in early 2008, it had been almost 20 years since Martin Friedman had retired. As the institution’s third and longest-serving director, Martin was legendary and his influence foundational. Indeed […] 2016-05-09 21:39 By

31 Art Fair Tokyo Stays Fresh in a Mature Market Related Events Art Fair Tokyo 2016 Venues Tokyo International Forum Art Fair Tokyo Returning to the Tokyo International Forum May 12 through 14 for its 11th edition, Art Fair Tokyo (AFT) presents its largest roster ever: 138 Japanese dealers of contemporary and modern art and antiques, and 19 foreign galleries. AFT is noted for its mix of historical genres and artistic media, especially within the growing landscape of newer, contemporary-focused art fairs in Asia. Managing director of the fair, Kiichi Kitajima, points out that the reason for this is partly historical. “In Asia, modernization came first to Japan, accompanied by the remarkable development of modern art,” he explains. “Bearing in mind the establishment of the Japanese art market in the 16th century, AFT has been making efforts to transcend the categories of antiques, modern art, contemporary art, and craft.” For Kitajima, this tendency toward diversification can also be observed in some of the most high-profile international art fairs. “The fact that Frieze started Frieze Masters in 2012 shows that the art world is moving away from individual art pieces and recognizing the importance of the relationships between artworks within a certain context,” he notes. While Japan’s high taxes have driven Japanese galleries to take their business to friendlier locales in Hong Kong, Taipei, and Singapore, Kitajima is trying to find relief. “Last year, we introduced a section called 100kin, showcasing artworks by living contemporary artists priced at under ¥1 million (approximately $8,800), which can be declared as depreciating assets, thus offering potential tax deductions to collectors.” Kitajima is optimistic that more such tax breaks will be offered. “Japan is currently running a massive budget deficit,” he notes. “In the future, we may see measures currently being taken in the stock market to encourage market growth also applied to the art market.” 2016-05-09 17:48 Darryl Wee

32 Video: A Light Show Takes Off in Brooklyn An artist, Duke Riley, has trained 2,000 pigeons to fly above the Brooklyn Navy Yard with tiny lights attached to their ankles in a performance that will run every Friday, Saturday and Sunday through June 12. 2016-05-09 17:46 YOUSUR AL

33 An Optimistic Outing: ARCO Lisbon 2016 Related Events ARCOlisboa 2016 Venues GALERIA FILOMENA SOARES ARCOlisboa Artists GIL HEITOR CORTESÃO In a somewhat surprising move into the Portuguese market, the 35-year-old Spanish fair ARCO launches its inaugural edition at Lisbon’s 18th-century Fábrica Nacional da Cordoaria, May 26 through 29. Portugal is still struggling to recover from a financial crisis that started almost 10 years ago, but despite the economic uncertainty, there is optimism that the endeavor, under the same leadership as the Madrid edition, will be a success. “ARCO is a brand-name fair,” says José Mário Brandão, who has run his gallery, Graça Brandão, in the Portuguese capital for 10 years. “They are professionals with experience, and I hope they’ll be able to do something that we wouldn’t be able to do on our own.” Brandão notes that “Portuguese collectors often buy abroad,” and that “almost all artists have to leave Portugal to work.” But at the same time, “many foreigners are moving here right now,” he adds, raising the possibility that people will seize the opportunity to build collections within the country’s borders. 2016-05-09 17:41 Sara Roffino

34 An Electronic Music Legend Talks Moog’s Modular App Screencap by the author. All other images courtesy of Moog When Moog Music dropped the Animoog app back in 2011, it was a stroke of digital genius. Here was a boutique analog synthesizer company confidently and unapologetically wading into virtual synthesis—and for the mobile age, no less. Earlier this week, Moog announced the release of the Moog Model 15 app , an iOS recreation of the company’s iconic 1970’s modular synthesizer. This makes it Moog’s first modular synthesizer—and synthesis educational tool—for iOS mobile devices. With Moog Model 15, Moog created a virtual replica of its vintage hardware namesake, which was housed in a handsome carrying case equipped with a keyboard. After three years of research and development, Moog managed to craft a faithful virtual recreation of the original hardware’s 921-series oscillators, 904A Low Pass Filter, and 907 Fixed Filter Bank. They also got legendary electronic musician and five-time Grammy nominee Suzanne Ciani , famed for her work with modular synthesis, to create some synth patches for the app’s free expansion pack (more on her below). “Patching a Moog modular is a joyful experience that not everyone gets the opportunity to have,” Moog Music’s Senior Software Engineer Geert Bevin tells The Creators Project. “Our goal with this app was to give the magic of that discovery and the power of modular sound design to more people. Getting it right required both extreme attention to the visuals and the interaction, as well as to the sonic signature of the synth.” “Thanks to Apple's Metal graphics engine, we were able to put the GPU in charge of all the heavy lifting, and provide retina renderings that can smoothly and instantly zoom all the way in and out on the modular,” he adds. “While offering incredible graphical detail, this also offered us with a lot more CPU power for audio processing.” With most of the CPU available to do audio processing, Moog was able to carefully analyze the analog behavior of the original Model 15 for each module, then create real-time simulations that behave very similarly. Constant and fast recalculations provide FM synthesis capabilities through the entire app, while the 64-bit processing of newer iOS devices allowed Moog to design algorithms that work equally well in monophonic and 4-voice polyphonic mode. And since it’s modular, Bevin says Moog wanted it to interact with everything in the iOS world, so there are Audio Bridge and MIDI Bridge modules, and it integrates with Ableton Link, AudioCopy and AudioShare to get sounds out of the mobile device and onto a computer. While Ciani didn’t help design the Moog Modular 15 app, her sonic imprint is on it in the form of the free patches. (Watch her play a mesmerizing melodic progression on one of her pitches in a Moog video below.) Ciani had some early experience with the Moog modulars in 1969 and 1970, and tells The Creators Project that the San Francisco Tape Music Center loaned her a large three-panel modular for a month one summer. She also took a course with electronic pioneers Paul Beaver and Bernie Kraus at the U. C. Berkeley’s graduate music department so that she could play their new Moog, but the duo ultimately decided not to let her. Ciani says that modular synthesizers have always been attractive to her for the degree of control they afford the player. “I prefer to control the sound with a variety of control voltages and not a ‘black & white’ keyboard,” she says. “I am more interested in the way the sound can move than in the particular timbre of the sound. Modular gives an open architecture that lets you configure a patch in a creative way.” When Moog was developing the Modular 15, they wanted to reach back historically to someone who had played the original modular back in the day. That’s where Ciani came in. She describes her work on the patches as something of a homecoming for her. “The app is so beautifully designed—I was designing patches within minutes of getting my hands on it,” says Ciani.“I made sounds that interested me: waves, birds, big sustained bass sounds, solo melodic voices, chimes, percussion. And [I] was attracted to the arpeggiator possibilities that allowed me to create looping/rhythmic patterns.” “I am really in awe of the sound of this app—it seems like the real thing,” she adds. “And playing it, creating patches, is fast, intuitive and straightforward—even easier than using the 1/4" patch cords of yore. And it looks great, so spending time with it is a pure delight. I was able to put together most of my sounds while sitting on an airplane with a good pair of headphones.” To believe that a new generation of electronic musicians could learn modular synthesis digitally and on the road would have been fairly unthinkable a decade ago. It’s not that it was an impossible effort, but it definitely wasn’t a concern. Thankfully, digital technology is making a lot of things possible when it comes to synthesis. Bevin says there is a strong desire within the musician community to use modular synthesizers, but the platform has a very steep learning curve. On top of that, few have access to these rare beasts. Moog simply can’t get a ton of hardware modulars into people’s hands, but what they can do is create viable virtual alternatives. Moog’s hope, according to Bevin, is that “the built-in tutorial preset system and the tutorials we created, the app became an ideal platform to teach all experience levels about modular synthesis on what we think is a very close approximation of the experience one would have with hardware.” Click here to listen to Suzanne Ciani’s full composition on the Moog Modular 15 app. Related: [First Look] Here It Is, Moog's Badass New Synth Flying Lotus And Lilfuch's Animated Video Ventures Inside The New Moog Synth Original Creators: Robert Moog 2016-05-09 17:40 DJ Pangburn

35 More or Less Than One: C. Spencer Yeh’s Sound Horizon To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Mark Mahoney, host of Sound Grammar on Radio K, shares his perspective on C. Spencer […] 2016-05-09 21:39 By

36 Antonio Marras to Show Men’s and Women’s Collections Together in September

Marras is not new to showing some women’s looks during his men’s shows. The Sardinian designer underscored he will not change his production schedule in order to respect both production and creativity. “It would be impossible, given our exclusive fabrics and prints,” emphasized Patrizia Sardo Marras, president and chief executive officer of the fashion company. The summer collection will be sold in June and delivered starting in November. “We had been mulling this idea for a while,” added Sardo Marras, who is also the wife of the designer. “It would be more logical to show both in January and June as the periods are commercially more important,” she said, hopeful “more powerful and bigger companies” may eventually contribute to such a shift. Fashion shows are the brand’s “sole tool of communication, not really aimed at buyers only. For Antonio, they are fundamental — like a film, they summarize our world, from the characters to the sets and the soundtracks. They are short stories told our own way and September is more important for the shows, as they draw more attendees, not only the men’s [press and retailers],” she explained. 2016-05-09 17:15 Luisa Zargani

37 10,000 tree samples spanning millions of years form 'modernist grotto' in bristol 10,000 tree samples spanning millions of years form ‘modernist grotto’ in bristol all images by max mcclure / courtesy of university of bristol and situations on the grounds of the historic royal fort gardens in bristol, artist katie paterson and architects zeller & moye have realized a participatory, public artwork that relays stories of the planet’s history and evolution. ‘hollow’ is a meditative space made up of 10,000 unique tree species whose narratives span millions of years — from petrified wood fossils from the earliest forests that emerged 390 million years ago, to emergent categories of arboreal life. the douglas fir posts that form the façade reflect the varying heights of trees and a forest canopy. once inside the warm ‘miniature forest’, visitors experience a monumental collection of tree specimens surrounding them, sourced and gathered over the past three years from across the globe. above, light filters through apertures in the ceiling, mimicking the way sunlight radiates through a forest. the installation is sited on the grounds of the historic royal fort gardens in bristol from kyoto to california, and from the oldest tree in the world to some of the youngest, the samples narrate both human and environmental stories from across the earth — including the indian banyan tree, under which buddha achieved enlightenment, and the japanese ginkgo tree in hiroshima, which survived one of the darkest moments of human history. ‘the ‘hollow’ interior is an introverted and meditative space where, whether sitting or standing, one finds oneself embraced by history,’ architects christoph zeller and ingrid moye describe. ‘our design conjoins thousands of wooden blocks of differing sizes to form one immense cosmos of wood producing textures, apertures and stalactites. openings in the vaulted top let in just enough natural light to create the dappled light effect of a forest canopy.’ the douglas fir posts that form the façade reflect the varying heights of trees ‘some samples are incredibly rare – fossils of unfathomable age, and fantastical trees such as cedar of lebanon, the phoenix palm, and the methuselah tree thought to be one of the oldest trees in the world at 4,847 years of age,’ katie paterson recalls. ‘also, a railroad tie taken from the panama canal railway, which claimed the lives of between 5,000 to 10,000 workers over its 50 year construction, and wood salvaged from the remnants of the iconic atlantic city boardwalk devastated by hurricane sandy in 2012.’ the artwork — produced by local studio situations — has been commissioned to mark the opening of the university of bristol‘s new life sciences building. alongside hollow, situations has developed ‘treebank‘, a digital platform in association with BBC four that offers everyone the chance to contribute to a online archive of memories, impressions and creative responses which capture how trees shape our existence on the planet. ‘hollow’ is a meditative space made up of 10,000 unique tree species samples include petrified wood fossils from the earliest forests that emerged 390 million years ago light falls through apertures in the ceiling, mimicking the way sunlight filters through trees in a forest emergent categories of arboreal life are also represented samples have been sourced from across the world — from kyoto to california the samples narrate stories from across the earth samples have been sourced from across the world the collection of species took more than two years to amass the trees tell stories of the planet’s history and evolution samples span from the oldest tree in the world to some of the youngest 2016-05-09 17:10 Nina Azzarello

38 What to Expect at the 2016 Cannes Film Festival Related Events Cannes Film Festival 2016 Venues Cannes Film Festival The Cannes Film Festival hasn’t even officially started — it opens on May 11 with Woody Allen’s “Café Society,” screening out of competition — and it’s already dominating the perpetually clogged entertainment news cycle. Before a single film has screened, the festival has become the site of a streaming-service battle between Amazon and Netflix, a rush of fear about an increase in security , and a gimmick-film you won’t be able to see again for another 100 years. This is nothing new. If there is one thing that has remained consistent about Cannes throughout its 69-year history, it’s that it provokes arguments like clockwork. From the announcement of the main competition lineup through the awarding of the Palme d’or, there is always heated debate: about what was included, what was left out, and who did and didn’t deserve to win, along with questions about which countries are best represented at the festival and which have been neglected. Now more than ever, there is a debate about the seriousness of the festival. There are also tangential problems: Is Cannes just an excuse for the rich and famous to party and shop? (It sure seems that way.) Should you bring expensive jewelry? (No, you will most likely be robbed .) Despite these problems, Cannes remains a focal point for world cinema. Just as often as it caters to celebrity, it introduces some of the best work of the year from the best filmmakers. There is no way around it. Some years are better than others, and the festival demands more questions than it can answer. But at the same time there are questionable choices, a more common occurrence in the last decade of the festival. Most notably is Sean Penn, who is in the main competition with his latest directorial effort, “The Last Face.” Penn is a regular at the festival, winning Best Actor for “She’s So Lovely” (1997), appearing in Terence Malick’s Palme d’Or-winning “Tree of Life” (2011), and serving as the president of the main competition jury in 2008. His relationship with the festival, it appears, has more to do with his inclusion than anything else. Even more surprising is the omission of Bertrand Bonello. The filmmaker has had six films premiere at Cannes over the years — one in the International Critics’ Week, one if Director’s Fortnight, a short film that premiered out of competition, and three in the main competition — but his latest, “Nocturama,” appears nowhere. Part of this might have to do with the film’s subject, described by Bonello as “young people planting bombs in Paris in the present day.” After the Cannes lineup was released and Bonello was missing, it was announced that “Nocturama” would be screening in the competition of the 64th San Sebastián Film Festival, and I imagine that it will make other festival appearances along the way. Kiyoshi Kurosawa, who won best director in Un Certain Regard in 2015 with “Journey to the Shore” and the Jury Prize in the same section for “Tokyo Sonata” (2008), is also notably absent. Nothing has been announced for his latest, “The Woman in the Silver Plate.” The same goes for João Pedro Rodrigues’s upcoming film, “O Ornitologo.” The filmmaker competed in Un Certain Regard in 2009 with “To Die Like a Man.” Although his latest is nowhere to be found at Cannes, it will definitely appear elsewhere further down the line, most likely at Locarno. Filmmakers such as Martin Scorsese (“Silence”), James Grey (“The Lost City of Z”), and Lucrecia Martel (“Zama”), who were all initially rumored to be included in this year’s festival, are reportedly not far enough along in their post-production to make the festival this year. Looking even deeper, Jim Jarmuch has a second film, a documentary about Iggy Pop and the Stooges called “Gimmie Danger,” included in the Midnight Screenings section, and adventuress filmmakers such as Rithy Panh (“Exile”) and Albert Serra (“Last Days of Louis XIV”) will show new work as special screenings. Other exciting films outside the main competition include Oliver Laxe’s “Mimosas,” screening in the International Critics’ Week, and Nadiv Lapid’s “From the Diary of a Wedding Photographer,” as a special screening in the same section. Some have complained that in recent years, the winners haven’t made as big on an impact; gone are the days when Quentin Tarantino, Steven Soderbergh, and Jane Campion launched careers out of the festival. But, of course, there is a bit of selective memory in that criticism. The 1990s also include Palme d’Or wins for Bille August’s “The Best Intentions” in 1992 (which competed against the more deserving Arnaud Desplechin’s “La sentinelle,” Terence Davies’ “The Long Day Closes,” David Lynch’s “Twin Peaks: Fire Walk with Me,” among others) and Emir Kusturica’s “Underground” in 1995. (Coincidently, Kusturica was said to be making an appearance this year, and then his absence was rumored to be due to his relationship with Vladimir Putin .) The impact, or lack of an impact, of a Cannes-winning film has more to do with the way distribution has changed over the last decade. Something like “Uncle Boonmee” should have had a bigger audience. But the films are out there. If it’s not controversial, as was “Blue Is the Warmest Color,” it won’t get the same attention of the popular press. You might just have to try a little harder to see them. 2016-05-09 17:10 Craig Hubert

