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77 articles, 2016-04-09 06:00 1 Matchesfashion.com Brings Pop-up to New York The temporary space will showcase the U. K.-based retailer’s pre-fall and fall 2016 buy. 2016-04-08 17:27 2KB wwd.com (2.00/3)

2 alcarol's fungi collection reveals nature's intricate textures at salone satellite alcarol's fungi collection captures natural organism found within decaying wood at salone (2.00/3) del mobile 2016. 2016-04-08 12:41 4KB www.designboom.com 3 Miart 2016 Dazzles in Milan At the 2016 edition of Miart, expertly curated sections and high-quality presentations lured European collectors and international curators to Milan. 2016-04-08 08:04 8KB (2.00/3) news.artnet.com

4 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It's simple: When you send your artwork to any of our shows to exhibit, we'll transport it to the next show... and the next ... and the... 2016-04-09 06:00 1KB artexponewyork.com 5 Alexis Silk, 2016 Spotlight Artist Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought provoking. Emerging from the intersection of the artist's fascination with the human figure, passion for her molten medium, and desire for conceptual expression,... 2016-04-09 06:00 2KB artexponewyork.com 6 Show Guide Ad Upload AENY 2016 Show Guide Ad Upload Form 2016-04-09 06:00 602Bytes artexponewyork.com 7 Tickets Ticket Options Please Note: Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected]. TRADE ATTENDEE REGISTRATION If you're an industry buyer,... 2016-04-09 06:00 1KB artexponewyork.com 8 Introducing Adrian Arrieta, 2016 Poster Challenge Winner Meet Adrian Arrieta, the 23-year-old artist who took our social media-powered Artexpo New York Poster Challenge by storm in his quest to garner the most votes in the 2016 contest. Earning the top honor with his painting The Princess of the Strawberry Mouth, Arrieta looks back with... 2016-04-09 06:00 4KB artexponewyork.com 9 Official Logos Proud Sponsors Exhibitor Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Logo for... 2016-04-09 06:00 848Bytes artexponewyork.com 10 Directions & Parking Show Address Pier 94 711 12th Ave (55th Street & the West Side Highway) New York, NY 10019-5399 View Piers 92/94 in a larger map Parking On-Site Parking At Pier 92, 900 on- site parking spaces are available for cars, and... 2016-04-09 06:00 2KB artexponewyork.com 11 Could Reading Be Looking? | e-flux Imagine, if you must, walking into an exhibition space and encountering work so oblique you don’t know what to make of it... 2016-04-09 01:20 18KB www.e-flux.com

12 Moving Image Commissions #3: Bruce Conner and Leslie Thornton Leslie Thornton’s They Were Just People is the third installment in the Moving Image Commissions, a series that addresses works by key artists in the Walker’s Ruben/Bentson Collection. They Were... 2016-04-09 00:08 883Bytes blogs.walkerart.org 13 BUY TICKETS On Tuesday, April 5, the Walker and 89.3 The Current announced the lineup of Rock the Garden 2016. Due to construction at the Walker, this year's concert will be held on Saturday, June 18, 2016 at... 2016-04-09 01:02 865Bytes blogs.walkerart.org 14 Meredith Monk: 16 Millimeter Earrings and the Artist’s Body At once a choreographer, composer, actress, singer, and director, Meredith Monk is known for a body of work that is often considered unclassifiable. Since the 1960s, her practice has spanned across d... 2016-04-09 03:04 968Bytes blogs.walkerart.org 15 Hearst Avows to Show Diversity in Pages at Talk With White House CTO Megan Smith The White House chief technology officer Megan Smith talked to Hearst’s David Carey about diversity, women and technology. 2016-04-08 22:58 3KB wwd.com 16 Met to Sell Alexander McQueen, Issey Miyake and Other Designer Products Inspired by ‘Manus x Machina’ Exhibition Lightweight, packable designer items inspired by the upcoming exhibition “Manus x Machina: Fashion in the Age of Technology” will be sold at The Met later this spring. 2016-04-08 22:51 2KB wwd.com 17 velocipedia by gianluca gimini renders crowd-sourced error- driven bicycle drawings gianluca gimini conducted an experiment by asking friends, family and total strangers, to draw a men’s bicycle by heart using just a pen and a sheet of paper. 2016-04-08 22:30 1KB www.designboom.com 18 The 23 Best Evening Bags for Fall 2016 WWD’s picks for the best evening bags for fall 2016 from the New York, London, Milan and Paris collections. 2016-04-08 22:16 1KB wwd.com 19 Rosie Huntington-Whiteley on Childhood in the Countryside and Life in L. A. The new face of Ugg talks about life before modeling. 2016-04-08 22:00 2KB wwd.com 20 Jennifer Fisher Celebrates 10 Years at Mr. Chow To help her celebrate, Fisher invited some of her nearest and dearest to an intimate dinner at Mr. Chow in TriBeCa on Thursday night. 2016-04-08 21:54 2KB wwd.com 21 Ford, V Magazine Announce 2016 Model Search Winners In addition to scoring contracts with Ford Models, Olthoff and Agee will be featured in an upcoming editorial in V Magazine’s summer issue. 2016-04-08 21:29 1KB wwd.com 22 Diane von Furstenberg Salutes DVF Award Winners at the United Nations In its seventh year, the DVF Awards honor women who champion change and empowerment throughout the world. 2016-04-08 21:22 3KB wwd.com 23 Variety Honors Power of Women at New York Luncheon Variety honored five women for their professional and philanthropic achievements. 2016-04-08 21:16 2KB wwd.com

24 Could Virtual Reality Revolutionize the World of... Mimes? Honestly, it's about time mimes got with the program. 2016-04-08 20:35 2KB thecreatorsproject.vice.com 25 Spaces for Conversation The Long Now Non-Nonprofit Ongoing Projects and Happenings Models for Community Building “What’s going on here?” It’s a question that Sam Gould, founder of Beyond Repair , invariably gets when people enter the painted... 2016-04-08 23:23 12KB www.walkerart.org 26 Remembering Zaha Hadid, the Queen of the Curve A self-proclaimed post-modernist, Hadid wanted buildings to evoke the chaos of life. 2016-04-08 20:25 2KB thecreatorsproject.vice.com 27 An Autonomous New Gadget Makes Light and Sound Art Moscow-based artist ::vtol::’s latest work, ‘Red’, uses data, sound and flexible lens to make multimedia art. 2016-04-08 20:10 2KB thecreatorsproject.vice.com 28 The Smallest Waterpark in Dubai Is Bite-Sized | Insta of the Week The City of Superlatives might now be home to the world's tiniest water slide. 2016-04-08 19:20 1KB thecreatorsproject.vice.com 29 I Watched Every Single 'Mortal Kombat' Fatality and You Can Too Hungry? Not anymore. 2016-04-08 19:15 1KB thecreatorsproject.vice.com 30 garage-terrace house in kyoto by yoshiaki yamashita in kyoto, japanese architect yoshiaki yamashita has completed a single-storey timber dwelling for a couple who are both car enthusiasts. 2016-04-08 19:14 1KB www.designboom.com 31 Outward Bound: David de Rothschild Discusses His Latest Venture, TheLostExplorer.com The professional naturopath and conservationist launches performance products for men. 2016-04-08 18:54 2KB wwd.com 32 The Week in Art: Tribeca Ball and MoMA PS1 This week saw the New York Academy of Art host its annual Tribeca Ball, while MoMA PS1 held an open house with a live musical performance featuring Cao Fei. 2016-04-08 18:47 6KB news.artnet.com 33 Christos Angelides’ Pay Totals $18 Million for 14-Month Tenure The Abercrombie brand president was paid handsomely after being ousted in December, making way for Fran Horowitz. 2016-04-08 18:41 2KB wwd.com 34 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson, an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York-based foundation has announced. 2016-04-08 21:03 1KB www.startribune.com 35 At Large Magazine Updates Look for New Issue, Adds Former Details Editors to Masthead The independent men’s magazine has added a slate of new names to its masthead, including Rockwell Harwood as art and design director. 2016-04-08 18:02 3KB wwd.com