39 Zaha Hadis Gets a Retrospective in Venice Architectural works both finished and unrealized by the late Zaha Hadid will be the subjects of an upcoming survey in Venice. The show, which draws from an archive spanning three decades, will feature the British- Iraqi architect's works on paper, jewelry, furniture, and 3-D printed models among others. The exhibition is scheduled to run parallel to the Architecture Biennale, and will occupy ten rooms at the Palazzo Cavalli-Franchetti, a historic structure from the 16th century near the Accademia bridge. Hadid, who was reportedly in talks with the show's financier, Fondazione Berengo, according to the New York Times , initially wanted the exhibition to focus on the new possibilities of computational design methods. But due to the architect's sudden death, those involved in the show felt inclined to expand the exhibition. In an interview with the Times , Zaha Hadid Architects' head of exhibitions Manon Janssens said, "We felt the responsibility to address the fact that, unfortunately, Zaha passed away. " At the time of her death, Hadid was working on a number of unfinished designs , with notable projects in Baghdad, Miami, and New York. In 2015, the architect announced additional plans for a new Tokyo Olympic stadium in 2020, but ultimately decided against it. Previous solo exhibitions held for Hadid include a 2006 show at the Solomon R. Guggenheim Museum , and, more recently, a review of her designs at the Philadelphia Museum of Art. The retrospective for Zaha Hadid will be held at the Palazzo Franchetti in Venice from May 26 through November 27. Follow artnet News on Facebook. 2016-05-09 17:02 Rain Embuscado

40 As Chargebacks Soar 20%, Retailers Stung by Financial Pain of ‘Friendly Fraud’ The growth and demand of online shopping over the past five years has retailers and brands scurrying to gain market share and capture more of the consumer’s wallet. And as billions are spent on developing omnichannel retailing, which includes putting the shopper at the center of the retail model, the power of the consumer has shifted. Free and quick delivery is a must while so-called “hassle-free” returns are a given. But these changes in consumer behavior and the retail industry overall include a staggering increase in chargebacks. Here Monica Eaton- Cardone, cofounder of Chargebacks911, which offers “both response and resolution services for chargebacks and cardholder disputes,” shares insights into these trends in the market as well as how companies can mitigate risks associated with chargebacks. Unlike the saying, “What you don’t know can’t hurt you” — when it comes to chargebacks, the reverse is true. Why are chargebacks growing? Simply stated, chargebacks are growing in a direction that remains largely “unidentified” — a type of chargeback commonly known as friendly fraud, which is better described as an “accidental chargeback.” I say “accidental” because it never should have happened in the first place. The majority of friendly fraud today happens due to ignorance or lacking education, either on behalf of the bank or the consumer. Statistics prove that 50 percent of the cardholders who file a friendly fraud chargeback and get away with it, will do it again within 90 days. With the vast majority of merchants lacking the wherewithal to defend themselves or properly identify these fraudulently filed cases, the equation morphs quickly into an exponential dilemma. Simply stated, every friendly fraud chargeback is worth not one, but 1.5 chargebacks. Merchants that are affected most are those who sell through online stores or apps, those who sell primarily to women (clothing and high-end merchandise remains to be a primary target), and those who sell products that are easily resold or translated into cash. Women are not only responsible for the highest percentage of online shopping , they also reign over 80 percent of all originated chargebacks. Either way, there is no doubt that our world is changing and when it comes to the online marketplace — consumer acquisition is king. Consumer entitlement describes the outcome that results from an imbalance of standards that are being bent around consumers’ demands — even past what is logical or fair for the merchant. With so many merchants competing on a equal playing field online; brand loyalty competes with today’s savvy consumer. We are confronting an age where instant gratification, immediate satisfaction, zero percent liability, and friction-less checkout methods are contenders in a merchants’ ability to create the ultimate buying experience. Yesterday’s consumer would never think of complaining about taking a few extra seconds in the checkout aisle, not being able to return a product that was used or worn, or considering that their bank needed to resolve a transaction issue because the retailer was not open to take their call at 2 a.m. on a Sunday. Not only are online stores competing in more channels as technology evolves, they are also confronted with growing demands that threaten their margins and introduce new barriers to growth; namely chargebacks — through the evolution of consumer entitlement. Our previous exchange between buyers and sellers was built upon the mantra, “The customer is always right.” Yet today’s world is very different, with digital transactions turning this cornerstone philosophy into a potential liability — underpinning online retailers by providing savvy consumers with opportunities to exploit new loopholes never before anticipated. It is an age where not just the buyer, but the seller also, must be more aware (“seller beware”). Another way is to engage in more communications with your customers, not less. This helps create a human connection. If your customer feels they are transacting with a computer, not a merchant — a chargeback is more likely to occur. It’s also important to track product and service deliveries. Make sure your customers get what they ordered, on time and when promised. Also monitor your chargeback transactions, and pay close attention to any increase in numbers. Do not dismiss the fact that more information can be learned from errors you may have made — use these transactions as opportunity to improve, not just an expense. And companies can hire experts. Retailers are best served doing what they do best: focusing on growing their customer base and improving their products and services. Consider outsourcing your chargeback management to a third-party who is well equipped to intelligently handle this part of your business and work together to not only grow, but also improve. 2016-05-09 16:59 Arthur Zaczkiewicz

41 Justin Bieber’s Instagram: A Tale of Face Tattoos and Anime Erotica Following Justin Bieber on Instagram is truly a delight for thrill-seekers; you never quite know what he might throw your way. Over the weekend, Bieber, who is on tour in promotion of his latest album , “Purpose,” showed off his latest ink, which just so happens to be on his face. This latest ‘gram follows a series of strange posts from Bieber over the course of his “Purpose” tour. In recent months we’ve seen yet another Bieber bare bum, a tiger, bleached dreadlocks, a dated photo of Taye Diggs, and coloring-book erotic anime art. Ah, the life of a Instagram-generation pop star. When Bieber first revealed his dreadlocks last month, he drew flack for cultural appropriation — he’s since shaved off the bleached locks, opting for a buzzcut. Last week, Bieber was again in the hot seat from an Instagram post, this time for a photo of him posing with a leashed tiger , angering People for the Ethical Treatment of Animals in doing so. He also drew criticism for supposedly comparing himself to God in another snap from last week, and shared a photo of his Google news search alerting him to the coverage. From the post, we can see he prefers Perez Hilton to the Daily Mail — noted. Things are happening fast over on the ole Bieber account — who knows what next week will bring. Would love to talk about this because it's another moment to point to God. When I said on the 7th day it was a reference to say that on the 7th day he rested giving us a template and example letting us know how important rest is. People love to twist what was meant for good and maybe it was my fault by not explaining my thought correctly. You can think the worst about me but never ever want people to think I compare myself to The MOST HIGH A photo posted by Justin Bieber (@justinbieber) on Apr 28, 2016 at 12:35pm PDT A photo posted by Justin Bieber (@justinbieber) on Apr 30, 2016 at 4:05pm PDT Resting up for the show in Philly it's gonna be a good one mark my words A photo posted by Justin Bieber (@justinbieber) on May 7, 2016 at 2:15pm PDT I colored this its dope Cuz I actually sat down for 30 min and finished I never can sit still for that long so it's an accomplishment, yes this took me 30 minutes haha I know I suck Don't judge me A photo posted by Justin Bieber (@justinbieber) on Apr 13, 2016 at 10:01am PDT 2016-05-09 16:54 Leigh Nordstrom

42 Brazilian Flowers Blossom at the Jewish Museum Related Venues The Jewish Museum Artists Roberto Burle Marx Beatriz Milhazes Jens Hoffmann Dominique Gonzalez-Foerster Nick Mauss Roberto Burle Marx's cover design for "Rio" magazine, 1953 / Courtesy Sítio Roberto Burle Marx, Rio de Janeiro As Central Park returns to life, it seems like all of uptown Manhattan is in bloom. One step into the Jewish Museum and the transformation is complete, thanks to two new flora-filled exhibitions celebrating the work of the landscape architect Roberto Burle Marx and the artist Beatriz Milhazes. Both Brazilian, Burle Marx, who died in 1994, and Milhazes share an affinity for nature — especially that of Rio de Janeiro, the lush seaside city that they both called home. Working on the edge of Rio’s botanic gardens, Milhazes feels most stimulated. “I need to be close nature to develop my art. It gives me what I need to be inspired,” she told ARTINFO on a recent tour of the museum. “But the first time I used flowers, the reference actually came from the decorative arts, not Rio’s nature. It wasn’t till four or five years ago that I was looking at it directly.” A canopy composed of the artist’s plastic flowers and gold balls rustles overhead in the museum’s chateauesque entrance. A site-specific installation conceived for the space as part of the institution’s rotating artist commissions for its lobby, “Gamboa II” continues Milhazes’s recent interest in responsive sculpture. The first mobile she created came out of a commission by her sister’s dance company — this new work feels like an organic progression from that starting point. “They respond to the space,” Milhaze explained, referring to the sculptural installations, as an eager group tour arrived. “At first I thought it was going to be too much, but it actually works perfectly.” The Carnival-like exuberance of the bejeweled chandeliers draws one’s eye up to the cake-like ceilings that might otherwise go unnoticed. Milhazes’s interest in architecture predates her own forays into sculpture. “I always felt very connected to Modernism,” she said. “Of course, Burle Marx has been one of my influences for forever. I grew up on Copacabana — when I developed my own language, I wanted to use this,” Milhazes said, referring to “Avenida Atlantica,” Burle Marx’s iconic sidewalk along Rio’s coastline, which kicks off his retrospective show, just beyond the lobby. Walking into the Burle Marx exhibition with Milhazes, she pointed out the landscape paintings and drawings first. “These black and white drawings are fantastic,” she said, as the Jewish Museum’s deputy director, Jens Hoffmann , began his tour. “He was interested in recreating paradise; he said that on a number of occasions,” Hoffmann said, connecting the dots between Burle Marx’s outdoor installations and these smaller works. “He was also fascinated by the possibility of an artwork that exists in the dimension of time, how you can control or manipulate that. I really like to think about his gardens in different seasons and how complicated it gets trying to organize all those details.” A hierarchy spanning form and color, the image of an elaborate system calls to mind the organization of Milhazes’s graphically layered paintings. In Burle Marx’s early works on paper, squiggly characters inhabit strategically tiered landscapes, the same kind of strategy the designer used in public commissions like the curvaceous, 1938 roof-top garden for Le Corbusier’s glassy Ministry of Education and Health building in Rio de Janeiro. “It looks like Piet Mondrian on LSD,” Hoffmann remarked, before adding, “Le Corbusier loved it.” Like Milhazes, modernist tendencies can be spotted in every facet of Burle Marx’s work, from his own experiments in set design to his tiles hand-painted with fish-like doodles. When strolling past the display, Hoffmann motioned to a group of whimsical tiles created by artist Nick Mauss , one of six artists asked to respond to Burle Marx’s work directly. Dominique Gonzalez- Foerster’s response, “Plages (Beaches),” 2001, a video shot over the Avenida Atlantica, shows Cariocas partying beachside during the city’s New Year Eve celebrations. It was Gonzalez- Foerster who actually introduced Hoffmann to the landscape architect. While these contemporary works provide context for Burle Marx’s legacy, the most astounding addition to the show is from the landscape architect himself: a gigantic tapestry that swallows the back wall. Originally designed for Brasilia’s Ministry of Foreign Affairs, the elaborate woven work unites Brazil’s ecological regions through the language of abstraction. The geometric rhythm established by the rug helps give context to Burle Marx’s blueprints. Artfully rendered in gouache, these graphic maps describe carefully calculated systems that came out of Burle Marx’s hands-on research into Brazil’s regionalized ecologies. It’s this connection to both artifice and nature that seems to permeate throughout the two exhibitions. Interpreting the international influences that landed at their door, Brazilian artists established their own identity by mixing in culture-defining influences like Samba and Brazil’s verdant backdrop. “Now I can say that my work uses some things that are very local but always through an international language,” Milhazes said. “It’s amazing how it resonates everywhere I go.” 2016-05-09 16:34 Kat Herriman

43 "Ragdoll Game" Physics Get Musical, Thanks to Adult Swim Images courtesy the artist The "ragdoll physics" genre of addictive Flash gaming allowed a generation of impressionable 90s kids to fling, stretch, and explode digital people with realistic-enough effects to instill in us the sadistic tendencies that today explain the App Store's Editors' Choice section. Luckily, net artist Sam Rolfes has designed a more enlightened version of the ragdoll game, Limp Body Beat , for Adult Swim. Simply put, players get to use the physics-based conceit to make music, instead of spraying tiny versions of George W. Bush and the Numa Numa guy with a fire hose. Set in a twisted, glitchy, 3D world those familiar with Rolfes' work will recognize, a drum machine sequencer sends cubes representing sounds at a fleshy floating ragdoll alien. The goal is to fling your character at these cubes. When they make contact, the note plays. When they don't, there's a gaping silence that functions like the screeching notes in Guitar Hero : a reminder that you need to game better. Rolfes and his collaborator Lars Berg spent nine months creating Limp Body Beat , plus the passive time spent beforehand gathering the ideas that inspired it. "I'd been idly obsessing over slapstick and comedic violence and how it relates to manipulation or utilization of the figure, and had was daydreaming of ways that I could deform, fragment, or otherwise wield some of the surreal figures I'd been creating over the last year or so in a more performative, musical way," Rolfes tells The Creators Project. Given free reign by Adult Swim once they'd picked up his pitch, Rolfes says his goal is, "to allow themselves the primal joy of violently smashing ragdoll'd bodies to make sound, and play around with a novel mode of expression... a very disfigured one at that. " Like those flash games of old, Limp Body Beat floods the brain with wish fulfillment and dopamine, but turns those violent urges into beautiful music. Here's a track that was made in the game by Nick Weiss of Teengirl Fantasy, and check out more of Rolfes' personal favorites here and here. Design your own Limp Body Beat tracks here and tweet your best ones to @CreatorsProject. Keep up with Sam Rolfes' other work on his website. Related: Here's an Analog Video Synth You Can Play Like a Drum Machine Introducing: The Ping Pong-Powered Drum Machine A Sculptural Take On the Drum Machine Using Discs And Magnets You'll Need Giant Hands To Play This 9ft Drum Machine 2016-05-09 16:15 Beckett Mufson