36 Façonnable Designs Outfits for the Monte-Carlo Rolex Masters The French brand also developed a special collection celebrating the Monte-Carlo Country Club. 2016-04-08 17:57 1KB wwd.com 37 This "Screen Test” Will Scare You Out of Auditions An ‘ER’-inspired short from 'Rachel Dratch’s Late Night Snack’ combines the magic of filmmaking with the awkwardness of cold reading. 2016-04-08 17:45 4KB thecreatorsproject.vice.com 38 New Yorkers for Children Throws Annual Spring Dinner Dance The event, which benefits youth in foster care, drew the usual mix of uptown socials and Victoria’s Secret models. 2016-04-08 17:34 3KB wwd.com 39 Harris Tweed Mounts Installation at Milan’s Triennale for Salone del Mobile The show will feature fall/winter 2015 runway looks by brands including Margaret Howell, Vivienne Westwood and Ermenegildo Zegna. 2016-04-08 17:03 2KB wwd.com 40 Transcending Language: Chris Strouth on Kid Koala’s Nufonia Must Fall 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... 2016-04-08 17:02 961Bytes blogs.walkerart.org 41 Olivia Culpo Talks Sexy Scents and Spring Fashion at Lord & Taylor Olivia Culpo celebrated the spring launch for Lord & Taylor’s Birdcage shop. 2016-04-08 17:02 2KB wwd.com 42 alexei sovertkov's surreal species of human caricatures moscow-based photographer and visual artist alexei sovertkov has realized a series of surreal portraits that blend the physical and virtual worlds. 2016-04-08 16:45 1KB www.designboom.com 43 Ta-Nehisi Coates' 'Black Panther' Rules: This Week in Comics #12 We look at issue #1 and more in this week’s comic rundown. 2016-04-08 16:40 6KB thecreatorsproject.vice.com 44 Q&A: Photographer Nadav Kander on “Dust” at Flower Gallery ARTINFO spoke to the London-based photographer about documenting atomic test sites in Kazakhstan and Russia. 2016-04-08 16:12 5KB www.blouinartinfo.com 45 The Truth is Out There: “Art of the Real” at Film Society of Lincoln Center The annual series is dedicated to work that expands the definition of documentary film. 2016-04-08 15:52 6KB www.blouinartinfo.com 46 The Sensations of Sex, Visualized | GIF Six-Pack Mike McDonnell's minimal GIFs capture pulsing hormones, sparks of attraction and laser- eye orgasms. 2016-04-08 15:35 1KB thecreatorsproject.vice.com

47 artnet Asks: British Pop Pioneer Allen Jones The legendary British artist Allen Jones looks back at his controversial and colorful career at his retrospective at Michael Werner Gallery, New York. 2016-04-08 15:31 7KB news.artnet.com 48 Cover Girl Unveils Beauty App Beauty apps are being seen as a solution to solve the problem that shoppers can’t try cosmetics on in mass market stores 2016-04-08 15:26 4KB wwd.com 49 Burberry and GQ Toast the Launch of Mr. Burberry Fragrance Jake Lacy, Sam Heughan, Amber Anderson and more celebrated the new men’s fragrance at Burberry’s SoHo flagship in New York Thursday night. 2016-04-08 15:19 2KB wwd.com 50 Bang on a Can Marathon Loses Its Home The Winter Garden at Brookfield Place in Lower Manhattan has decided to stop hosting the annual Bang on a Can new-music marathon. 2016-04-08 15:16 2KB rss.nytimes.com 51 First and Final Frames: TV's New Golden Age From 'The Sopranos' and 'Twin Peaks,' to 'Mad Men' and 'Breaking Bad,' here's how the internet's favorite shows began and ended. 2016-04-08 15:10 1KB thecreatorsproject.vice.com 52 Contemporary Art Museum Opens in Amsterdam The Modern Contemporary Museum, or Moco, opens to the public on Saturday with a show of works by Banksy and Andy Warhol. 2016-04-08 15:01 1KB rss.nytimes.com 53 When Artists Kill Is a murderous temper the mark of a great artist? 2016-04-08 14:20 6KB thecreatorsproject.vice.com 54 Nahmad Modigliani in Panama Papers The Nahmad family has long denied ownership of a Modigliani involved in a Nazi loot restitution case, but the Panama Papers have finally revealed the truth. 2016-04-08 14:04 2KB news.artnet.com 55 Pop Designer Eero Aarnio Retrospective At Design Museum Helsinki Now, Design Museum Helsinki is staging a retrospective of works of Eero Aarnio, whose designs captured the imagination of the trend-setters in the 1960s. 2016-04-08 13:35 4KB www.blouinartinfo.com 56 Adam Green's Psychedelic 'Aladdin' Is a Handmade Labor of Love An exclusive look at how a group of friends and lovers, including Macaulay Culkin, Alia Shawkat, Zoe Kravitz, and Natasha Lyonne, made the version of 'Aladdin' you never knew you needed. 2016-04-08 13:30 6KB thecreatorsproject.vice.com 57 Tangled Web: Lizzie Fitch and Ryan Trecartin at Andrea Rosen, New York Through April 16 2016-04-08 13:15 4KB www.artnews.com 58 ‘It’s About Bringing People Together’: Fabiola Alondra and Jane Harmon on Their ‘Non-Gallery Gallery,’ Fortnight Institute Carmen Winant, Self Healing (II) (detail), 2016. COURTESY FORTNIGHT INSTITUTE On Saturday, April 16, Fortnight Institute, which bills itself as a public salon 2016-04-08 12:48 6KB www.artnews.com 59 Cao Fei's First US Museum Solo at MoMA PS1 For her first US Museum solo show at MoMA PS1, Cao Fei presents several roomfuls of dystopic scenarios that include alienated teens and utopian musings. 2016-04-08 12:42 7KB news.artnet.com 60 ‘He Nudges the Sacred Liberal Cows of Assimilation’: A Brief History of David Hammons David Hammons, A Movable Object, 2012.©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY With David Hammons's 50-year career being surveyed at 2016-04-08 12:27 8KB www.artnews.com 61 Geology Gets Deep Dreamed into Georgia O'Keeffe-Like Abstractions Filmmaker Kurtis Hough uses Google's AI vision to give timelapsed landscapes a Georgia O’Keeffe makeover. 2016-04-08 12:15 3KB thecreatorsproject.vice.com 62 Avid Art Buffs Camp Out for 'RCA Secret' Auction London's Royal College of Arts hosts their 22nd iteration of 'RCA Secret,' an anonymous auction featuring works by Grayson Perry, Steve McQueen, and more. 2016-04-08 12:06 2KB news.artnet.com 63 Dealers Upbeat After Day One of SP Arte Galleries from Brazil as well as Europe and America reported healthy sales after the well- attended preview day of the SP Arte fair, in São Paulo, Brazil. 2016-04-08 11:51 4KB news.artnet.com 64 See and Spin #4: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three things you need to read and three things you need to hear. 2016-04-08 11:35 5KB realart.com 65 L. A. Habitat: Thomas Houseago A visit with the Los Angeles transplant in his Frogtown studio. 'To be an artist here is really thrilling, and really frightening.' 2016-04-08 11:32 4KB www.artnews.com 66 caramel architects' poolside family home overlooks city in austria designed by caramel architects, the property is built six meters above street level to allow the surrounding garden to seamlessly connect to the living areas. 2016-04-08 11:15 2KB www.designboom.com 67 The 1:54 Contemporary African Art Fair Names Participants in ‘Forum’ Educational Programming Today the 1:54 Contemporary African Art Fair announced the lineup for Forum, its educational programming initiative during its New York fair, which will run 2016-04-08 10:33 2KB www.artnews.com 68 Interview: Goh Boon Teck on Staging ‘Kumarajiva’ In the lead-up to the opening of "Kumarajiva" at Singapore’s Victoria Theatre, we spoke to the production's director, Goh Boon Teck. 2016-04-08 10:26 2KB www.blouinartinfo.com 69 ordinary behavior brings juno jeon's furniture series to life the humor-infused project aims to create a relationship between our space, which is full of objects, and ourselves. 2016-04-08 10:24 2KB www.designboom.com 70 In ‘Duilian,’ Wu Tsang Discovers a Queer Revolutionary Chinese revolutionary icon Qiu Jin is getting a fresh look at Hong Kong’s Spring Workshop beginning this week, with the world premiere of a new short film from multimedia artist and activist Wu Tsang. 2016-04-08 09:49 1KB www.blouinartinfo.com

71 Design Dealers: Philippe Jousse, Jousse Entreprise Q&A with Philippe Jousse, director of Jousse Entreprise, one of the foremost specialists in French post-war furniture. 2016-04-08 09:41 3KB www.blouinartinfo.com 72 Milan Triennale “Sempering” Show Takes a New Look at Design Milan Triennale “Sempering” Show Takes a New Look at Design 2016-04-08 09:04 2KB www.blouinartinfo.com 73 Carsten Höller’s Den of Doubt at Pirelli HangarBicocca in Milan “Doubt” at the Pirelli HangarBicocca in Milan is a solo exhibition by German artist Carsten Höller. 2016-04-08 08:51 2KB www.blouinartinfo.com 74 David Ebony's Top 10 April NYC Gallery Shows David Ebony gives us what to see this month in New York, from fierce sculptures to paintings vibrating with life. 2016-04-08 08:35 16KB news.artnet.com 75 crossboundaries intersect colored hallways within kindergarten in china the derelict building has been repurposed into a program including public recreational space with a kindergarten to result in the ‘sooyoo joyful growth center’. 2016-04-08 08:25 3KB www.designboom.com 76 Leopold Museum Restitutes Schiele Watercolors Two watercolors by Schiele from the collection of the Leopold Museum will be returned to the heirs of the previous owner, killed during the Holocaust. 2016-04-08 08:05 2KB news.artnet.com 77 Artist Makes 80-Ton Mountain of Poo Mike Bouchet is currently in the final stages of creating a "monumental" work from the waste of the city of Zurich, which will be shown at Manifesta 11. 2016-04-08 06:52 3KB news.artnet.com Articles

77 articles, 2016-04-09 06:00

1 Matchesfashion.com Brings Pop-up to New York (2.00/3) Two years ago U. K.-based Matchesfashion.com staged a seasonal press day in New York to showcase its upcoming buy to press and influencers and court an increasingly global audience for its e-commerce channel. On April 13, the retailer, which has five stores in London, will re-create its private shopping town house in Marylebone for its New York press day at the WOM Townhouse in SoHo, and then open it up for consumers from April 15 to 17 for a weekend of programming and previews of site’s pre-fall and fall 2016 merchandise. There will also be a small edit of spring merchandise available on the site. It’s essentially a pop-up, but the customers can shop — via iPad — although they can’t take anything home. It’s an interesting consumer strategy. Shopping gets second billing to the weekend’s events, which include a talk with fashion blogger Leandra Medine, Matchesfashion.com’s buying director Natalie Kingham and Sander Lak of Sies Marjan; cocktails with The Coveteur; a presentation with former Details’ editor Eugene Tong, and brunch with Vivian Brodie of Paddle8. And at a time when fashion is accused of fatiguing customers by showing them merchandise well before its available to purchase, Matchesfashion.com is teasing its clients with its pre-fall and fall buy, essentially rejecting the consumer fatigue theory. “We’re using it as an opportunity to engage new customers, showcasing our different brands and exclusives,” said a spokesperson for Matchesfashion.com, who noted that the site has ramped up its focus on editorial content and it sees the temporary town house as a living version of it. Although founders Tom and Ruth Chapman launched Matches in 1987 as a purely brick- and-mortar enterprise, the strategy shifted to an e-commerce focus in 2013, re-branding the business as Matchesfashion.com, as opposed to just Matches, to unify its stores and e- commerce channels. Now, 85 percent of sales are done online and outside the U. K. Matchesfashion.com has hosted similar events in Dubai, Hong Kong, and Sydney and Melbourne, Australia. The New York event is open to the public. Some of the events require an RSVP, but for the most part, the town house is an open house. The retailer didn’t rule out the possibility of expanding its brick-and-mortar network to the markets it’s tested with the temporary town houses, but the spokesperson said plans for a New York store are not in the short-term. 2016-04-08 17:27 Jessica Iredale

2 alcarol's fungi collection reveals nature's intricate textures at salone satellite (2.00/3) forests are the dominant terrestrial ecosystem. their biomass is the oldest source of renewable energy used since our ancestors learned the secret of fire. much of this biomass occurs below ground as partially decomposed plant detritus. its decay is a clear example of the transformative energy of nature. the final stages in the life cycle of a forest tree attracts specialised fungi organisms which attack the wood breaking down the tough lignin layer that protects it. one of the effects of the early stages of wood decay is the fungi texture inside the matter of the tree: the fungal growth can create some of the most dramatic wood color changes with regions of discoloration and intricate patterns of amazing dark lines, adding a new dimension to the woodgrain. alcarol have used fungi from dead trees and abandoned logs to create unique pieces of furniture alcarol have used the fungi from dead trees and abandoned logs to create unique pieces of furniture. the company employs experimental processes to preserve the raw material exactly as it appear in his original habitat, giving it a new life before it goes to waste. the ‘fungi console’ is made of a single wood plank obtained from an abandoned beech log with its native populations of fungi, recovered in the italian dolomite forest. the plank is cut into two parts with a very thin blade and then joined so that in the corners the fungal woodgrain matches perfectly like a single bent piece, and also the resin – through a special process – is a single piece and not seen separations between horizontal and vertical resin edges. the console shows the most fascinating creations of the fungi: wood discolorations and intricate dark lines that look like free-form art drawn with a calligraphy pen, pigment demarcations constructed by the fungal colonies to protect their territories from potential competitor fungi. the ‘fungi console’ is made of a single wood plank obtained from an abandoned beech log the ‘fungi stool’ is a block of wood obtained from a dead apple tree with its native populations of fungi, inside and outside the log. the final stages in the life cycle of a tree attracts specialised fungi organisms which attack the wood breaking down the tough lignin layer that protects it. the section planes – through touch, sight and olfaction – allow you to transcend the ordinary perception of a place, discovering the intimate transformative wonder of nature. the ‘fungi screen’ is made of four wood boards obtained by sawing dead beech trees with their native populations of fungal colonies, recovered in the italian dolomite forest. the vertical arrangement seems to evoke the original forest trees, according to the idea of environmental cross-section of this extraordinary setting, and with the aim to transcend its ordinary perception. wood decay is a clear example of the transformative energy of nature the fungi table is made of a single wood plank obtained by sawing a very large beech log with its native populations of fungi, recovered in the italian dolomite forest. similar to the ‘console table’ the plank of wood is cut into two parts so that in the corners the fungal woodgrain matches correctly. alcarol’s fungi collection is on show at salone satellite 2016 during milan design week. the ‘fungi screen’ is made of four wood boards obtained by sawing dead beech trees the ‘fungi stool’ is a block of wood obtained from a dead apple tree the ‘fungi table’ is made of a single wood plank obtained by sawing a very large beech log the forest where alcarol find source their material alcarol have used fungi by selecting dead trees and abandoned logs 2016-04-08 12:41 Hollie Smith