44 Convivio Market to Include Design Products Convivio , the charitable event held every two years supported by more than 170 Italian fashion and design companies to rise funds for Anlaids, the country’s association fighting AIDS , opens in Milan on June 8. This is the last day of ICAR, the three- day Italian conference of AIDS and Antiviral Research, held at Milan ’s Bicocca University. The opening of the event to the public will be anticipated by the usual gala dinner. This will feature music as the theme for the table sets and for the first time will be followed by a charity after party at the Byblos Club. Along with traditional categories, such as men’s and women’s ready-to-wear, accessories, children’s wear, vintage and art, this season companies will also offer interior design pieces at discounted prices. According to data provided by Anlaids, 120,000 people are affected by HIV in Italy and 4,000 new cases are discovered yearly across the country. In the last couple of years, these tend to involve young people aged 25 to 29. 2016-05-09 16:14 Alessandra Turra

45 Richard Serra's Top 10 Works at Auction Iconoclastic American artist Richard Serra launched an exhibition of his latest steel behemoths at Gagosian Gallery in New York this past Saturday, featuring four new works: Above Below Betwixt Between , Every Which Way , Silence (for John Cage) , and Through. It's the thirtieth big show at the gallery for the artist, who splits his time between New York and Nova Scotia. Suffice it to say, the artist, who had his first gallery show in Rome in 1966, is a big proponent of "bigger-is-better," and is not afraid of taking on nature in the process. As he said in a 1996 interview with Gerard Hovagimyan: "I am interested in work where the artist is a maker of 'anti- environment' which takes its own place or makes its own situation, or divides or declares its own area. " As one of the most influential working artists, artnet News took a look back at ten of Serra's most expensive works at auction to date below. 1. LA Cone (1986): $4,267,750 Towering at nearly 15 feet, Serra's sheet of weather-resistant corten steel sold for a premium at a Christie's New York evening sale in 2013. Initial estimates for the sculpture ran from $1.5 million – $2 million. 2. Schulhof's Curve (1984): $2,882,500 Serra's work, which was characterized by collector Rudolf Schulhof as " a real experience ," inspired the arts patron and his wife, Hannelore Buck, to commission the 1984 piece Schulhof's Curve. According to artnet's Price Database, the sweeping, 37-foot-wide sheet sold at a 2012 Christie's New York sale for over $300,000 more than the low estimate. 3. Palms in 2 parts (1985): $2,322,500 Palms in 2 parts currently dwells in a private collection in Japan. Prior to its sale at a 2011 Phillips auction , the work belonged to Akira Ikeda Gallery in Tokyo. 4. Corner Prop (1976): $1,986,500 As the most expensive object in the artist's prop sculpture series, Corner Prop sold at a Sotheby's New York evening sale in 2010. 5. On the Level (1991): $1,925,000 Commissioned by the existing owner back in 1991, the sculpture sold at a Sotheby's sale in 2013. Per the artist's exacting wishes, "the work may only be displayed on a site that has a 29 inch fall over 40 feet. " 6. 12-4-8 (1983): $1,650,500 In 2010, Serra's 12-4-8 was widely known as the most expensive work in his auction market. The object did fetch $1.65 million in 2008. According to artnet's Price Database, the piece, made of three sheets of steel, was collected by its present owner from Ace Gallery. 7. Even Level (1987): $1,497,000 In 2007, Serra's prop sculpture Even Level exceeded expectations at a Sotheby's contemporary art evening sale. The work, which sold for just under $1.5 million, was estimated to fetch between $800,000 and $1,200,000. 8. CELAN (2010): $1,390,000 CELAN currently stands as the most expensive non-sculptural work in Serra's oeuvre. The piece, which was executed with paint stick on handmade paper, blew initial estimates out of the water: at $1.39 million, it nearly doubled the $750,000 high estimate. 9. Untitled (1984): $1,215,750 Untitled (1984) is one of the artist's earliest pieces to hit the million-dollar-mark. In 2001, the work sold at Sotheby's New York for $1,215,750. 10. Untitled (1974): $1,157,000 This charcoal drawing on paper is the artist's most recent work to sell at auction for high sums. The piece sold in 2014 at Christie's New York post-war and contemporary art morning sale. Follow artnet News on Facebook. 2016-05-09 16:12 Rain Embuscado

46 zipline uses drones to deliver necessary medical needs in minutes across rwanda zipline uses drones to deliver necessary medical needs in minutes across rwanda all images courtesy of zipline zipline is a small tech company who want to help two billion people with horrible access to essential medical products, often due to challenging terrain and gaps in infrastructure. they’ve centered their service around a small robot airplane that can carry vaccines, medicine or blood with the same approach as commercial airliners. health workers simply place an order by text message, and within minutes a ‘zip’ drone is prepared and launched into the sky. video courtesy of the associated press racing along at 100 km/h, it arrives faster than any other available mode of transportation. the medical products are then dropped off, landing gently and accurately at the health facility in an open area. zipline, in partnership with the government of rwanda, will deliver blood for twenty hospitals and health centers starting this summer. with zip’s unprecedented range, national-scale coverage is achievable from a single home base. 2016-05-09 16:01 Piotr Boruslawski

47 TM unveils latest edition of the inspiration pad TM unveils latest edition of the inspiration pad (above) 56 pages, dimensions 165 X 210 mm (6,5″ X 8,33″), softcover all images courtesy of TM/ inspiration pad brussels-based graphic studio TM has just released the new edition of the ‘inspiration pad’, featuring new colors. the concept behind the design aimed to break the hardness of typical lines found in notebooks, knowing that these sometimes guide us without letting us be free. the result is a notebook that has been redesigned, with pages presenting different compositions with lines, and although they keep the same colors of the traditional pads, its new arrangement invites the user to approach it in a different way. every little detail has been considered, including the use of sustainable paper. ‘the ‘inspiration pad’ was born while I was working in an advertising agency,’ comments the designer. ‘I was drawing projects in a notebook when suddenly it hit me how a classic notebook, however beautiful, is always very rigid and grid-like. by turning the blue lines upside down, I wanted to make one that would inspire people, and to give them more freedom than their school notebooks did.’ the pad comes in brown, blue and yellow click on the image above to see the product on the designboom shop! designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-09 16:00 www.designboom

48 The Unseen Blondie: Chris Stein Reveals New Photos Debbie Harry was one of the most recognized and photographed women in the world when Blondie was at the height of its fame. Now, her former lover Chris Stein is putting on show thousands of unseen and informal images from the punk era – often in stark contrast to the formal portraits shot in studios. On Stein’s new website http://chrisstein.nyc , Harry is pictured everywhere. She is lying in bed with the papers; hanging out backstage; meeting Andy Warhol; or just drawing stares as she casually walks down the street. The guitarist with an art-school training proves himself to be an excellent photographer – he has both published and exhibited previously. He also shoots a huge number of friends and celebrities: The Ramones practice their pinhead stares, the guys in Devo look like crazed robots in Stein’s apartment; Joan Jett nails the “rock chick” look as she chills with Debbie. Stein is scanning old negatives and finding much else too: Manhattan street scenes, snowscapes and more. Of the many, Stein picked seven of the photos for BLOUIN Artinfo and tells the stories in an interview. Click on the slideshow for more. “That was when we first met the Runaways, Joan’s band, when we were both doing shows. Was it pre or post-show? Maybe afterwards, I would think. But I’m not sure if it was after our show or theirs. I do remember seeing them at a club called the Rathskeller, which was this famous Boston punk club (on Commonwealth Avenue.)” “This was 14th Street. I don’t remember exactly what we were coming from because everybody dressed like that is not a normal day look! We must have been doing something. It has always been amusing that Clem and Debbie stand out so much and the crowd is reacting to them. Were we famous? Maybe (it was 1977) but I think it’s more what they look like!” Chris Stein: “Blackie was an actor, and we shot that at the Tropicana Hotel, which was a notorious place - Tom Waits had lived there for a couple of years. It was like the Chelsea Hotel of New York. It’s gone and it has been torn down now and is a parking lot. We knew Blackie from the scene in Los Angeles and one day he just showed up with Anthony and said ‘This is my son,’ and I thought that they looked really cool so I shot some pictures of them.” (Blackie Dammett’s acting roles include “Lethal Weapon; his son went on to bigger stardom as the singer in the Red Hot Chili Peppers.) Chris Stein says this photo marks a moment of punk history: “That was at Richard’s last show with the Heartbreakers, which was Johnny Thunders and Jerry Nolan from the New York Dolls. That was at Max’s Kansas City (New York). He was kind of morose because he knew he was leaving the band for the last time. That’s Walter (Lure), the guitar player from the band, handing him a beer – he was the second guitar in Heartbreakers after Johnny Thunders.” Chris Stein: “Lester Bangs - people still know his writing, I guess people who are more connected with the rock scene. (Lester died in 1982.) This one was taken at Coney Island. The girl in the left in the striped shirt is, I am pretty sure, Jesse Blue who was in another band and sadly she passed on early too.” Chris Stein: “This is Devo in their uniforms. That was in our hallway on 17th Street. They were all just standing on a little ledge above the stairway, you can just see that at the bottom. I have always liked that picture. As for the uniforms, they were some kind of hazmat suits that they had bought in bulk – yellow suits and they were really hot so they were always sweating profusely when they came off stage!” Chris Stein: “That was at Arturo Vega’s loft. He was, like, the fifth Ramone - he did a lot of their styling and he made that sign actually. He was a great character and artist and it’s right by the block that is now Joey Ramone place in New York City, it’s right round the corner from CBGBs (East village).” 2016-05-09 15:59 Mark Beech

49 Warhol Screen Tests: Even Better with Poetry John Giorno. Courtesy of the Institute of Contemporary Art, Miami (ICA). Photo: Sonja Garnitschnig Seminal poet and artist John Giorno became known for the effervescent, physical nature of his work in the early 1960s, shortly after meeting Andy Warhol (that’s Giorno dozing in Warhol’s 1963 film, Sleep ). Inspired by a friend group that included Robert Rauschenberg, Giorno effectively turned his poems into multimedia pieces, recording his poetry with synthesizers to create sound installations and developing the famous Dial-A-Poem. Prompted by a conversation with his close friend William Burroughs, Dial-A-Poem allowed anyone to call Giorno Poetry Systems (his non-profit production company), for free, to hear a poem by a number of writers (Anne Waldman and John Cage among them). The poetry often referenced pertinent social issues of the time; Giorno, born in 1936, became both a gay rights and AIDS activist, founding the AIDS Treatment Project in 1984. Later, he would discover Tibetan Buddhism. Giorno’s desire to make poetry accessible is purely compassionate, and it’s well-aligned with O, Miami Poetry Festival ’s goal to help “every single person in Miami-Dade County encounter a poem during the month of April.” The festival culminated with a reading by Giorno, presented in partnership with Obsolete Media Miami (OMM), at the Institute of Contemporary Art, Miami (ICA). More accurately, the reading took place at the Moore Building, which is attached to the ICA and where Elastika, an installation by Zaha Hadid , connects to the atrium like a spongy, humanoid tendon. Below, Giorno reads to a quiet mass of people, too many to fit into the available chairs and for whom the poet’s words visibly resonated. John Giorno. Courtesy of the Institute of Contemporary Art, Miami (ICA). Photo: Sonja Garnitschnig In a nod to Giorno’s practice, OMM, a media archive and art collective founded by Kevin Arrow and Barron Sherer, debuted their installation, Untitled (triple gem), 2016 [a deconstructed exploding plastic inevitable]. The piece was comprised of three screens placed along the Moore’s first-floor staircase, the center of which displayed a series of 16mm Andy Warhol screen tests, on loan from the MOMA circulating library. Above and below were 35mm slides that, explained Arrow, “felt” like Giorno’s poems (we noticed 1960s photographs, a dolphin, ocean views). “I went through the slides pretty much for a month,” he told us. Without providing a literal backdrop for Giorno, the installation acknowledged the ever-changing scope of who he is. Giorno was preceded by Edinburgh-based poet Ryan Van Winkle, whose poem “My 100 Year Old Ghost” felt especially poignant: “And even back then / the power went out, long nights when they had no kerosene/ And my ghost tries to sell me on simpler times:/ the grass soft, endless –/ lampless nights,/ pools of crickets singing.” Then, from his extensive oeuvre, Giorno read “Thanx 4 Nothing,” “Everyone Gets Lighter,” “It Doesn’t Get Better,” “God Is Man-Made,” and “The Bad Tree,” and while it would be unfair to simplify each work to their core, all of them contain a humor that’s equally sardonic and touching, crystallizing the human experience by mirroring it (life is pretty dark and wistful, too). From “God Is Man-Made”: “Heaven is living in your eyes/And seeing everybody in the world/As gods and goddesses/Every wretch, ugly, grasping person/Is a deity swimming in light.” John Giorno. Courtesy of the Institute of Contemporary Art, Miami (ICA). Photo: Sonja Garnitschnig He spoke each verse like a story relayed for laughs, shifting occasionally into an out-of-breath repetition that mirrored the mantras of his chosen religion. Giorno, long before his fame, was born a writer. “I’ve been writing since the age of ten, a poet since I was 14,” he says. Over the past several decades, his work has become increasingly experimental—consider his poem paintings, which distill his poems into short sentences on canvas or walls. They're fitting, given the brevity with which we speak through technological platforms. That, too, can be poetic; says Giorno: “This is a golden age of poetry. There are so many ways to express ourselves now, even through text messages. The limitations of poetry, when it was strictly for a small privileged few, are gone.” Click here to learn more about Obsolete Media Miami, and here to visit the Institute of Contemporary Art's website. Related: Cinema Legend Jonas Mekas Makes His Miami Debut Miami Artist Offers a VR-Inspired Guided Pool Meditation Poetry Makes a Brief, Triumphant Stand at Performa Poetry Becomes Moving Art in App Form 2016-05-09 15:55 Monica Uszerowicz