3 Miart 2016 Dazzles in Milan (2.00/3) With this year's increasingly dense global art fair schedule that sees the Saõ Paulo fair SP Arte coinciding with the milanese fair Miart, it seemed clearer than ever that, as Miart director Vincenzo de Bellis stated recently , small fairs just may well be the antidote to a system in crisis. The preview day kicked off on Thursday, with a press conference announcing de Bellis's departure after four dazzling years at Miart, during which he had drastically transformed the fair from an event for local secondary market dealers, to a vibrant and well-curated affair, attracting international exhibitors and European collectors to Milan. The week of the fair has now become filled to the brim with high-profile openings and events. (There's Carsten Höller at HangarBicocca, Sarah Lucas at Fondazione Trussardi, a show curated by Thomas Demand and a solo show by Goshka Macuga at Fondazione Prada, and a slew of gallery openings to choose from). Related: Miart Director Says Local Fairs Are an Antidote to a System in Crisis De Bellis will go on to work as a curator at the Walker Art Center, and his successor at Miart has not yet been announced, but exhibitors across the board all agreed that it was his rebranding of the fair that lured them to Milan. "It's our first time at Miart and our very first fair in Europe. It's such a beautiful fair," said Colleen Grennan of LA gallery Kayne Griffin Corcoran , who decided to join after Francesca Kaufmann of kaufmannrepetto—who's on the fair's selection committee—suggested they take part. The gallery was showing works by David Lynch , furniture by sculptor Mark Handforth, and interventions on vintage film posters by Aïda Ruilova. Collector Valeria Napoleone, who recently launched an initiative to increase the number of works by female artists in public collections , was spotted at the booth toting a bright coral handbag of her own design, and expressing interest in Ruilova's work, which ranged from $10,000 – $16,000. Showing furniture by artists makes perfect sense at Miart, which also has a carefully curated design section called Object. David Lieske of Berlin and New York gallery Mathew, got a booth adjacent to the design section and is showing a solo presentation by Than Hussein Clark (who's a member of the collective Villa Design Group) which consciously played on the fluidity between art and design. The booth is a condensed version of a recent show by Clark at the exciting non- profit space Futura in Prague. The works, which range from $2,000-10,000, deal with debt— emotional, financial, personal—and included mixed media sculptures resembling telephones which ring occasionally, and two large, oblong photograms of bills, which resembled mirrors. "We're across from Nilufar, the best design gallery in Europe! " Lieske beamed. "It's our fourth time at the fair, it's the best excuse to come to Milan. " Milan-based galleries such as Giò Marconi—who are showing sculptures by Atelier Van Lieshout and intricate, humorous dioramas by John Bock—or the somewhat younger Brand New Gallery , also praised the impact of the fair on the city, which over the last two years has seen the galleries and foundations join forces to hold major openings around the fair's dates. Fabrizio Affronti of Brand New Gallery reported brisk sales for all his artists, including sculptural photographic works by Kate Steciw which went for about $8,000 and a richly textured monochromatic canvas by Bosco Sodi, which went for $85,000 to an Italian collector. As the day progressed, sales were picking up pace and Berlin gallery Exile sold all works at their booth by Paul Sochacki, including the enigmatic painting Smoking Kills (2015). The gallery's Christian Siekmeier also reported high interest in paintings and sculptures by Memphis veteran Nathalie du Pasquier , who's having a busy year, with an upcoming major show at the Kunsthalle Wien this summer , and across the pond, at Lisa Cooley. The undisputed highlight at Miart, however, is the section Then/Now, curated by LACMA's Jarrett Gregory and Walker Art Center's Pavl Pys, which pairs a young artist with an historical position, represented by two different galleries. Vistamare gallery shared a booth with Esther Schipper showing an unexpected but thoughtful pairing between Arte Povera artist Giovanni Anselmo and Daniel Steegmann Mangrané, best recognized for his oculus rift piece at last year's New museum Triennial. Both artists' pre- occupation with physical tensions and organic materials brought together Steegmann Mangrané's cut-up branches with inserted objects, and a blue pigment painting by Anselmo. Other utterly successful pairings were evident in the collaborative work by Rirkrit Tiravanija and his former student Korakrit Arunanondchai, represented by Gavin Brown's Enterprise and Clearing, respectively (pictured at the top). The installation, priced at $150,000 was inspired by a Sarah Teasdale poem and included a denim-covered platform with burned patches and ashen tinder, and a video work capturing the fire. Another charming pairing shown by galleries Campoli Presti and Galleria dello Scudo brought together works by Nick Mauss and calligraphic artworks by Gastone Novelli, which truly demonstrated the premise that all art is contemporary. Artist Anri Sala was ogling the works, which ranged from €20,000 for Mauss to €270,000 for Novelli, and were hung against a printed backdrop designed by Mauss. Gallery Lelong shared a booth with Apalazzogallery, pairing works by Czech poet and artist Jiří Kolář with huge jute sack installations by Ghanian artist Ibrahim Mahama—priced at €40,000 each—the same kind of works that are at the heart of a bitter legal dispute between the artist, collector Stefan Simchowitz and art dealer Ellis King . Over at the Decades section—a new addition to the fair where exhibiting galleries focus on one decade on the 20th century—was a treasure trove of historical positions and thoughtfully curated presentations. Blain|Southern represented the 1950s with sculptures by Lynn Chadwick, who represented England at the 1956 Venice biennale, with works ranging from £60,000 – 250,000. Michael Werner Gallery pithily captured the 1960s with stainless steel container by Piero Manzoni entitled Linea m. 1140 ( 1961). London based gallery Wilkinson presented the 1980s with a booth inspired by the influential experimental publication ZG Magazine, focusing on one issue in particular—presented in a display case—which dealt with the theme of the double, and featured a photo by Laurie Simmons on the cover. The work Fake Fashion/ZG Magazine Cover , (1984) by Simmons was also hanging at the booth, alongside works by Dara Birnbaum, Derek Jarman, Jimmy DeSana, and Joan Jonas's Double Lunar Dogs , which sold to an Italian foundation. Of the four curated sections at the fair, the Emergent section strangely seemed the least enticing. Maybe it was due to the high quality presentations all across the main section of the fair, which were perhaps hard to match for the very young galleries invited to participate here. Or maybe it rather had to do with the floor plan, and the problematic positioning of the section which made it feel like an addendum. Two booths stood out here, who opted for bold and sensual presentation rather than pared down, minimal, or ironic statements. Gilmeier Rech from Berlin presented a solo booth by Marco Bruzzone, who used pizza cartons as both backdrop for his colorful abstract paintings which resemble orifices, and for his sculptures, which he covered in especially sewn sweatshirts. Next door, an immersive presentation of works by Athena Papadopoulos drew everyone's attention to the not-yet-opened London space Emalin, which will host its first exhibition this upcoming September. It doesn't get more "emergent" that this. Follow artnet News on Facebook. 2016-04-08 08:04 Hili Perlson