50 Drawings of Animals in Unlikely Situations | Monday Insta Illustrator Animals on the internet frequently forget how to be animals, taking up human activities like wearing clothes, playing the keyboard, and in the case of one baboon drawn by illustrator Amy Dover , smoking pipes Freud-style. Her creatures often find themselves in unlikely situations, including a bear riding a bicycle, a monkey smoking a hookah, and an amputee bunny rabbit wrapped in bandages with the phrase "not so lucky" written on them. Dover, both an illustrator and fine artist who has shown in London, Los Angeles, Portland, Sweden, Switzerland, and more, draws in either graphite or high-end ink—guaranteed to last 200 years—on paper made from British cotton. Her Instagram account is filled with in-progress and final works, as well as the images that inspire her, including photographs of real animals, the works of illustrators including James Jean and Joan Cornellà, famous paintings like La Crucifixion Du Parlement De Paris by André d'Ypres, and most recently, Disney's gritty reboot of The Jungle Book. Her website states that, "Evoking the folk tales, mythology, and fables of her childhood, Dover weaves tales of loss, failure, greed and deceit. " Check out her work in the Instagrams below. See more of Amy Dover's work on Instagram. Check out The Creators Project's Instagram to find your new favorite artist. Related: These Exotic Animal Photos Are Literal Eye Candy Electrified Skeleton Animals Worthy of an Iron Maiden Album [Exclusive] See 400-Foot-Tall Endangered Animals Cover The Empire State Building Meet the Artist Putting Human Faces on Taxidermied Animals 2016-05-09 15:15 Beckett Mufson

51 Austin’s Blanton Museum Names Carter E. Foster Deputy Director for Curatorial Affairs Carter E. Foster BLANTON MUSEUM Today, The Blanton Museum of Art at The University of Texas at Austin announced the appointment of Carter E. Foster as Deputy Director for Curatorial Affairs and Curator of Prints and Drawings. Foster–who is currently the Steven and Ann Ames Curator of Drawing at the Whitney Museum of American Art, a position he has held since 2005–will join The Blanton Museum this coming September.“I’m thrilled to be joining the amazing team at the Blanton, a place I’ve long admired on many visits to Austin,” Foster, who co-organized the debut exhibition at The Whitney’s new downtown space, 2015’s “America is Hard to See,” said in a statement. “The opportunity to find new ways to connect the museum to the diverse array of audiences in this extraordinary city is especially appealing. As a curator, I’ve always loved finding threads that link art across centuries, mediums, and different cultural contexts, and I look forward to delving into the Blanton’s collection and shaping its exhibition program.” 2016-05-09 14:29 John Chiaverina

52 On ‘Taxi Driver,’ Through the Eyes of Travis Bickle Screencaps via Martin Scorsese’s 1976 film Taxi Driver features several iconic scenes—moments that might occasionally distract viewers from movie’s overall brilliance. If one is looking for films wherein the camera is almost perfectly fused with the narration, Taxi Driver would have to be one of the selections. Film enthusiast Jacob T. Swinney , known for cineaste supercuts, recently released a video essay In the Eyes of Taxi Driver , in which he explores the relationship Scorsese creates between the camera and the film’s main character, Travis Bickle. “[The film] may very well be one of the most subjective films of all time,” Swinney narrates. “In fact, the idea of subjectivity is established almost immediately. The opening credits feature extreme close-ups of Travis Bickle’s eyes cut together with a dreary New York City—we see the world the way Travis sees it.” Swinney points out that while the city is a, “damp, blurry, highly saturated mess of images,” the extreme close-ups of Bickle’s eyes are stable. Bickle hasn’t even been properly introduced yet, but still the viewer knows that a story of alienation dominates the character’s consciousness. Scorsese uses several other techniques to establish Bickle’s subjectivity via the camera, including a slow-motion shot during voiceover narration of an encounter with the character Betsy. And, as Swinney notes, there is also a famous scene in the film where Scorsese uses a camera move to break the close subjectivity with Bickle. These and many other scenes are broken down by Swinney in the video essay. Click here to see more of Jacob T. Swinney’s work, and here to check out more video essays at Fandor Keyframe. Related: Relive 100 Iconic Shots from 100 Years of Cinema When First and Final Frames Tell a Film's Entire Story Writing, Crafting, and Rolling Joints: Paul Thomas Anderson's Close-Ups 2016-05-09 14:25 DJ Pangburn

53 Sneak Peek: What to See at the Art16 London Art Fair Related Events Art16 2016 Art16, London’s global art fair, returns to Olympia in Kensington for its fourth edition from May 20- 22 with a lineup of more than 100 galleries from over 30 countries showcasing exciting emerging talent alongside established contemporary artists. The list of galleries participating in Art16 once again reflects the territorial diversity of the Fair, with over a third of exhibitors coming from the Asia Pacific region, and others travelling from as far afield as Zimbabwe, Brazil, Qatar, and the USA. This year’s fair introduces a new series of talks curated by arts writer and Contributing Editor to GQ, Sophie Hastings. “Let’s talk about art” will present dynamic voices from worlds of art, design, and fashion, including Viv Groskop, Dylan Jones OBE, Polly Morgan, and Stephen Webster MBE. Art16’s Emerge section, dedicated to showcasing the next generation of emerging talent, is curated by Jonathan Watkins (Director Ikon Gallery, Birmingham) and includes presentations by SONCE ALEXANDER GALLERY from Los Angeles and PM/AM from London. Galleries who have never before participated in an art fair in London will be featured in the Fair’s London First section, with highlights including 418 Gallery’s exhibition of Romanian neo- Avantgarde artist Diet Sayler, and Rén Space’s solo presentation of Yu Youhan. Highlights of this year’s presentations by non-profit organisations include The Wallace Collection’s showcase of works by British artist Tom Ellis and Baghdad-based Ruya Foundation’s display of work by leading contemporary Iraqi artists who exhibited in the Iraq Pavilion at the 55th Venice Biennale. Fair Director Nathan Clements-Gillespie, who joins Art16 following the departure of Kate Bryan as Director of Art15, said “This year’s programme will focus on exciting and innovative contemporary practice from established, emerging and rediscovered artists across all visual art forms.” “Previous years have taught us that our collectors want to make fresh discoveries, often of artists working outside the western canon, and our London First and Emerge sections in particular will be the perfect place to unearth new talent.” 2016-05-09 14:12 Nicholas Forrest

54 Lost Data, Neon Art, and Textiles Collide in an Electronic Art Exhibition A Consequence of Infinitely Recursive Vision Technologies. Images courtesy the artist Is our technology-saturated culture a bit too obsessed with the divide between analog and digital, old and new, virtual and physical? It’s certainly a major theme in the marketing of new technology. And many new media artists often navigate the analog-digital and real-virtual divides in their work, or prioritize one over the other. But artist Phillip Stearns believes this is not only a technological error, but a conceptual one. In his latest solo exhibition, ADC/DAC , part of Montréal's BIAN (International Biennial of Digital Art), he explores these divides as far more interconnected than we imagine. Stearns’ exhibition has three aspects. In the luminous video installation A Consequence of Infinitely Recursive Vision Technologies , Stearns pairs neon light and scanned images of glaciers. For Vestigial Data , he presents three tapestries woven on a Jacquard loom using algorithmic processes, with each acting as both storage units and transmitters of data lost in a computer crash. And in Smooth and/or Striated , Stearns created two panels of computationally designed, woven fabric on wood stretchers, presented with neon. A Consequence of Infinitely Recursive Vision Technologies “The show is a collection of works completed between summer 2014 and spring 2016,” Stearns tells The Creators Project. “The broad theme of this exhibition is the interplay between the virtual and physical. ADC/DAC refers to the processes Analog to Digital Conversion and Digital to Analog Conversion. It's more of a tongue in cheek reference to a lingering cultural obsession with the differences (and artificially instituted divide), rather than their mutual dependencies.” Stearns says there is a dynamic interplay between the tools we create and what we create with them. He also thinks that these processes result in the recreation of ourselves. To create the installation, Stearns has been using Blender to mock up and visualize the space, including its lighting. He believes this process is more 'the work' than the resulting works assembled and arranged for the installation. Smooth and/or Striated A Consequence of Infinitely Recursive Vision Technologies first came together as Stearns' response to the theme of a group exhibition he took part in at Fridman Gallery called Landscape with Devices , curated by Naroa Lizar and Cia Pedi. “I created created video material from found images of sunsets and glaciers from locations north of the arctic circle and south of the Antarctic circle using software I wrote in Processing,” Stearns says. “Frames of the video are created by scanning the image row by row or column by column and stretching each line to fill the whole frame. It's a very simple technique with a very recognizable effect, but one that is able to present how a computer takes in the world.” Vestigial Data For ADC/DAC , Stearns arranged the piece’s projectors, images, amplifiers, speakers, and neons to create a landscape of devices, while the projections formed a flat background. The piece is about landscapes—how people now see them through heavily mediated situations, and how this influences how we look at things in actual physical reality. To create the Vestigial Data tapestries, Stearns used computerized Jacquard looms. (Jaquard looms, which traditionally use binary punch cards to automate complex textile designs, are considered a prime influence on computing.) Stearns designed the tapestries by rendering binary data as a 64-color bitmap using custom software Processing. (An earlier version of this software was written in C++ by Paul Kerchen, and co-written with Jeroen Holthuis in Processing.) The data set came from hidden crash recovery files which mysteriously appeared on Stearns’ drive following a “lost struggle” moving files between Mac and Windows. Vestigial Data With Smooth and/or Striated ’s two panels of computationally-designed, woven fabric on wood stretchers with neon, Stearns explores the digital age’s foundation in binary states: off (0) and on (1). The panels’ gradients are designed to highlight the spaces between binary extremes. These gradients, and the neon gradients, act as quantum components that cannot be bound by binary. “From previous projects, I've become invested in this idea that technology is simply people—it's external and alien to what we conventionally view as human, but it is a distinctly human product and we invest so much of ourselves into its production and use,” Stearns explains. “We literally pour ourselves into these devices. Our traces are left behind in the patterns of data littering everything from flash cards, thumb drives, RAM, and hard drives.” Vestigial Data ADC/DAC is appearing at Diagonale as part of BIAN from May 5 to June 11. Click here to see more of Phillip Stearns' work. Related: Keep Warm with These Glitch Art Scarves The Geiger Counter Chandelier Is a Dark Data Visualizer Zapping Instant Film Makes for Gorgeous Abstract Photos 2016-05-09 14:05 DJ Pangburn

55 Mimi Gates on the Getty's Mogao Cave Exhibition- "The Diamond Sutra is the world's oldest dated complete printed book," says Mimi Gardner Gates, fumbling only slightly on the tongue twister of an asterisk. She is prowling the Getty Research Institute Gallery , sharing her expertise on the texts and manuscripts of the Library Cave, one of the 492 Mogao Grottoes dug into the side of a rocky slab in the middle of the sandy carpets of the Gobi Desert's Southern reaches. Gates is the plucky catalyst behind the Getty's tentpole summer exhibition " Cave Temples of Dunhuang: Buddhist Art on China's Silk Road ," and her resonant voice is giving solid morsels of knowledge about the trove of 43 objects borrowed from institutions around the world. "Buddhism brought with it the idea of karma and rebirth," says Gates, a silk handkerchief peeking out of her pocket. "Buddhism was the largest import into China, period. You would commission a painting, a cave, or do a ritual to gain merit and perhaps happiness in this life, perhaps a better rebirth for yourself or family members. The famous Diamond Sutra, dated 866, he did on behalf of his parents, who presumably were deceased, so that they would have a better rebirth. " Tim Whalen, the director of the Getty Conservation Institute, credits Gates with lighting the fire under a project that was long overdue. The Getty had been working with Dunhuang Academy for nearly 30 years, helping restore and preserve the caves' extensive paintings and sculptures made between the 4 th century and the 14 th century, when Dunhuang was an vital hub on the Silk Road. "But it wasn't until Mimi got involved that the project really took off," Whalen tells artnet News at the recent press preview. "It really got going about four years ago. " Related: The Getty Helps Save China's Mogao Grottoes from Tourists The 43 Library Cave objects are just one part of a three-pronged exhibition that also includes three replica caves—two of which were crafted specifically for the Getty exhibition by Dunhuang replica cave makers—that were shipped and flown over from the Dunhuang Academy. The final part of the show is a 3-D stereoscopic images of Cave 45, not unlike Werner Herzog 's documentary about the Chauvet Caves, Cave of Forgotten Dreams (minus the gentle, abstruse Herzog-ian narration). Dunhuang came into the purview of Gates—who is married to William H. Gates, Sr. (father of Microsoft founder Bill Gates)—in the early '80s when she was earning a PhD in Chinese art history at Yale, but it was as the director of the Seattle Art Museum (SAM) in 1995 that she finally made it to the Mogao Caves. "The first time I walked into the caves, I was just completely overwhelmed," she says. As soon as Gates left SAM in 2009, she was asked by Dunhuang to return to the caves and give a presentation on visitor experience. From that moment on, she was hooked. "It's so rich, and it's so complex, and you're always finding new perspectives," she says. "But what I think is so spectacular about it is the intersection of cultures. This is a site where Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures intersected over a millennium until the 14th century. There just is not another site like it. " Related: See Ancient Relics From Dunhuang Grottoes Before It's Too Late Now Gates is the chairman of the Dunhuang Foundation, and sits on the board of the Friends of Dunhuang with Neville Agnew, the project specialist at the Getty who has been working between Dunhuang and LA for many years. Along with Marcia Reed, chief curator at the Getty Research Institute, and Fan Jinshi, director emerita of the Dunhuang Academy, Agnew and Gates are the lead curators of the current exhibition. What Gates delights in most is the take that the Mogao Caves are the epicenter of a pre- modern globalized region, where dozens of different cultures collided. "Dunhuang shows that it was a global age until the 14th century," Gates tells me. "Not only were they Chinese, but they were Uyghurs, Sogdians, Persians, Turkic peoples, Tibetans. Dunhuang was a thriving metropolis. " Later, that idea is resurrected during the press conference, when Zhihang Chi from airline sponsor Air China will quip that Thomas Gaehtgens, director of the Getty Research Institute, taught him China invented globalization. “The whole time I thought it was an idea of Bill Clinton," he says to laughter. The 1:1 scale replica caves—Cave 285 (sixth century), and Cave 320 (eighth century)—took nearly four years to meticulously craft before being brought over to the Getty (Cave 275 from the fifth century was already built and has visited many sites around the world). Fake cracks and patches where floods washed away the paintings are replicated perfectly, and they show the challenges to keeping the Mogao Caves in good condition. Replication is a big part of the Dunhuang tradition, Gates tells me. "It was a way of gaining karma," she says. This tradition of replication gives the replica caves a bit more credence than, say, the "faux Chauvet" or the replica Lascaux that France has promoted. Still, one can't help but fantasize about visiting the actual Mogao Caves, no matter how distant they are. But there are some incredible artifacts to see at the Getty. Back in the Library Caves archives, which were found when a monk named Wang Yuanlu stumbled upon a hidden room in one of the cave-temples in late 19 th century after being sealed for nearly a century, there are Jewish and Christian texts written in Chinese, Buddhist texts in Tibetan, texts in Sanskrit, altar diagrams, paintings, textiles, and important sutras. Most of the items were snatched up by European explorers Aurel Stein and Paul Pelliot and distributed throughout Europe. Together, says Gates, they offer a glimpse into another time and another culture, particularly one that harkens back to a cosmopolitan society that we don't often acknowledge, and offers lessons that we sometimes forget. Maybe, says Gates, the people of Dunhuang were ahead of their time in their open-mindedness. "All too often we dismiss things, because they're strange to us, but something like the beauty of these paintings, trying to understand Buddhism and its inclusiveness, the idea that you can accept things that are strange to you, and be surprised, and that opens up a new perspective on the world," says Gates. " Cave Temples of Dunhuang: Buddhist Art on China's Silk Road " will be on view at the Getty Research Institute and Getty Conservation Institute, May 7–September 4, 2016. Follow artnet News on Facebook. 2016-05-09 13:58 Maxwell Williams

56 Tintype Photographs Yearn for the Analog Days | Not Dead Yet Portrait of Julie Orlick, Photograph by Vanessa Maestri. Ever gaze out your window and wonder what you're missing out on? Perhaps feel an overwhelming sense of dread thinking about your mortality? Not Dead Yet is a column dedicated to finding the most exciting, experimental, funny, and out-of-this-world work, so that you won’t have to worry about missing out. With interviews and features like these, you’ll totally forget that death is at your door. The acid-dipped photographs of Julie Orlick are like a journey into the most nostalgic depths of your psyche. Heavily influenced by surrealist photography and film, the fashion of the 1920s, and “the beautiful people of Instagram,” the California transplant and now, Brooklyn- based analog photographer and artist keeps the analog tradition alive by executing her works in tintype photography, 35mm, and 16mm film. Her work contains a haunting yet sophisticated air, despite such arduous and involved developing processes. Orlick offers her photographs in print, zines, and books she self-publishes. Having shown her work at the LA Zine Fest, Spoonbill and Sugar Town books, The Church of Fun, Echo Chamber, and the Homeroom Gallery, and is currently working on a new tintype series. The Creators Project caught up with her about life goals, thought processes, and more. Untitled, Tintype. 2016. Photo by Julie Orlick The Creators Project: How would you describe your work to someone that wasn't familiar with what you do? Julie Orlick: I'd like to say that my photography and films steer the viewer into a world of the past. Mostly shot in black-and-white. I view every single frame in my films as a single photograph, except those photographs move in time, creating movement; some sort of story. All 35mm and 16mm film work. Tell us a bit about how you got into analog photography and film. The earliest memory I have of being interested in photography is when I visited the Getty with my 'rents as a kid and seeing a Diane Arbus photograph of an old lady with her eyes closed. I asked my pops why someone would take that photo, what was the point? It was so candid but it held so much history. I became very interested in analog techniques in high school, I loved being in the darkroom, making my own prints, smelling like fixer. I was also an intern at LACMA during the Dalí exhibition in 2008 and during that time they offered a 16mm experimental film class that I took park [in]. I loaded my first Bolex and shot my own film. It was the most exhilarating feeling I've ever had. Untitled, TinType 2016. Photo by Julie Orlick You've currently crowd funded a project of tintype photographs, and in the past, crowdfunded films as well. Is crowdfunding a primary source of income for your projects? I've put a lot of trust into crowdfunding as it allows people to find out about me and my work. I definitely have a bit more of a ways to go in terms of making money off my photography and film work. My day job is working as a pastry chef and I seriously barely make any money, but I'm content regardless. People are also contributing [to] my art, which seriously gives me hope in the world. You've self-published over six books and zines, do you often self-make and self-publish your work? Yes. I self publish my own work because I find it very rewarding to do so and have always been the type to "do it yourself. " The entire scene I thrive in back home in Los Angeles is full of DIY- ers. Untitled, Tintype 2016. Photograph by Julie Orlick. Influences? When I moved to NYC, I found out about the Anthology Film Archives. They have this special night, like once or twice a year, where they show french surrealist films from the 1920's. This includes Fernand Léger and Man Ray, etc. That entire collection truly inspires me. I also love the surrealist photographs of Grete Stern and the films of Kenneth Anger. Rabbit's Moon , with the 1950s soundtrack, is gold. Photographs of Clara Bow almost inspire everything that I do. She's my fashion idol. The K-town, Los Angeles puppet show, Almighty Opp. The beautiful people I follow on Instagram. Also, living in New York inspires me everyday. Visiting my home in Los Angeles, my life in general, and traveling to Europe. If your WILDEST dreams could come true, what are some types of projects and collaborations you'd like to do? I still have a lot of 16mm film projects in the works, a gallery show featuring my tintypes and live 16mm screening, a feature I've been scheming on for the last five-ish years. I want to make more stop-motion animations, shoot more tintypes and Polaroids, and finally for fucks sake get myself my own cameras so I can stop renting. Also, become a part of LaborBerlin , an analog filmmaking collective. Untitled, TinType 2016. Photograph by Julie Orlick. If you were to (hypothetically) die right after this interview, how would you hope your work and your life would influence the world? Honestly, at this time, I feel like if I died a lot of people wouldn't notice or care about my work. I mean that on the grander scheme of things. I hope that I'm able to make a breakthrough in the underground avant-garde 16mm filmmaking movement during this century, along with the organizations and other film makers still using this medium. Truth is, I feel like I need to live a lot longer and make a considerable amount of more work to feel I would have any impact on film and photography. “Sirene Femme”, 2014, starring Lexi Laphor, music by Salmon Want more of Julie Orlick? Check out her work at www.julieorlick.com and see more of her work on Instagram . Related: New York's Fun-Focused Dance Team | Not Dead Yet Not Dead Yet: Meet Sisters Weekend, America's Next Video Sweethearts Not Dead Yet: Painter Aleksandra Waliszewska Makes Nightmares Look Beautiful 2016-05-09 13:30 Lorelei Ramirez

57 The Man-Machine: Jordan Wolfson on his Giant New Robot, Hung by Chains at Zwirner Installation view of the 2016 solo exhibition Jordan Wolfson at David Zwirner, New York. COURTESY DAVID ZWIRNER Last July I was at Jordan Wolfson’s house in the Hollywood Hills, sharing a nice lunch with the artist outside by his pool, even though it was raining. Precipitation in Los Angeles is spoken of like a biblical plague when it’s hypothetical, and maybe the driving gets a little dicier, but really, people just sort of shrug. The lawn guys constructing Wolfson’s poolside garden worked during the drizzle. Wolfson said he was working on a new show, and invited me to the studio, which is in Glendale, on the other side of Griffith Park, higher up where there’s more space. I went a few days later. Wolfson’s studio is at a Hollywood animatronics lab that specializes in creature effects and building out robotics models for movies. It’s within a gigantic complex, a constellation of multiple jet-sized hangars, and after finding the right one, I was brought down some mysterious hallways until opening the right door in the funhouse, where Wolfson was talking with engineers who were testing structural solvency, and with tech guys troubleshooting plugging fiber optics capabilities into a giant head. Then Wolfson showed me a model of a gallery, about the height of his forearm. The model had steel beams going horizontal with gurneys stuck to their undersides, through which cables zipped by. These cables were affixed a figure that they would dangle, spin, jerk and then drop hard on the floor, repeatedly. The figure, Wolfson told me, was supposed to represent Huck Finn. Even in miniature, it was clear the installation—part mixed-media sculpture, part choreographed performance, part massive whirring machine there to activate it all—would be something to behold when it debuted, whenever that would be. It was originally slated to make its bow at the Serpentine Galleries, in London, but plans fell through due to scheduling issues. Then, in April, word went out that Zwirner’s May show, corresponding with Frieze Week, would be a solo show from Wolfson, featuring a new work called Colored Sculpture. The accompanying image was of the artist taking a picture on his phone of a freckled head that could have passed for Huck Finn. No further details were revealed. Installation view of the 2016 solo exhibition Jordan Wolfson at David Zwirner, New York. COURTESY DAVID ZWIRNER I texted Jordan, and we arranged for a time to see the work once it was installed, a few days before its public unveiling. I arrived at David Zwirner Gallery on 19th Street one afternoon last week, and Wolfson led me into one of the spaces in the gallery. Clanging noises echoed into the hallway. I entered the gallery alone, as Wolfson said he wanted me to experience the work alone. In front of me was a gigantic steel outline of a cube with cylinders spinning and whirring to release metal chains that were holding up the larger-than-life figure, which had joints throughout its body to allow it to be contorted in harrowing, grotesque ways. The winches that held up the chains went left to right in various speeds, and the chains were coiled and released in different measures, allowing for the figure to get twisted into various permutations—it’s a precise dance that Wolfson programmed himself, to allow for viewers to watch the figure float within the space in a carefully calibrated cycle of movements: quick starts, long silences and placid moments, atonal spasms, swooping glides, and those punishing falls to the floor. It became more wrenching and powerful the more cycles I took in. After some slow movements and dramatic silences, the figure would get thrashed toward me, the chains making deafening noises, and the figure’s head getting smashed again and again on the ground. During certain points, the hanging man will come to the foreground, and hang perpendicular to the ground, no limb askew, and then slowly glide left-to-right, like a nonthreatening ghost just kind of hovering in front of you. And then you notice the eyes: they are lit up with LED screens, and the pupils and irises dilate in a way that seems deeply familiar. T he eyes use facial recognition technology to lock gazes with visitors in the room, and then employ fiber optics to intimate an expression of deep pain. (They also have the capability to show some of the video works that Wolfson is known for—though he’s never shown any in an environment quite like this.) The entire presentation could remind one of Wolfson’s singing robot sculpture (Female figure) 2014 (2014) Wolfson’s last foray into robotics, two years ago at this same space. And while the two works are quite different—the new “robot” is now being jerked around by a mechanical puppet master in the form of chains on pulleys, instead of relying on combustion from an internal motorized system—Wolfson admits that “it’s kind of an extension” of that show. “I’m not consciously trying to do anything like that again,” Wolfson told me at Zwirner. “But it is almost like an extension of (Female figure) .” Before we started talking, Wolfson mentioned that he didn’t want to do an interview, really, he just wanted me to write about what I thought about the show, having seen the lead-up in California. I told him that, at first, the piece reminded me of a crucifixion. One of the chains, after all, had pierced the figure’s palm, a direct stigmata point. “That hadn’t actually occurred to me, the crucifixion,” Wolfson said. I asked him how he came up with the idea for the show. A partner at Zwirner had told me that, shortly after his last solo show at the gallery, Wolfson had told her that he had this vision of a person falling and collapsing on the the ground, over and over again. “You just see it in your mind,” he said, and when I asked what the work meant to him he went into a zone, saying, “It’s a set of formal problem solving issues,” and “the artwork is a multifaceted device,” and “it does elegance,” and “there’s an indifference to the movement,” and “it’s real violence damaging the work.” Well, even if the work isn’t actually being damaged when it gets dropped to the floor or whipped around—it’s built in a way that can withstand the hits—the violence is absolutely present. “It was about me as an artist relating to the object,” Wolfson added. “It’s hard for me to feel anything because I made it.” I told him that he had made the steel girders and whirring chain coils and harnesses and winches part of the work itself—the guts exposed, the things moving the work exposed and put in the spotlight—and he said, “It goes between animate and inanimate, figuration and abstraction, passivity and violence. It’s a formal exercise made from a subjective source.” He told me that I should come back in a few days to see it again, as the work needs time to unveil itself. Plus, the sound component wasn’t quite working yet. So, on Thursday last week, hours before the exhibition’s opening—and after a few days of fairs during which Colored Sculpture had become perhaps the most talked-about work about among critics—I went back to Zwirner, this time finding myself among a few collectors and their families. (I would hear, later, that the line to get into Wolfson’s public opening stretched around the block, a cliche that doesn’t actually happen too often in Chelsea, where the blocks are quite big.) This time, with a dozen or so people in the room, the facial recognition worked so the eyes would skip between the different people in the room, never resting on me. And the sound was working as well: at times, a voice would come on over the speakers intoning a bizarre set of numbered virtues, and then at other times, “When a Man Loves a Woman” would play at blast-level before abruptly getting cut off. Wolfson came in mid-airborne dance, and after a few brief hellos, came up to me. “I’m so glad you came back,” he said with a smile, the brutality of his work unfurling in front of him. “You have to stand here,” he told me, gesturing at a spot directly in the middle. After a few minutes of staring at the figure, I locked eyes with it, the face distinctly registering pain and loneliness before collapsing to the floor, the chains lashing him about, pummeling him to the ground, his head getting smashed and smashed and smashed to the deafening sound of “When a Man Loves a Woman.” 2016-05-09 13:17 Nate Freeman

58 How 'Deadpool' Filmmakers Turned a Motorcycle into a Camera [Exclusive] Photo: Fox Home Entertainment Sometimes, a shot is so ambitious and a director so uncompromising that no effort will be spared to bring his or her vision to life. Whether it's Stanley Kubrick cannibalizing an old Mitchell BNC camera to attach a lens designed by NASA, or Jackie Chan's insistence on doing his own, highly dangerous stunts , commitment at the expense of rationality can be the difference between a good film and a great film. While Deadpool director Tim Miller hasn't been electrocuted for his art (to our knowledge) yet, his team did build a custom hybrid camera/stunt motorcycle in order to get a shot of the snarky superhero kicking ass while bouncing through moving traffic. "What we have with the cycle cam is a one-of-a-kind vehicle. It's the first and only of its kind right now in the business," says Regis Harrington, a stunt driver who came all the way from New Orleans to man the unwieldy machine. The cycle cam is run on electricity to keep it quiet, and mounted with over 150 lbs of equipment to it balanced and smooth. It requires a superhuman level of control to avoid crashing it, but I guess Deadpool wasn't the only superhero on set. Check out the cycle cam in action in an exclusive clip from Deadpool 's behind-the-scenes extras from the Blu-Ray/DVD release, available May 10. Deadpool is available on Blu-Ray and DVD May 10. Learn more on the official website. Related: Watch A Dreamworks Animator Turn His Son Into A Superhero Meet UterusMan: The Androgynous Superhero Fighting Against Gender Stereotyopes Behind The Scenes Of The CGI Times Square In 'The Amazing Spider-Man 2 How Horror Films Have Helped Advance The Visual Effects Industry 2016-05-09 13:10 Beckett Mufson