4 4 Free Freight Program Take advantage of our special year-round Free Freight Program for exhibitors! It’s simple: When you send your artwork to any of our shows to exhibit, we’ll transport it to the next show … and the next … and the next, saving you thousands of dollars in the process. Just imagine the convenience—after Artexpo New York this April, we’ll carefully store your artwork and ship it to whichever Redwood Media Group show you’ll be exhibiting at next. Just pick the show and we’ll make it happen! Exhibitors, don’t miss the opportunity to save big with the Free Freight Program! Call us today to take advantage of this exclusive deal. 2016-04-09 06:00 artexponewyork.com

5 Alexis Silk, 2016 Spotlight Artist Alexis Silk is breaking exciting ground with dramatic new works in blown glass and metal that are at once timeless and thought provoking. Emerging from the intersection of the artist’s fascination with the human figure, passion for her molten medium, and desire for conceptual expression, the work exhibits surprising maturity and depth. Technically, Silk is pushing the boundaries of what is possible, sculpting her glass figures entirely freehand while the glass is hot on the end of a blowpipe or punty rod. Her largest figures are close to half her body weight and take a team of six assistants to handle the glass while she is sculpting it. While making intrinsically beautiful objects, Silk explores issues of human nature, society, and the relationship of humans, nature, and industry. Her hanging figures are an eloquent exploration of objectification of the body. Since receiving her BFA from the School of the Art Institute of Chicago in 2005, Silk has continued to study with glass masters such as Pino Signoretto, Richard Royal, and Boyd Sugiki. She has been working full time as an artist since 2006. Today she has work in museums, galleries, private collections, and fine art shows around the world. A much-anticipated programming element of Redwood Media Group’s other art shows, the Spotlight Artist Program is being featured for the very first time at Artexpo New York in 2016 and will continue to be a highlight at the show in future years. Alexis Silk is one of four esteemed artists selected for this year’s Spotlight Artist Program. 2016-04-09 06:00 lmullikin

6 Show Guide Ad Upload Please include your gallery name on all files. Files larger than 15MB can be sent to: [email protected], using one of these free services: • Dropbox: www.dropbox.com • WeTransfer: https://www.wetransfer.com/ • Hightail: https: https://www.hightail.com/ 2016-04-09 06:00 artexponewyork.com

7 Tickets Please Note : Above tickets include VIP Opening Preview Party but DO NOT include TRADE DAY Hours on Thursday, April 14, 12PM–4PM. General inquiries for ticket refunds can be sent to [email protected] . If you’re an industry buyer, such as a designer, architect, or gallery owner, register online. After April 12th, complimentary trade registration tickets will be available onsite only. Trade attendees must bring the following identification to Artexpo New York: • Personalized business card (with company and employee name) • Photo ID After April 12, 2016 if you are PRESS or MEDIA please contact Jaclyn Acree at [email protected] to RSVP for media access. 2016-04-09 06:00 artexponewyork.com

8 Introducing Adrian Arrieta, 2016 Poster Challenge Winner Meet Adrian Arrieta, the 23-year-old artist who took our social media-powered Artexpo New York Poster Challenge by storm in his quest to garner the most votes in the 2016 contest. Earning the top honor with his painting The Princess of the Strawberry Mouth, Arrieta looks back with us at his journey and the sacrifices he’s made to get to this point—a point we are confident signals just the beginning of an exciting art career ahead. Born in Rodas, a municipality in the Cienfuegos Province of Cuba, Arrieta grew up longing to become an artist, but often felt discouraged by the impracticality of his dreams. “I was always skeptical about becoming an artist in my country,” Arrieta explains. “I [could] never find the freedom to criticize society through my paintings without being repressed here … The lack of freedom in Cuba imposes a protocol that needs to be followed.” Nevertheless, Arrieta, the son of a pharmacist and an English teacher, immersed himself in art whenever he could, thriving during the portion of his school day that he got to spend in art class. He shares, “Although I enjoyed the other subjects at school, my art class stood out the most. Perhaps it was the chance of getting to express what I felt in those 45 minutes of class that drove me towards the bizarre idea of becoming an artist.” At age 14, Arrieta left his home to attend the Benny Moré School of Art, one of the top visual and performing arts schools in Cuba. Unsure if it was worth being separated from his family in order to pursue such an elusive goal with meager financial support, he nevertheless pressed on, eventually graduating at the top of his class. His fine standing upon completion at the academy provided him with several opportunities to exhibit his work throughout the Cienfuegos Province. “I never denied an opportunity,” says Arrieta. “I would barely sleep, but just to think that somebody could understand my work and actually like it was my definite accomplishment.” After graduating, Arrieta decided to come to the United States to attend college in Miami and broaden his potential exhibition opportunities. “I came to the U. S. not only to begin my studies in graphic design, but also to be able to exhibit at the best places in the country,” he explains. “One of those places—and perhaps the first one on the list—was New York.” Upon arriving in Miami, he finally set about to put his creative ideas to work—but he quickly became bogged down by the pressures of making a living while pursuing his education. Working 48 hours a week to help his family pay for their basic needs while attending classes Monday through Friday, Arrieta felt his dream of painting was fading. “But I never give up,” asserts Arrieta, “To be able to paint is my only dream and I will do anything in order to achieve it.” When he was researching painting contests in the United States one day this past January, he came upon the call for entries to the 2016 Artexpo New York Poster Challenge. Never one to turn down an opportunity, no matter how daunting, Arrieta submitted The Princess of the Strawberry Mouth to the contest, hoping against hope that his artwork would end up being the one that tens of thousands of show attendees would see splashed across the Artexpo show poster come spring. Much to Arrieta’s surprise, his painting was chosen from over 550 original entries as a top 10 finalist by the selection jury just two weeks later. “I barely slept for a week when I received the notice that I was one of the 10 finalists,” he confesses, “and I could not stop thanking my friends and family for supporting me on social media.” Amassing the largest number of votes on Facebook during the one-week public voting period, Arrieta was named the winner of the 2016 contest, scoring a host of exposure opportunities that totaled a value of $20,000, including the chance to exhibit his work at Artexpo New York. Arrieta is still incredulous that the last couple of months transpired the way they did. “I will never be thankful enough for the opportunities I have received in this country, to receive such an enormous chance,” he shares. “I am [exhibiting] in New York and, as I am saying this, I still cannot believe it.” View Adrian Arrieta’s winning artwork, The Princess of the Strawberry Mouth, at Booth S704 in the [SOLO] Pavilion. 2016-04-09 06:00 lmullikin

9 Official Logos Spread the word and advertise your upcoming exhibition at FOTO SOLO 2016 with our official logos. Use them in your website, for online advertising, in promotional emails, print invitations and print marketing! Simply click any logo to download. Use this HTML code to add the banner to your website: 2016-04-09 06:00 artexponewyork.com