59 ‘I Want to Be Fridge-Like’: Mark Leckey Gives a Freewheeling Talk About His Work at Frieze Mark Leckey, Pearl Vision , 2012, Quicktime video, 3 minutes, 6 seconds. COURTESY MARK LECKEY AND CABINET, LONDON “I do feel stuck between the past and the future, the middle class and the working class,” Mark Leckey told Frieze editor Dan Fox on Friday. “I’m effectively middle class.” Leckey thought for a second about how he’d back that point up, perhaps considering how a middle-class citizen could be the subject of a talk at Frieze New York, the tony art fair on Randall’s Island. “I like kale,” he added. It was with this relaxed tone that Leckey talked about his career with Fox. The focus of the talk, which was called “Haunted by What,” was the past and nostalgia in Leckey’s work. The British artist is most famous for a 1999 video called Fiorucci Made Me Hardcore , after all—its focus is the British underground music scene as it changed from the ’70s through the ’90s. As Fox pointed out, Fiorucci has become “a cult video, which is a rare thing for an artist”—it has well over 100,000 hits on YouTube. Fox later added, “You could say, over the years, that I’ve been haunted by Mark and his work.”Leckey himself seemed to agree that there was something off-putting about his videos, which feature music, digitally manipulated Jeff Koons sculptures, and humans becoming refrigerators with the help of green-screen technology. He brought up his recent film Dream English Kid 1964–1999 AD (2015), an essayistic retelling of his coming of age in Liverpool. “Subculture [there] has lost its energy,” he said. “It’s lost its vitality, but that shows that I’m old… That shows that it’s slipping away. I’m haunted by it.” As he said this, gusts of wind howled outside, causing the screen above him to sway back and forth. Not unlike his work, Leckey alternated between poetic and informal as he spoke. Fox was dressed like the class valedictorian, in a sharp sweater, but Leckey was a fashionable slacker. He wore a baby-blue jacket and one dangling earring; his long, straight brown hair was brushed away from his face. His look, not unlike his shamanistic personality, is very much stuck in the good ol’ days.“This is a thing that technology does,” Leckey said. “It pushes you towards the future, but it boomerangs you towards the past.”Much of the talk focused on how Leckey uses the Internet and digital technology to access ideas that interest him. Leckey explained that for Dream English Kid , he started the video by drinking a glass of whiskey and browsing YouTube. He wanted to create something personal (he described himself as a “sentimental person”), and he feels that not enough art aspires to that goal.“I was just thinking the other day about how art doesn’t convince me,” Leckey told Fox. “I want to do that—I want to believe it.” Mark Leckey, DESIDERATA (in media res) , 2015. COURTESY GAVIN BROWN’S ENTERPRISE, NEW YORK But you’d never know it from some of his videos, which can sometimes be deliberately cold and emotionless. There’s Made in ‘Eaven (2004), a video in which a camera circles around a Koons balloon animal sculpture in Leckey’s apartment. (“I’m usually good at titling, but I fucked up on this one,” Leckey said.) The camera is never reflected in the work’s shiny surface—Leckey forgot to put it back in—but it only enhances the fakeness of the computer-generated Koons. The apartment, however, is Leckey’s “bachelor pad,” as he called it, and he was pretty open about what he did there. “It was a place where I could grind my own chocolate, as Duchamp would put it,” Leckey said. Some audience members recoiled. “No, that’s not good, is it?” he added, somewhat timidly. He also discussed GreenScreenRefrigeratorAction , a 2010 performance in which Leckey, cloaked in a green-screen cloth, huffed coolant and became the voice of a fridge in a video. Without being asked to elaborate on it, Leckey spoke about getting high. “I want to be transported, fundamentally,” he said. “I want to be fridge-like. I know that’s absurd, but it took me somewhere.”In the questions section, Leckey continued to discuss technology, this time somewhat against his will. One audience member asked for a tour of Leckey’s computer desktop, which was being projected on the screen. (Leckey alluded to the fact that his porn was hidden, so this would be a SFW tour.) “I’m not showing pictures of my daughter, no,” he said. He opened a folder called “ FELIX DOME.” “Ah, I’ve got to explain this now. This is a piece I’m making. That was a humble brag, wasn’t it?” The work was an installation where viewers enter a Felix the Cat head to watch a video in which Leckey himself is dressed as Felix. And what was up with Felix? “I’m very attracted to him,” Leckey said. The character has appeared in Leckey’s work a number of times—it’s a reference to the first electronic image of an object ever, which was none other than a plastic version of the cartoon character Felix the Cat. “I want to be inside things, to inhabit things, so that I can be inside the mind and experience being Felix,” he said. One audience member asked about experiencing the present as being the recent past, thanks to our phones and “Twittering.” Leckey didn’t seem to know how to respond, so Fox jumped in. “I was reading somewhere—I can’t remember where —about what the fossil record of this particular time will be,” Fox said. “It’s just going to be a bunch of dead plastic objects that hold the memory of a civilization in them.”“Should we end on that note?” Leckey asked. Fox laughed and said, “The end of civilization, Mark Leckey. Thank you.” 2016-05-09 13:07 Alex Greenberger

60 Rag & Bone Appoints Chief Commercial Officer Forstmann joins the company from Tory Burch, where she had been since 2008; most recently, she was the company’s executive vice president of the Americas for wholesale and licensing. Prior to Tory Burch, Forstmann spent three years at Coach. “I am honored to work with Marcus, David and such a talented team to continue to develop the brand with both domestic and international consumers,” she said. Wainwright praised Forstmann’s understanding of the importance of maintaining the brand’s integrity as it expands. “[Lydia’s] background with both entrepreneurial and larger companies, plus her experience in Asian markets, European regions and in North America, makes her a valuable member of our senior management team during this critical time of growth for us,” added Neville. 2016-05-09 13:00 Kristi Garced

61 This Art Robot Is Even More Vain Than You (Yes, Even You) Few could say there aren't enough self-portraits on Instagram, but a recent piece by Spanish artist Daniel Armengol Altayó sees a different kind of selfie being uploaded to the social media site. For #artificialselfie , Altayó created a machine that holds a camera, faces a mirror, and constantly takes pictures of itself. It then uploads these photos, dozens and dozens of them, to Instagram, churning one out after the other in a damning commentary on the obessive culture. The photos are tagged #artificialselfie and include shots of the machine stoically sitting there as people shuffle around it, along with the people who went along to see it. These people are captured either staring into the mirror, aware or unaware that their image is being uploaded to the internet. Or, taking their own selfies behind #artificialselfie bot in some kind of meta-selfie/selfie-eating-itself-type thing. Inselfption. You can check out the machine in action in the video above, watching as it goes through the motions with its mechanical arm methodically and sedately punching in hashtags. "A selfie is a paradigmatic way to prove to the contemporary world that one exists," Altayó notes on his website. "The machine expresses this need by taking selfies of itself and sharing them on Instagram. The piece, performing tireless the same action over and over again, questions our relationship with technology. On one hand, we teach machines to understand us, giving them the ability to replicate gestures and habits in a surprisingly human way. On the other hand, as we all seem to repeat the same behaviors with a given technology, we ourselves start acting as predictable machines. " Photo by Daniel Armengol Altayó via Photo by Daniel Armengol Altayó via Check out the project on Instagram here , and visit Daniel Armengol Altayó's website for more. We're no selfie-taking robots, but you should follow The Creators Project on Instagram . Related: Earth’s Radiation Sets This Matrix of Motors in Motion A Gallery Becomes a Floating Robotic Dance Orchestra Oculus Rift Headset and Controllers Puts You Inside a Robot's Body 2016-05-09 13:00 Kevin Holmes

62 Review: Liam Scarlett’s Ballet ‘Frankenstein”’ at the Royal Opera House Related Venues Royal Opera House, London San francisco ballet Artists Mary Shelley Liam Scarlett’s debut, full-length ballet, “ Frankenstein ,” a co-production with San Francisco Ballet for The Royal Ballet, proved to be as much a masterpiece as Mary Shelley’s Gothic novel of the same name (1818), which inspired it. World premiered at the Royal Opera House last week, this first ever dance adaptation of the gothic tale is not-to-be missed. Royal Opera House’s theatre attendants don blood stained aprons, the front cloth depicts an anatomical skull; some young audience members arrive right in the spirit, in ghoulish make-up and gothic-style dresses, and the show begins. From Frankenstein’s Geneva manor house to the cemetery, the anatomy theatre, and the tavern at Ingolstadt University, and back again to the manor, designer John Macfarlane created some marvelous and sophisticated sets and costumes that capture the era - one that is incredibly relevant to the story: “[…] everything being on the verge of discovery, morality, and religion being challenged by science,” explains Scarlett in the program notes. The monomaniac, mad scientist Victor Frankenstein performs a series of scientific operations at the anatomy theatre, until he invents his Creature from stitched together dead matter during a visually stunning moment: phantasmagoric pyrotechnics shoot out of a mechanical apparatus, landing from above the stage. Horrified by his appearance, Victor abandons him. Steve McRae gives a strenuous interpretation of the ambiguous Creature, at once vicious, gruesome and childlike, yet vulnerable and sensitive. He slides and undulates like an animal, poses like a feared human, then leaps and dances in imitation of the people he observes, as he constructs his identity over the course of the ballet. Due to Victor’s neglect, the Creature is self- taught and grows monstrous, his vengeance manifest in a series of murders. These unravel poetically, “as a domestic drama, as opposed to horror,” explains Lowell Liebermann, whose melodic score, conducted by Koen Kessels, creates an atmosphere with great sense of suspense. The execution of Justine, who has been accused for the murder of Victor’s younger brother, William, is a moment far too hair-raising to forget: her body spasms with convulsive movements, as she is being suspended by the neck. For the final scene, Victor and the Creature dance an intimate duet filled with love, hate and despair until Victor shoots himself; the Creature then walks away and is lost in the flaming landscape. 2016-05-09 12:33 Gabriella Daris

63 ‘Sam Jablon: Life is Fine’ at Freight + Volume Samuel Jablon, Life , 2015. COURTESY THE ARTIST AND FREIGHT + VOLUME Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: Sam Jablon: Life is Fine is on view at Freight + Volume in New York through Sunday, May 15. Samuel Jablon, Beautiful Time , 2016. COURTESY THE ARTIST AND FREIGHT + VOLUME Installation view of Samuel Jablon: Life is Fine at Freight + Volume. COURTESY THE ARTIST AND FREIGHT + VOLUME Samuel Jablon, Life , 2015. COURTESY THE ARTIST AND FREIGHT + VOLUME Installation view of Samuel Jablon: Life is Fine at Freight + Volume. COURTESY THE ARTIST AND FREIGHT + VOLUME Samuel Jablon, Fine as Wine , 2016. COURTESY THE ARTIST AND FREIGHT + VOLUME Installation view of Samuel Jablon: Life is Fine at Freight + Volume. COURTESY THE ARTIST AND FREIGHT + VOLUME Samuel Jablon, Lovin It , 2016. COURTESY THE ARTIST AND FREIGHT + VOLUME Installation view of Samuel Jablon: Life is Fine at Freight + Volume. COURTESY THE ARTIST AND FREIGHT + VOLUME Samuel Jablon, Beautiful Everythings , 2016. COURTESY THE ARTIST AND FREIGHT + VOLUME 2016-05-09 12:31 The Editors

64 64 What To Expect From the Panama Papers Reveal For many journalists and anti-corruption activists around the world Monday, May 9 is D-Day. That is the date the International Consortium for Investigative Journalists (ICIJ)—a global network of more than 190 investigative journalists in 65 countries that, per the organization's website, focuses on "cross-border crime, corruption, and the accountability of power"—makes public the largest-ever disclosure of information about shadowy offshore companies and the people behind them. Dubbed the Panama Papers, the 11.5 million files in question were the result of a massive data breach of Panamanian law firm Mossack Fonseca. Let criminals, dodgy politicians, celebrities, and art collectors everywhere tremble. Issued in the form of a searchable database, the data is set to be released today at 2:00 pm EST by ICIJ and will divulge secrets about more than 200,000 offshore entities that are currently part of a two-month investigation into the massive 2.6 tetrabyte leak. Also included in the interactive database are documents regarding more than 100,000 companies that were part of an earlier leak and a 2013 ICIJ investigation. Both sets of revelations shine a light into the murky doings of some of the world's richest people by detailing how members of this elite group exploit financial loopholes. Besides exposing the role of big banks in facilitating tax evasion and how companies and individuals blacklisted in the US and elsewhere do business through offshore companies, ICIJ's coverage of the Panama Papers has also held up a magnifying glass to the tiny print that sometimes underpins the art world's financial structure. Blown up large, these stories read like a manual on legal but nonetheless questionable business practices. There is, for example, the Nahmad family's disputed ownership of Seated Man With a Cane , a Nazi-looted Amedeo Modigliani painting that, recently released documents demonstrate , has belonged to the billionaire art traders since at least 1995. There is the fate of 83 missing paintings worth $3 billion belonging to the Goulandris clan, a Greek shipping family, which were effectively legally disappeared through the use of multiple offshore companies. And, most remarkably, there is the allegation that the 1997 Ganz sale , the $206.5 million watershed auction that established the modern art market, was an inside job: One in which Christie's and John Lewis, then Christie's largest shareholder, obscured their ownership and interest thanks to an offshore company registered in the South Pacific. The art world and international authorities have yet to fully process these stories, many of which were broken over the last month by ICIJ reporter Jake Bernstein (who recently signed with Henry Holt to write a book about the Panama Papers titled Secrecy World ). But what other revelations do the Panama Papers have in store for journalists, tax authorities, and law enforcement officials concerning a trade that regularly thrives on both opacity and anonymity? According to Brazilian judge Fausto Martin de Sanctis, the true nature of the problem lies in whether you should be legally obligated to attach your real name to the things you own, or whether shell companies can continue to hide the true owners of assets. "Tax heavens should not be called tax havens, they should be called tax cheats," said the federal appellate judge, who is best known in art circles for his 2006 arrest of Edemar Cid Ferreira, the former Banco Santos president who tried to smuggle an $8 million Basquiat into the US with a $100 air waybill. "We all know that offshore tax havens exist today primarily to hide shady ownership structures that harbor crimes like terrorism and money laundering," De Sanctis told artnet News in a phone interview. He should know. The judge is also the author of Money Laundering Through Art , incredibly the only book published on the subject to date. In his 2013 book, De Sanctis argued that art dealers and auction houses, like casinos and gem dealers, should report suspicious financial activity to regulators. About the Panama Papers revelations he says that, though the documents suggest a familiar litany of improper behavior, in some cases they contain important information that law enforcement can use to solve specific instances of financial crimes. Quite often offshore companies use the names of specific law firms or the real owners' relatives, De Sanctis reveals. "In the case of Banco Santos," he says, "it was the wife who was signing for the offshore accounts. " For the novelist and art historian Noah Charney, crimes like tax evasion and money laundering are the infrequent but the unavoidable byproduct of the existence of offshore companies. "Tax evasion works like this," Charney says: "You buy painting A for X amount of money. It's technically acquired by your offshore firm; then it's sold by the offshore firm a few years later for a profit. Since the firm is offshore, you pay no taxes on the sale price. " Money laundering, Charney says, works similarly. "Because art is often bought with cash and wired to anonymous Swiss bank accounts, it is a good way to launder dirty money. " He continues, "X amount of money is used to buy a work of art. That dirty money is then transformed into the artwork, which can then immediately be sold for the same amount of (theoretically) clean money. Art, in fact, is such a good investment that the criminal may even make a profit. " Charney, it should be noted, is the founding director of the Association for Research into Crimes Against Art (ARCA), a non-profit think tank and consultancy on art crime prevention and solution. His 2009 book Art and Crime: Exploring the Dark Side of the Art World estimates that the practice has evolved from "a relatively innocuous crime into the third highest-grossing annual criminal trade worldwide" after drugs and gunrunning—one he has conservatively estimated at $6 billion annually. When asked whether additional revelations from the Panama Papers will adversely affect the art trade, Charney doubts the possibility of any kind of real shakeup. "This behavior is not a surprise to anyone who knows the art world," he says. "It is a surprise to have this huge leak and for it to be talked about so openly, but everyone in the know knows about freeports and tax havens and art moving around this way. " "It is more problematic," Charney acknowledges, "for public figures who appear to have moral superiority (politicians, for instance) and who can be shown to have been behaving in a way that many would deem immoral (though not necessarily illegal). They are the ones who will feel the fallout. " 2016-05-09 12:11 Christian Viveros