10 Directions & Parking At Pier 92, 900 on-site parking spaces are available for cars, and an additional 15 spaces are available for commercial trucks and shuttle buses. Open rooftop parking at Pier 92 is $35 for 10 hours or $40 for 24 hours. Please access Pier 92 parking via the automobile ramp at the intersection of 55th Street and the West Side Highway. All vehicles should follow signs for the NYC Passenger Ship Terminal parking. Please note that height restriction is 8’6”. *Parking spaces are dependent upon cruise activity. Click here to see additional nearby parking options. Take George Washington Bridge to 178th Street (Truck Route). Turn right onto Broadway. Follow Broadway to 55th Street. Turn right onto W 55th Street. Cross over the West Side Highway and turn left into the Passenger Ship Terminal – Pier 94. Lincoln Tunnel (from 95) – take 40th St. to 10th Ave. and a left on 55th St. George Washington Bridge – From NY Side take Rt. 9A, Henry Hudson Parkway south/downtown. Proceed south on Henry Hudson Pkwy to last exit at 56th St., stay right for thru traffic. Passenger Ship Terminal is 1 block ahead on right. Paid parking on roof. Rt. 80 or Palisades Parkway – to George Washington Bridge to NY side and follow directions for Henry Hudson Parkway. Proceed south on Henry Hudson Pkwy to last exit, at 56th St, stay right. Passenger Ship Terminal is 1 block ahead on right. Garden State Parkway – To exit 153 or N. J. Turnpike to Exit 16E (better). Then Rt. 3 E to Lincoln Tunnel, follow signs for Lincoln Tunnel. Exit tunnel and make left turn, travel north on 10th Ave., and left onto 55th St. Cross 12th Ave. and follow signs to Passenger Ship Terminal. Drive up the Ramp. Paid parking is on the roof. Holland Tunnel – follow signs for “Uptown” right on Hudson, left on Canal. Proceed four blocks to West St. and turn right. West St. becomes 12th Ave. Follow “Thru Traffic” signs. Continue north on 12th Ave. and follow signs to Passenger Ship Terminal. (Left at 55th St.) Queens Midtown Tunnel – when exiting bear right to 34th St. Go west on 34th to 12th Ave. Make right turn, go north to 55th St., make a left at 55th St. and follow signs to Terminals. Triborough Bridge – Follow signs to “Manhattan” and FDR Drive South. Take FDR S to 53rd St. Exit. Take 53rd St. crosstown to 11th Ave. Turn right, go two blocks (55th St.). There are several options for using public transportation to access Piers 92/94. The M31 and M57 buses run close by Pier 94. Click on the Metro Bus Schedule for map & schedule details. 2016-04-09 06:00 artexponewyork.com