65 Sotheby's Misses Estimates Amid Slow Growth— Auctioneer Sotheby's has missed its revenue estimates for the first quarter of 2015, as revealed in an earnings report released this morning that showed a loss of 35 cents per share, or $22.3 million, compared with earnings of 11 cents a share or $7.4 million in the same period last year. Revenue fell by almost a third, to $106.5 million, missing the roughly $125 million that analysts had expected. Even after accounting for one-time severance-agreement charges, including those related to a round of buyouts , Sotheby's per- share loss was significantly larger than the analysts' consensus forecast of 23 cents a share. Related: Exodus at Sotheby's Plunges Auction House Into Murky Waters Though the first quarter of the year—which lacks the kind of firepower brought by major spring and autumn auctions—is typically not a robust one, CEO Tad Smith conceded in a call with investors this morning that "as we exited 2015, it was clear that the significant market growth experienced in 2014 and the first part of 2015 had slowed somewhat, and the impact can be felt in our results for the first quarter. " Smith said the most significant indicators on the current state of the market will come in the next two weeks of auctions in New York and Geneva, noting "we are cautiously optimistic about these sales. " After shuffling its sales schedule a few months ago, Sotheby's will hold all major spring sales this week , starting with its evening sale of Impressionist and modern art tonight and its postwar and contemporary art sale Wednesday. Neither sale carries particularly high estimates, suggesting a difficulty in finding major works to bring to auction this season. Related: Can Sotheby's $236 Million May Sale Kickstart Auction Season? Follow artnet News on Facebook . 2016-05-09 12:05 Eileen Kinsella

66 Kenny Schachter at Frieze NY and Auctions 2016 Dealing in Difficult Times All eyes are on the auction spectacle in New York, a market barometer maybe never as scrutinized in such transitional, tumultuous economic times. The month of May is when the art world resets its clock, a Greenwich Mean Time centered neither in the United Kingdom nor China, but rather in the unforgiving aisles of Christie's and Sotheby's. Covering the enormity of the week and implications of the fallout is daunting but you just have to scruff the cat and get on with it. The jittery climate is further fueled by press like Bloomberg and the New York Times projecting (ever mounting) dark clouds of doom and gloom days before the sales; but casting a pall over the proceedings prior to when they unfold makes news and satisfies a human instinct to relish slips and falls (of others). As I suspected things got off to a raucous start, within the new world order we reside in that is. But show me any business thriving besides a select few—hedge funds and commodities are in the toilet (more on commodes to come) and a lot of international real estate is fast becoming illiquid, even in centers like New York and London. The “2/20" hedgie model of taking two percent managing fee regardless of performance on top of 20% of profits (when they used to make them) no longer smells the same as when funds skyrocketed in the past. Related: Maurizio Cattelan's Hitler Sculpture Leads Christie's $78 Million Sale Art is more Bildungsroman , an organic ball (more on those too) of knowledge evolving morally and psychologically in spite of itself, a social, political, economic worldview expressed through creativity. It's also a mature market that will easily overcome the ebbs and flows of any business cycle with little or no resistance. Fine art (a curious term) is in a remarkable age of ascendancy in terms of widening appeal. How that translates into better business or more importantly, profits is a whole other can of encaustic. I'm remarkably sanguine; what choice do I have? Art chooses us. But once it does, it sinks its teeth. Since there's so much to cover, I will break this down into two installments. And not to bait you, but the second part is (already) as tantamount to titillation as anything I've ever written. So please come back for more… Let's Make a Deal Heading over the Atlantic, work started on the plane where I pitched the sale of a painting across another kind of aisle before we ascended to 30,000 feet. With no net access on British Airways for nearly eight hours there's no choice but to do it manually, face to face. Though no deals are the same most employ deferred payment, whether spelled out or simply not paid in a timely fashion—call it ex post facto terms. It's not easy to make money generally but I can't remember when it was so difficult, for me anyway. More so for Los Angeles gallerists Doug Christmas, now operating under third party bankruptcy administration and Perry Rubenstein who was arrested for nonpayment of proceedings from art sales. Then there is Norwegian figurative painter Odd Nerdrum, who is facing imminent jail time for tax fraud— these are choppy waters, indeed. Wellington Wimpy was the penny-pinching con artist from the 1929 comic strip Popeye and hamburgers were his favorite food. In 1932 his tagline went from: “Cook me up a hamburger. I'll pay you Thursday. " To the now famous, "I'll gladly pay you Tuesday for a hamburger today. " What is now the sacred hymn of the art world when it comes to acquisitions, I will buy it now and gladly pay you Tuesday…six months from now. Art is a fickle business with fickle relationships where some people can't relate no matter how many millions at stake—call it seething contempt. The level of ingenuity when it comes to consummating a deal in spite of this transcends inspiring. One friend had his Russian housekeeper masquerade as a dealer, slightly afield of the normal course of her duties, to close a sale with his archenemy. Another pal who guaranteed a handful of auction lots had a doppelgänger pose for him at a pre-sale cocktail party like Maurizio Cattelan used to do with staged stand-ins for interviews and lectures, to avoid personal contact. The old §1031 (under the United States Internal Revenue Code) defers recognition of capital gains upon sale, and hence any taxes otherwise due by the exchange of like property. Aside from tax avoidance/deferral, it's yet another excuse for nonpayment of sales—oh, sorry my client hasn't ponied up—she's stuck in the middle of a 1031 swap. Yeah, right. Another component of a shaky market is the non-production of promised art for sale. When the Rudolf Stingel offer goes the way of the Donald Judd , i.e. into the ether, you know we are in for a bumpy ride. Then there is the HSBC defense, namely, that the bank is so inept it's nothing more than their fault for the delinquency of the overdue payment you're owed (and re-owed) for months on end. If the bank was as bad as one dealer bemoaned, they'd be as bankrupt as Doug Chrismas. One upside of the downside is the only immediate flip left is on Matisse, like one I sold on behalf of a client to a gallery only to see it pop up at a fair in a heartbeat. Though I was admittedly taken aback, as was my seller. An addendum: a Saudi collector popped into Gogo in London recently with a coterie of armed bodyguards and ended up buying two giant Dan Colen chewing gum artworks ; when the gum begins to delaminate and drop to the floor, will they return to the gallery guns blazing? Deloitte's 9th Art & Finance Conference Co-Organized with the Van Gogh Museum Amsterdam I don't know if this is the best thing I've heard or something else. A tiresome retort about investing in paintings is that they don't kick off a dividend other than visual, but now everyone's clamoring to loan money on private collections worth more than a trillion dollars, with another trillion in institutions, the not-for-profit equivalent of junk bonds. I learned all of this (and more) participating in a panel a few weeks ago. In the more traditional sense, Falcon Fine Art Financing looks to the creditworthiness of borrowers while Athena Art Finance Corp. loans on art alone , to the extent they circulate a list of upcoming auction lots they predetermined to be creditworthy. Nifty, where do I sign? What's next you may be wondering (or not)? Why, that would be art-backed securities, the equivalent of financial derivatives à la The Big Short. Would you rather securities rooted in the art or the creditworthiness of the original debtor—the art vs. the person? For me, that would be the art, hands down. In either case, in today's uncertain environment this phenomenon is most welcome to grease the gears. In the decades pioneering art finance, how many defaults has Sotheby's experienced? From what I discovered only one. Leverage away! Kai & Adrian Are Everywhere You Want to Be I thought my ego was verging on insufferable but my kids feel compelled to stage a show at each and every turn of the art market in a city near you. Maybe they'll hit an Asian art fair like Marc Quinn recently did and get out of my hair. As ubiquitous as they are, here you go—the work continues to develop so I'd suggest you buy some now! When I kind of appropriated an image one of them made for my Instagram (after the auctions), the ingrate blurted out obscenities on screen like a drunken sailor that never heard of Richard Prince. Frieze New York: It's Showtime This is why I don't read fiction: WME-IMG (what was formerly William Morris Endeavor and International Management Group)—agents for Ben Affleck, James Franco (ha), Oprah Winfrey, Tiger Woods, Pete Sampras, and Martina Navratilova, among numerous others— made an undisclosed investment in Frieze with a view to scaling up the enterprise. It's funny how the art world's aspires to the mass proprietor of talent, Ari Emanuel, who is said to be the basis for Entourage's Ari Gold. So Matthew Slotover and Amanda Sharp seamlessly transitioned from unreadable magazine publishers to elitist art fair proprietors (that shunned the hoi polloi) and now aspire to be the end all platform to virtually experience art which is hard to swallow. That said, the fair was a more than pleasant light-filled tent, unlike the piers. It was easy to navigate with a wide berth and nice art to boot. It helped that they rolled out the classic guns in turbulent times like a Brice Marden at $4.75 million and an Yves Klein at $3.5 million at Dominique Levy, a concept they might have recoiled at a short time ago. Truth be said, there were many things to fall for, and fall again. Other than Basel-Basel, the standout bar none, fairs are fungible yet I like Frieze while the owners annoy a bit. Highlights were Roe Ethridge photographs at Kreps gallery for $20,000 a pop, Ken Price ceramics to die for, from $150,000 to $250,000 at Matthew Marks, Philip Guston 's feet fetish ( Black Coast , 1977) at Hauser (about $6 million) and Jeff Elrod's micro spray and computer print drawings from $15,000 at Max Hetzler. And there were the alluring tiny piggy paintings at Tomio Koyama Gallery, a lifer I've known for years, by 56 year-old Masahiko Kuwahara, a refreshing discovery. Christie's and Phillips Kick Off Spring Auction Season Christie's Fail sale, staged by the shark-fighting sociopath—I mean the sharp as a spear specialist!—Loic Gouzer, and titled after the Bruce Nauman sculpture Henry Moore Bound to Fail (which sold for nearly $7 million in an edition of nine in the nearly perfect auction), killed it. The enviro-activist shot this mother in the face in his most cohesive and quite brilliant thematic sale to date (of three previous attempts). Of Nauman's cheeky title, I'm reminded of the fact there's probably no shortage that might enjoy seeing me fall on my face, understandably so. Until the last minute, I was almost banned from the sale (though I had covertly sorted a ticket by proxy). Its not my fault Loic has no sense of humor, we're on the same team and I'm a fan. I got nervous envisioning being escorted out of the proceedings before my peers and considered a pair of plastic glasses with fake nose and mustache like Philippe Ségalot who was said to get professionally made up as an art handler to pre-shop Basel when there was a bum rush to buy art (oh the days). Had I done so, I'd resemble the bite-sized Hitler that was the night's unsuspecting biggest success selling for $17,189,000 against an estimate of $10-15 million. I'd have thought the Hitler might flush down Cattelan's new functional (solid) gold toilet he convinced the Guggenheim to premier. Ségalot's hair by the way epically defies gravity and fluffs like a meringue cake. At its best, art transcends and belies expectations. I am always learning and appreciative of the fact. Coupled with Jeff Koons floating basketball selling against a guarantee for a total $15,285,000, if those results aren't indicative of a still-crazy robust market, what is? I'd be remiss not to mention the histrionics of legendary dealer/artist Tony Shafrazi, a libertarian soul few and far between, with a dose of late-in-life Tourette's. From Trojan Horsing the Basel fair a few years ago and staging a one person show of his own art before getting ceremoniously thrown out, he engaged in an ad-hoc heckling commentary with Christie's auctioneer shouting about things being undervalued to more random outbursts; odd but funny. Because of his longtime standing, no one in the room blinks an eye. Phillips had some action on a (very) few things but can only be considered to be playing a different sport than Christie's—and even Sotheby's for that matter—more on that in the next days. I ended up closing the deal that fortuitously sprang from sitting next to a collector on the plane. In that sense at least, things are still flying high. And a dollop of existential dread can't be all that bad for the art world; it keeps us on the razor's edge. Yes, the scales of the sales were down but so what? I was elated. 2016-05-09 10:43 Kenny Schachter

67 Rediscovered Rembrandt on View at Getty— A painting that sparked an unexpected bidding war at a New Jersey auction house when a perceptive collector identified it as being by Rembrandt will now go on view at Los Angeles's J. Paul Getty Museum. The canvas, which emblematizes the sense of smell, was tagged at just $500–800 when it came to the auction block at Nye and Company , in Bloomfield, New Jersey. The seller had kept it in his New Jersey basement, according to the auctioneer. It was identified as a 19th-century "Continental School" work. Related: Recently Identified Early Rembrandt Goes on Display for First Time at TEFAF The bidding soared to $870,000 when two Paris art dealers, Bertrand Talabardon and Bertrand Gautier, who run Galerie Talabardon et Gautier , identified it as one of the Dutch master's first canvases. The American billionaire Thomas S. Kaplan, CEO of New York investment and management firm Electrum Group, then bought the painting at a reported price in the range of $3 million–4 million and exhibited it at TEFAF, the Maastricht art fair that recently announced a New York outpost , in March. The painting is one of five the artist made as a teenager depicting the senses. The Getty exhibition will also feature the hearing and touch canvases, on loan from Kaplan's Leiden Collection. The sight painting belongs to the Lakenhal Museum, Leiden, the Netherlands, while the whereabouts of the taste canvas are unknown. It was not the first time in 2015 that a sharp-witted buyer found a canvas at auction that was attributed to a minor artist only to be upgraded to the work a major figure. A landscape by English painter John Constable turned up at Christie's London attributed to one of the artist's followers, and sold for just $5,300 in 2014. It was then reattributed to the master himself, and flipped for a stunning $5 million at Sotheby's New York the next January. To get a tax break, collectors often exhibit their new purchases at public institutions in states like Oregon, New Hampshire, and Delaware, which lets them avoid big tax bills because these state have no sales tax or use tax. California, however, has no such exemption, so this particular display doesn't fall into the tax break category. " The Promise of Youth: Rembrandt's Senses Rediscovered " will be on view at the Getty Center, May 11–August 28, 2016. Follow artnet News on Facebook. 2016-05-09 10:25 Brian Boucher

68 Greece Pushes UK to Return Elgin Marbles High-profile lawyer Amal Alamuddin-Clooney may no longer be on the case , but that doesn't mean that Greece has abandoned its efforts to repatriate the Parthenon sculptures. When Greece decided in December not to immediately pursue legal action against London's British Museum to secure the return of the ancient Greek sculptures, which are also known as the Elgin Marbles, Alamuddin-Clooney was released from her high-profile role as advisor . Now, nearly 200 years after the British government purchased the marbles from Thomas Bruce, the seventh Earl of Elgin, Greece is hoping to harness the power of public opinion to pressure the UK into returning the iconic works, reports the Guardian . "We are trying to develop alliances which we hope would eventually lead to an international body like the United Nations to come with us against the British Museum," said Greek culture minister Aristides Baltas to the Guardian , noting that the Parthenon Marbles are important part of Greece's cultural heritage. "If the UN represents all nations of the world and all nations of the world say 'the marbles should be returned' then we'll go to court because the British Museum would be against humanity. " The date that Parliament voted to approve the purchase, June 7, 1816, has been dubbed "the black anniversary" by those who support the statues' return to their native land. Lord Elgin claimed to have had permission from the Ottoman Empire to export the statues, which he had forcibly removed from the Parthenon. Last May, in 141-page legal document reportedly funded by an anonymous Greek shipping magnate , Alamuddin-Clooney and her team urged Greece to file suit against the British Museum in European court of human rights or through the UN and UNESCO at the international court of justice. Although the lawyers believed that the case for repatriation was strong, they urged Greece that the time to act was now. "Unless the claim is brought fairly soon, Greece may be met with the argument that it has 'slept on its rights' too long for them to be enforced," said the report. The Greek government's reticence is due to the fear that a court could side against them, nixing their last chance for justice. "Courts do not by definition regard [any] issue at the level of history or morality or humanity-at-large. They look at the laws," said Baltas. "As there are no hard and fast rules regarding the issue of returning treasures taken away from various countries, there is no indisputable legal basis. " Follow artnet News on Facebook. 2016-05-09 10:18 Sarah Cascone