11 Could Reading Be Looking? | e-flux Imagine, if you must, walking into an exhibition space and encountering work so oblique you don’t know what to make of it. You start looking for text. First on the wall, then, by the door or a desk someplace. You scan whatever copy you can find, searching for coordinates, landmarks, bits of conceptual breadcrumbs, or a bright stripe of familiarity amidst the thicket of ideas. You hope to find some meaning in the work in front of you. Sometimes you do. The average museumgoer stands in front of a work for fifteen to thirty seconds. An average reader can comprehend about two hundred words per minute. A viewer who reads a standard wall label (which averages about one hundred words) will spend as much time reading as looking. The wall labels, introductory texts, and section texts condition the pace at which visitors move through an exhibition, the amount of information they receive beyond any preexisting knowledge, and their sense of what the museum wants them to know or learn over the course of the show. To group together these three textual mechanisms—the introductory wall text, the section texts, and the labels—is, in a way, to go against a museum’s best practices, since each of these plays a different role in communicating an exhibition’s thesis and pace. But they all support each other in an endless loop of authority. What do we look at when there’s a text present? Where do our eyes go? Vinyl lettering on the wall near the entrance to a show colors it, shading it thematically or in terms of an artist’s biography. If a label is aligned with a painting, eyes wander between text and image, comparing authority and subjective experience, looking for the places where text touches what it describes. Guides, maps, and lists plot the works in a sequence, delineating ways of moving through the space. All of these devices—wall texts, labels, press releases—are built into viewing art. Reading has become part of looking. One of the most personal and comprehensive accounts of looking at art began in January 2000, when art historian T. J. Clark arrived at a six-month research residency at the Getty Institute in Los Angeles. He had no exact research program—“the most likely bet was Picasso between the wars”—and during his first days he wandered around the Getty Museum in search of specific paintings.1 Clark titled the resulting study The Sight of Death: An Experiment in Art Writing, though “an experiment in attention” might have been more accurate. Clark spent six months visiting, nearly every day, two paintings by Nicolas Poussin: Landscape with a Calm (1650–51) and Landscape with a Man Killed by a Snake (1648, on loan to the Getty from the National Gallery, London). The Sight of Death records Clark’s thoughts day by day, giving us an expanded sense of what looking might mean for the art historian: Clark shifts from descriptions of the works to accounts of the his steps through the museum toward them; he reassesses the political possibilities of art history; he writes about Greek religion, times of day (both the time depicted in the painting and the hours in which he goes to look at them), travels through the West Coast, and what is valuable enough to write down as description (and what isn’t). I download a high-quality JPEG of Landscape with a Calm from the Getty’s website (the 17.58 MB image is freely available to download under the institution’s open content policy2) and examine it onscreen, zooming in and out, running my fingers on the trackpad to lead me through the image: the leaves on the trees, the horse riders on the left, the Italianate architecture of the castle that dominates the image even though it isn’t in the foreground. None of this amounts to the hours of looking Clark clocked in, but it does add up to more attention than I would usually give to any image I download off the internet and save onto my desktop. But there’s another form of attention: when I google “Landscape with a Calm poussin,” the second result is a YouTube video produced by the Getty.3 It’s a static shot of the painting, accompanied by an audio track delineating some details about the painting (year, subject), and a short section in which Denise Allen, then associate curator of painting at the museum, talks about what painters learned from Euclidean geometry. The text of the audio track sounds familiar. In language, in approach, it echoes a certain standard: it gives a date, title, and a medium, the name of the artist, a quick description, and a short, digestible explanation of what the work might mean. All the checkboxes of a wall label. My eyes no longer wander across the JPEG, they focus on the larger picture since the curator discusses geometry and spatial configuration. Does reading wall labels allow us to escape the difficult task of looking? Or commit us more totally to it? Without the feeling of the body in the museum space, while looking digitally it’s easy for me to register exactly how the text authors the way I look. It is enough to compare Thomas Struth’s series of photographs taken in museums to the promotional images on those same museums’ websites to see how looking has changed over time. The peopled installation shot is a trope because it helps register scale. (The art historical term is “staffage,” which is the word for the characters and animals populating a painting of which they are not the subject. The shepherds, goats, and horses in Landscape with a Calm are all staffage.) This kind of installation shot also makes the museum seem lively, a communal space where all sorts of activity happens, though apparently this mainly involves taking photographs. The “Visit” page on MoMA’s website includes an image (taken from Flickr) of a young man photographing a close-up of Monet’s Water Lilies (1914–26) from the museum’s collection. There’s #museumselfie day (January 21). When Beyoncé and Jay Z visited the Louvre in 2014 they posted pictures on Instagram of themselves in front of the Mona Lisa and another image of their backs (with their toddler Blue Ivy) looking at Jacques-Louis David’s Coronation of Napoleon (1807). Cell-phone photography conditions much of what looking at art in pubic collections is now. It’s a comfortable looking, a familiar version—watching by way of a screen. It’s also often an uncomfortable image: Struth’s photographs (especially in the “Audiences” series) are populated by staring, gaping masses. Some of them are scratching their heads or digging fingers into their mouths. There are some cell phones and digital cameras in Struth’s images (Hermitage 3 and Hermitage 5, 2005), but these are a bit too early for the Instagram-oriented museum. In Hermitage 1 there are two women listening to audioguides and in Audience 2 (Florence, 2004) a woman in a sundress and sneakers is reading a printed book that looks like a guide to the work in front of her (Michelangelo’s David). Is it more looking or less looking if a viewer is watching the work on a cell-phone screen while standing in front of it? Is it more or less concentration if a viewer listens carefully to the audioguide, his or her eyes resting on the work in front? Is looking without an audioguide, without text, more looking? Is reading the wall text more learning? This question appears in the list of issues MoMA found visitors are most concerned with when reflecting on wall labels. Other questions include “Is this really art?” and “How did the artist make this?”4 The most common queries are for background information about the artist, the method of a work’s production, and its value. Hence the standard information included in a wall label— artist’s name, work title, date of execution, medium, and a short text that attempts to do one or some of the following: (1) place the work within a larger historical framework; (2) reflect on the artist’s intentions; (3) assert the contribution/value of the particular work on display; and if the work is in a temporary exhibition, (4) support the show’s ideas by using the work as an example thereof.5 This assigns a wall label a particular, crucial role. Not only does it provide information about the work; it is also the main vehicle for museum audiences to internalize the art-historical trajectory the institution ascribes to a work by linking it to a movement, to historical precedents, to sociopolitical concerns, or to an artist’s larger body of work. The historicizing impulse in wall labels and texts, however, conceals a contradiction: a wall text or label is a temporary, undocumented construct. It could be updated, in the case of a collection display, or taken off the wall, in the case of a temporary exhibition, but it is rarely made available on the museum’s website, for example, as a historical document in its own right. In April 2015, LA Times art critic Christopher Knight published an article taking to task the Whitney Museum of American Art. Knight claimed that in a wall text featured in “America Is Hard to See,” the exhibition inaugurating the Whitney’s new Downtown Manhattan home, the museum misrepresented his 1993 review of that year’s Whitney Biennial. According to Knight’s account —there is no record of the copy anywhere else—the wall text read, “Christopher Knight’s review was a typical one, noting the unprecedented presence of art by women, ethnic minorities, and gays and lesbians, while decrying the show’s artistic quality.” The critic condemned the Whitney’s “shabby” wall text, which reads as though Knight ascribed the lack of quality to the participation of marginalized artists, rather than his original intention, which was to commend the curators for creating a “Biennial that looks more like America,” while faulting their choice of works by these artists, which predictably dealt largely with the artists’ exclusion.6 The wall text was subsequently altered, but not to Knight’s satisfaction. Why is there no common archive of wall texts to which disputes such as these can be referred? Institutional authority begins by placing some part of itself outside history. When a wall text has done its job, it coincides with history so entirely that its own history is insignificant, in the way that the history of the grains of sand in which Pythagoras first drew his famous theorem are insignificant. Only when a wall text is wrong or perceived to be wrong does it become part of the story. An archive of wall texts, then, would be like an ever-expanding compendium of the illicit history of the museum and the writing thereof. If the museum wants its wall text to be as transparent as possible, the commercial gallery simply wants it to be: wall text is the gallery’s object of desire. This is why galleries have disposed of it entirely and do not produce it themselves. Collect wisely and wall text is your reward. Buy this and someday your name, too, might appear within the medium of record, just below a description of your triumphant taste! Hence the central role played by the gallery press release, which, unlike a wall text, exists less to edify an existing value than to delineate the future significance of what is present somewhere nearby. The exuberant language of these releases is a performance of wall text, distilling its social-historical logic by way of an exaggerated and aggressive imitation. A corrected caption from a recent exhibition on Seth Siegelaub at the Stedelijk Museum in Amsterdam. The exhibition reproduced original wall labels from the show “January 5–31, 1969” (1969). The complex authority of wall texts is what artist Fred Wilson exploits in projects like the exhibition “Mining the Museum” (1992, Maryland Historical Society). Wilson culled objects from the museum’s collection and presented them in a way that highlighted the museum as a “site of institutional racism.”7 The life-size sculptures of Indians placed outside cigar stores in the United States were shown accompanied by labels identifying the store owners who commissioned them. An archival photograph of two slaves with three white kids emphasized the former’s presence in the label: “African-American domestics with charges.” And a pair of iron slave shackles were joined to a presentation of nineteenth-century silverware made in Baltimore, the label identifying them as contemporaneous (c. 1793–1872), using the devices of art history to underline a new and different account of the world historical kind. This intricate relationship to history and authority has become comic amidst the current trend of recreating historical shows. In a recent exhibition at the Stedelijk Museum in Amsterdam on Seth Siegelaub’s work as a curator, art dealer, publisher, and textile collector/scholar, a wall text read: “For reasons of historical accuracy, the text on the wall labels in the reconstruction of the January 5–31, 1969 show reproduces the original specifications of the artworks as found also in the catalogue. The updated specifications can be found below the introduction text of this space.” The section dedicated to the show was a one-to-one scale model based on photographs from the original exhibition and its catalogue. The labels were recreated too, as part of the exhibition. The updated specifications mainly included brief provenance notes. The decision to add updated labels outside the recreation demonstrates the wall text’s conflicting mandates: Are these labels scholarly evidence or pedagogical devices? Are they the history of an exhibition or are they its present state? The Stedelijk, responsibly, decided not to decide. They went with both. Beyoncé and Jay Z rent out the Louvre Museum for a private tour. Among other shots and selfies, they are portrayed looking at Jacques-Louis David’s Coronation of Napoleon (1807). Is it still a wall text when it isn’t on the wall? With technological developments, especially mobile devices and social media, museums see countless opportunities to engage with their audience digitally, both in the building and outside it. The Metropolitan Museum of Art has calculated that while the museum sees six million visitors a year, its website brings in twenty-nine million, and the reach of the institution’s Facebook page is ninety-two million. The New York Times declared that these numbers “raise interesting questions about what we mean when we speak of ‘the museum.’”8 The above question combines two others: the first is where viewers expect to find knowledge, and the second is an inquiry into the way it is presented. The Met’s app has a collection section with 425,381 records (as of March 2016) and access to the museum’s audioguide directly from a mobile phone. The Guggenheim’s app offers tours through the temporary exhibitions (with recordings of the wall texts as they are presented in the exhibition) as well as one dedicated to the Frank Lloyd Wright building. The Walker has an online collections catalogue—constantly updated, media rich, heavily researched, and publicly available.9 The Tate has produced over ten apps, from exhibition-specific ones (which are offered for a price of $2.99) to a mobile guide to Tate Britain (offering videos not unlike the one on the Getty’s website described above) and a game of cards (“Tate Trumps”). All of these—maybe with the exception of “Tate Trumps,” which is so futile that it hasn’t been updated since January 2012—bring the kind of knowledge ordinarily acquired inside the museum out beyond its walls. Making a great app will not save any institution from the knotty status of its wall texts and other interpretive material, but at least it makes this content part of our current system of consuming information. Making it publicly available subjects it to scrutiny and documentation (even simply by screenshots), and perhaps gives it a more valid place in systems of knowledge distribution. In 2009, the Pompidou Centre in Paris presented an exhibition where the only thing to see was wall texts. “Vides” (Voids) was a retrospective of empty exhibitions. Beginning with Yves Klein’s The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility (known today largely as “Le Vide”), which was originally shown at Galerie Iris Clert in Paris in 1958, the museum charted a history of vacant spaces, including works by Robert Barry, Art & Language, and Maria Eichhorn. The series of nine empty rooms offered “nothing to see, but a lot to think about,” according to Le Monde art critic Emmanuelle Lequeux.10 A museum without wall texts is not a solution. Taking away interpretive devices like wall texts would chip away at understanding, at the possibilities for art to present ideas that expand the time and context of its making. One thing these discursive elements could offer, however, and don’t, is a shift from authority to a multiplicity of voices. Imagine numerous label systems, or layers on each label, or six audioguides from different viewpoints, or different exhibition guides according to a visitor’s interest. Curator Ingrid Schaffner evaluates the current state of wall texts in an essay cheekily headed “Wall text, 2003/6. Ink on paper, courtesy of the author.”11 Schaffner charts the history of labels back to the early eighteenth century (in leaflets offered to those recommendation-holding visitors allowed to view private collections). She also provides a short history of artist interventions into wall texts (“artists have a lot to teach curators about the rhetorical power of text”—the example of Fred Wilson’s work above came from this essay) and a number of curatorial methodologies for wall labels. What Schaffner presents is not a best practices—since most museums have created their own—but rather a survey of suggestions. “Labels should talk to the viewer and to the art simultaneously”; “language can be rigorous, or colloquial, as long as the overall tone is generous.” Most importantly, Schaffner begins her list of recommendations by declaring that “there should be no set standard for wall texts.” Authority begins as a symptom or a reflex of comprehension. Authority is what comprehension produces as a byproduct, almost, of the process of separating itself from confusion. “We see as we are told.”12 2016-04-09 01:20 Orit Gat