69 Vagina Kayak Artist Found Guilty of Obscenity Concluding a protracted case that began two years ago, a Tokyo district court today found "Vagina Kayak" artist Megumi Igarashi guilty of distributing obscene images. The Guardian reports that the 44-year-old was slapped with a 400,000 yen fine (approximately $3,500), half the amount demanded by prosecutors. Japan's obscenity laws carry a maximum penalty of two years in prison , but back in February, case prosecutors decided to only demand a fine of 800,000 yen. Related: Japanese Artist Arrested Over 3-D-Scanned Vagina Boat Project Igarashi was cleared of another charge, related to the displaying of obscene material in an adult shop in Tokyo (namely, plaster versions of the vagina kayak). The ruling ends a case that goes back to July 2014, when Igarashi was arrested for trying to raise funds online to pay for the construction of a vagina-shaped kayak, which was realized using a 3D printer. “I don't believe my vagina is anything obscene," Igarashi stated in a press conference upon being released. “I was determined I would never yield to police power," she declared. In December 2014, however, Igarashi—whose artistic moniker Rokude Nashiko means something similar to “reprobate child"— was arrested a second time on suspicion of having sent a link “that shows her plan to create a boat using three-dimensional obscene data" to numerous people. Igarishi's case has highlighted Japan's rather contradictory stance on pornography. Although the country has a buoyant pornography industry, its laws forbid the depiction of actual genitalia, which usually appear censored or pixelated. For the artist, her case also revealed the level of misogyny present in the country. "Works that focus on female gender themes are looked down upon [in Japan]," she told artnet News last year. Throughout her ordeal with the Japanese authorities, Igarishi has emerged as a strong advocate for women's rights and freedom of expression, supported and respected by many across the world. The Guardian reports that an en English translation of her book What is Obscenity? will go on sale tomorrow. Follow artnet News on Facebook. 2016-05-09 08:07 Lorena Muñoz

70 Olafur Eliasson Aims to Change World With a Cookbook Food, and the rituals that go with it, have been a recurrent theme in contemporary art for decades, but with his newly-published cookbook The Kitchen, renowned artist Olafur Eliasson has taken matters to the next level, and submerged himself in the culinary art proper. The handsome Phaidon publication gathers over 100 sophisticated vegetarian recipes that have been developed (and are cooked daily) by a team of professionals at Eliasson's Berlin studio to cater for his staff of 100 plus, including architects, archivists, administrators, art historians, and students. Related: Olafur Eliasson Shines a Green Light for Refugees Eliasson understands cooking as an "act of caring for others, […] a gesture of generosity that functions as a social glue. " This approach fits seamlessly with his many artistic endeavors, in which a keen pursuit of experiential awakening and attention to detail—even in works of monumental scale—collide with a host of socially-engaged and environmental concerns. If this makes him sound like a hopeless idealist, it's because he probably is. artnet News met with Eliasson in London—where he stopped by to promote two books: The Kitchen, and Unspoken Spaces , a new monograph gathering 20 years of his artistic practice, published by Thames & Hudson —and in person, he is as earnest and utopian as one would expect. And while Eliasson might be an art world darling—able to seduce the institutions, the critics, and the general public in equal measure—refreshingly, his success hasn't translated into cynicism or entitlement. Related: Olafur Eliasson Responds to Paris Summit with a Doomsday Clock Made of Glacial Ice Soft-spoken and self-effacing, yet enthusiastic, the artist was especially keen to show me his Little Sun Charge , the latest product of his social venture to bring solar energy to the 1.1 billion people that don't have access to electricity, which he wanted to make sure artnet News readers hear about . Ordering a cappuccino with a mellow accent that betrays his Icelandic-Danish origins, the artist sat down to talk. Is The Kitchen an art project? Well, it has become a project. It started out 15 years ago by having to make lunch at the studio, which interrupted the flow of the work each day (although it was only 10-15 people at the time) and didn't make for really good food … Gradually, a friend of mine who is a professional cook, came to cook for us, and it turned out to be healthier, tastier, and less disruptive. In time, lunch became a creative space in the studio to get together and discuss ideas, a space where the hierarchies were leveled out. As the studio grew bigger, it also became a space for people working in different departments to meet. Why vegetarian food? Over the years, the cooking became more ambitious, but we have always been very conscious about the money spent in feeding at the studio, which means we all eat vegetarian because it is healthy, good for the climate, and also more affordable. We occasionally serve Icelandic lamb, although it's been a while now… The vegetarian, fresh approach has taken over the studio and we are all very pleased. I am in the slow process of becoming a vegetarian myself, although I am not there quite yet… Would you say that vegetarian food triggers creativity, too, because it poses a specific limitation? It seems to me that since in 1980s, and particularly in the last 15 years, cooking itself has become much bigger and much more conscious. The general interest in cuisine grew thanks to figures like Wolfgang Puck, Gordon Ramsey, and Alain Ducasse, with whom I was in Paris just a couple of days ago. They were pioneers in reshaping how food was understood and appreciated by a larger scope of people, and paved the way for the more sensitive next generation. I am gradually understanding and appreciating the broader perspective of this realm myself. I am an artist and my background is only at the periphery of cooking, but I was lucky to have very interesting people coming by the studio. The kitchen's team is very ambitious and very early on spoke about Vandana Shiva and her Soil not Oil project, and I also met Alice Waters, the great chef [and organic food activist] from Berkley in San Francisco that has prefaced my book, who came to Berlin and brought other chefs to the studio. There is a lot of caring involved in this venture. I call the cooks "caregivers" and the staff "caretakers," because they take the care that the kitchen is giving. It is a lovely exchange of care, which also involves our deliverers from suppliers [from farmer associations and organic collectives based just outside Berlin]. Eating is something more than just eating, it's about the consequences attached to it, for example, of choosing small suppliers instead of industrial farmers. There's a number of themes underpinning both your visual arts work and The Kitchen project: ideas of accessibility, communities, distribution of resources, ecologies … How do food and art relate in your view? I think you could say that the industrialized food production market could be compared to the art market, but not the art world, which is a different thing, in my view. Also, I think you could say that museums operate on certain levels like kitchen laboratories. Museums play an ethical role in culture, which is very beneficial for society. Museums like Tate here in London become forums to renegotiate reality. A museum is not just a house for art, it is a house that uses art to engage communities. Another similarity is that they are both languages. I have learnt to use art to express myself, art is my language, but I am a lousy cook, which is why I don't say anything with particular precision when I cook. To be a great cook you have to learn the language, but you also have to have something to say with it, like with art. Culinary aspects have been present in contemporary art since at least the beginning of the 20th century. The majority of visual artists using food in their work or that have created cook books, however, tend to be men (for example the Futurists, Salvador Dalí , Gordon Matta-Clark, Rirkrit Tiravanija, Subodh Gupta …). Coincidentally, most famous chefs in the world also tend to be men. Why do you think that is? That is a good question and I think it's worth bringing that up. First of all, though, I have to say that my two favorite chefs are woman: My sister [Victoria Eliasdóttir] and Alice Waters. But having said that, yes, what you say is true, and it is a complex issue. Whatever I say might sound sexist, which is precisely what I want to avoid, but I could see how, perhaps, if a female artist cooked, it could be seen as consolidating a predictable archetype. But saying this is somehow counterproductive, anyway. I think it's not just a gender-based issued though. The cooking world is also quite xenophobic. You have very few black chefs, for example. Hopefully this is changing, as hopefully the traditional behavior in the kitchen is also changing, whereby everyone treats each other badly. Expertise in cooking has reached such extremes that you can now identify whether things taste worse depending on whether the tone in the kitchen was inclusive and appreciative or not, and they are also implementing stress management techniques. Kitchens are catching up with the values of societies. Where does your interest in food come from? I've read both your dad and sister are professional cooks. I come from a maritime background. My father [artist and cook Elías Hjörleifsson, who died in 2001] was a chef on a fishing boat, and he always said that on a boat nobody dares to be mad at the cook. In the hierarchy of a boat, the cook goes first, even before the captain, because if you are friends with the cook, you can get bits of food on the side. The greatest success of my father, besides giving birth to my sister Victoria, who became a chef like him, was to make the fishermen—who for obvious reasons, after spending the whole day with these slimy creatures would much rather eat pork—eat fish and enjoy it. The kitchen is a kind gift that you make to your studio workers, and for the guests you invite there, but have you ever considered opening it to the public in some shape or form? We already host events and cook for other people to a certain level, and I do have to give credit to my kitchen team here because they do many projects without my involvement. They are now working with Syrian women, for example. We are going to have Syrian cooks come to the kitchen and get acquainted with it, and if it all goes well, they'll do a day of cooking for the studio. If that goes well too, we will then host a Syrian dinner evening in collaboration with the organization Mother's Mother. We are also going to have a fermentation workshop, as I am having a show in Korea in the fall. There's always something going on… I have to say I have suggested to the team doing a sort of open canteen on a number of occasions operating on a semi-public level, but I have to say that didn't not go down so well… [laughs]. But maybe the exposure the book is giving them will make them reconsider…. My sister [who cooked at the studio kitchen for six months in 2014] now has a restaurant in Berlin called Dóttir , which has become very hip and trendy, and she is so ambitious that she wouldn't hesitate! But we are like a family at the studio, it's like home cooking, and not always fancy. We have periods in which we have beet salad for days, because it is very cheap to buy a lot of beets [laughs]. Your show at the Palace of Versailles will open in a month. What can you tell us about it? I've read it's going to involve a big fountain? Well, is not just a big fountain, it's going to be the tallest fountain in Europe! It's more like a waterfall, actually. The exhibition will feature a few large-scale outdoor works, some garden interventions involving beautiful rock dust from Greenland, and a series of works installed indoors, although the fountain will be the centerpiece. How tall will this fountain be? That is a question that I will not answer cause then you will just write that! We need to give the readers the opportunity of being imaginative and never give quantifiable answers, so I never talk about the size of my works in that way. Do you feel any sense of trepidation in light of the protracted controversy that plagued Anish Kapoor 's Versailles outing? I trust the judgment of Anish, and I respect him immensely as an artist. I think culture shouldn't be intimidated by discussions between different voices, and I think Anish never showed any signs of being worried about it. I am not worried about it, and I am also proud of having a show in France just before the elections, even though my show has nothing to do with it specifically! Follow artnet News on Facebook. 2016-05-09 07:20 Lorena Muñoz

71 Marseille to Host Manifesta in 2020 A month before the opening of its 11th edition in Zurich , the Manifesta biennial has announced that its 13th edition, scheduled for 2020, will take place in Marseille, France. The over-arching theme for the 2020 biennial in Marseille will be announced in the autumn. Meanwhile, the 12th edition of the European exhibition will take place in 2018 in Palermo , and will focus on the very pressing questions of migration and climate change. According to Le Journal des Arts , the mayor of the coastal city has allocated €627,000 ($715,000) to fund the acquisition of the rights to host the roving art biennial. The city itself will contribute €2.4 million ($2.74 million) to develop the art event in the next four years, a figure that constitutes a third of the biennial's total budget. “This is the culmination of two years of work with all the authorities," Marie-Hélène Féraud-Gregori, Marseille's councillor for contemporary art, told LJdA . “After Marseille-Provence 2013, this is excellent news for culture in Marseille and more generally for the city's standing within Europe," she added, referring to the year-long series of hundreds of cultural events that took place in Marseille to celebrate its distinction as European Capital of Culture in 2013. In addition to the budget for exhibitions and events allocated by the European Union, the city also enjoyed a budget of €600 million to construct a new museum, the MuCEM , and a conference center. But this was only the beginning of a decade-long, multibillion dollar effort to develop and revitalize the Mediterranean city and the region. And the development plans seem to be working. Over the last decade, the city has slowly but surely established itself as an exciting hub for the arts, with a growing number of artists relocating to its sunny (yet affordable) shores. Marseille and the Mediterranean region is also a magnet for French collectors, known for their knack for conceptual and minimalist artworks. The art scene of the city was bolstered by the establishment of the boutique contemporary art fair Art-O-Rama , which will celebrate its 10th anniversary in August. Local museums, like the FRAC Marseille and the The Musée d'art contemporain, and local initiatives, such as the successful residency program run by Triangle France , have turned the southern port city into an attractive destination for artists and art lovers alike. Meanwhile, the forthcoming edition of Manifesta in Zurich, curated by the artist Christian Jankowski , is centered on the theme “What people do for money. Some joint ventures," and will explore the significance of one's profession in defining one's identity in contemporary culture. Follow artnet News on Facebook. 2016-05-09 06:36 Lorena Muñoz

72 Guy de Cointet Culturgest / Lisbon When Paul Valéry viewed Stéphane Mallarmé’s poem “Un coup de dés jamais n’abolira le hasard” for the first time, he called it a “device”: a generic, ambiguous term that betrays a certain hesitation in defining it as either a poem or a picture. This same ambivalence between the verbal and visual nature of the written word permeates Guy de Cointet’s corpus as presented in the retrospective “ Who Wrote That? ” Who Wrote That? Curated by Miguel Wandschneider and Eva Wittocx, the exhibition includes three significant set designs and props that de Cointet created for his theatrical performance pieces as well as a significant selection of works on paper. As if they were the pages of an entire ciphered book, the drawings embody the refined subversiveness toward language that the artist maintained throughout his career. By Scattering the words, de Cointet offers the visual remnants of discourse, consisting of loose alphabets, rotated letters and disassembled characters. These are sometimes rearranged according to a personalized minimalist code based upon the hexagon, a shape typical of his early production. The texts are thus transformed into an abstract, encrypted language that variously evokes a message written in Morse code, a musical score, the I Ching and a labyrinth as seen from above, requiring a perspectival shift in both the viewer’s imagination and body. Instead of drawings, the works could more precisely be defined as “devices” ready to be activated; this is also supported by the performances that accompany the exhibition. In La très brillante artiste Huzo Lumnst, présente son nouveau travail: CIZEGHOH TUR NDJMB (1973) for example, an actress invites the viewer to look at a silkscreen-printed text with her head upside- down; in Going to the Market (1975) we follow adventure stories originating from an apparently meaningless sequence of letters. This disjunction between the script and what is read provokes ironic, unpredictable connections, and makes us aware of the layered nature of our surrounding reality, in which enigmas are propelled rather than solved. by Sara De Chiara 2016-05-09 06:17 www.flashartonline

Total 72 articles. Created at 2016-05-10 06:01