12 Moving Image Commissions #3: Bruce Conner and Leslie Thornton Leslie Thornton’s They Were Just People is the third installment in the Moving Image Commissions, a series that addresses works by key artists in the Walker’s Ruben/Bentson Collection. They Were Just People will be presented on the Walker Channel April 8 through May 31, 2016. It will also be screened April 9, 2016 in the […] 2016-04-09 00:08 By

13 BUY TICKETS On Tuesday, April 5, the Walker and 89.3 The Current announced the lineup of Rock the Garden 2016. Due to construction at the Walker, this year’s concert will be held on Saturday, June 18, 2016 at Boom Island Park in near Northeast Minneapolis, and will feature two alternating performance stages for our eight amazing bands. We liveblogged the announcement […] 2016-04-09 01:02 By

14 Meredith Monk: 16 Millimeter Earrings and the Artist’s Body At once a choreographer, composer, actress, singer, and director, Meredith Monk is known for a body of work that is often considered unclassifiable. Since the 1960s, her practice has spanned across disciplines of dance, theater, visual arts, and film, and has included solo as well as ensemble pieces. Monk’s self-fashioned degree in “Interdisciplinary Performance,” obtained […] 2016-04-09 03:04 By

15 Hearst Avows to Show Diversity in Pages at Talk With White House CTO Megan Smith More Articles By Megan Smith, the White House chief technology officer, paid a visit to Hearst Tower in Manhattan on Thursday afternoon. The appearance, which would seem timely, taking into account news of the Panama Papers data leak and ongoing questions abounding from Apple’s iPhone encryption case, proved to be light on answers. The talk, which was led by Hearst Magazines president David Carey , was more of a presentation on what Smith’s role is in the Obama Administration, and her personal cause to educate Americans on the historic role that women have played in computer and data science. For instance, she highlighted Katherine Johnson, the NASA mathematician who was the recipient of the 2015 National Medal of Freedom. She also noted that only 3 percent of female entrepreneurs were receiving venture capital funding. For black entrepreneurs, the numbers were even grimmer at 1 percent. While Carey did make mention of the larger world issues, he didn’t press Smith. He asked if there was a “breach” between the West Coast and Washington, D. C., taking into consideration that we’re in an “era where terrorists are using digital tools.” “The president is very serious about encryption….and being collaborative,” she replied, noting that without going the legal route, agencies can follow “digital dust” or data signals for pertinent information. “What I’m finding is a great openness on all sides,” Smith offered. In terms of technology, she noted that the government may find a use for virtual reality in the form of training police officers on “empathy.” After an exposition of sorts on how the public and private sectors have “unconscious bias” in favor of promoting men over women, Smith said: “One of the hardest things is to step into the reality that we can’t see.” She quoted studies that said if a job listing is looking for 10 specific skills, women will apply if they have at least seven of them whereas men will apply if they have three. Toward the end of the conversation, Smith looked to Carey and Hearst for help in changing views on women and people of color. Carey nodded to Cosmopolitan editor in chief Joanna Coles, who was sitting in the first row. “We’ve started this initiative to make sure that the pages we create reflect the diversity in the United States,” Carey said. “As we looked at those pages over the last couple of years, we realized we did not do the job we need to, so we kicked off this initiative last year…just so we make sure we look at everything with fresh eyes.” 2016-04-08 22:58 Alexandra Steigrad

16 Met to Sell Alexander McQueen, Issey Miyake and Other Designer Products Inspired by ‘Manus x Machina’ Exhibition As of May 5, museum goers will find jewelry, handbags, scarves, stationery, books and postcards amidst the more than 150 items. As a nod to the fact that fashion insiders like to be first, the museum will launch the collection online May 2 to celebrate this year’s Met Ball that night. All of the merchandise will be offered in its Fifth Avenue main-floor store on May 5, timed to the official exhibition opening for the public. Gleaning shopping preferences from the in-store assortment that was offered for last year’s blockbuster “China: Through the Looking Glass” show, The Met’s retail team is focusing on smaller items that retail for $500 or less. Small, lightweight items that are not cumbersome for tourists or out-of-towners to carry in their bags or stash in suitcases are consistently popular, according to a staffer in the museum’s retail division. Exclusive offerings include a $385 silk chiffon Alexander McQueen scarf. With prices ranging from $425 to $925, Issey Miyake bags are expected to be bestsellers. Other items include a $375 Noa Raviv silk scarf; Flowen’s $3,950 ENDO clutch; a Maison Martin Margiela $90 magnifying glass, and $195 Junko Koshino handbags. Shoppers who find their way into the galleries will discover 100-plus ensembles, spanning from an 1880s Charles Worth gown to a 2015 Chanel suit. “Manus x Machina” will explore haute couture’s start in the 19th century, and how the onset of industrialization and mass production that followed helped to more clearly distinguish between the hand and machine. For the catalogue, curator in charge Andrew Bolton interviewed Karl Lagerfeld, Hussein Chalayan, Christopher Kane, Iris van Herpen, Sarah Burton, Miuccia Prada and Gareth Pugh, among others for the Yale University-published $50 book. 2016-04-08 22:51 Rosemary Feitelberg

17 velocipedia by gianluca gimini renders crowd-sourced error- driven bicycle drawings bologna-based designer gianluca gimini conducted an experiment by asking friends, family and total strangers, to draw a men’s bicycle by heart using just a pen and a sheet of paper. some accurately remembered a bicycle’s frame design, but others drastically varied. little did he know psychologists used this type of demonstration to show how our brains sometimes trick us into thinking we know something even though we don’t. gimini ended up collecting hundreds of drawings, building up a collection he calls ‘velocipedia’. ‘there is an incredible diversity of new typologies emerging from these crowd-sourced and technically error-driven drawings,’ says gianluca gimini. ‘a single designer could not invent so many new bike designs in 100 lifetimes and this is why I look at this collection in such awe.’ the designer eventually transformed a select few he found most interesting and rendered them as if they were real. gimini continues – ‘I became the executor of these two minute projects by people who were mainly non- designers and confirmed my suspicion: everyone, regardless his age and job, can come up with extraordinary, wild, new and at times brilliant inventions.’ 2016-04-08 22:30 Piotr Boruslawski

18 The 23 Best Evening Bags for Fall 2016 Come nightfall, the dress isn’t the only way to dazzle. One’s evening bag often makes just as much of a statement as one’s clothing. Especially this fall. The autumn’s crop of bag are equal parts functional objects and objets d’art. For instance, Alexander McQueen showed a white leather version decorated with a fairy-tale scene of a unicorn under a shooting star. Oscar de la Renta offered a hot-pink satin number, heavily embellished with jet beading. At home or in hand, either would be a conversation item. Check out our other callouts among the season’s best trends , from footwear — tall boots , chunky-heeled shoes , mary janes , men’s-inspired shoes — to accessories — top-handle bags , small shoulder bags and clutches — to jewelry . 2016-04-08 22:16 Roxanne Robinson

19 Rosie Huntington-Whiteley on Childhood in the Countryside and Life in L. A. The brand decorated long wooden tables with rows of pink roses and candles displayed in holders made from tree trunks. Bales of hay were cast around the barn, some fashioned as sofas with cozy throw pillows and blankets and complemented by slabs of tree trunks used as tables. Following the event, the British model, who has worked with brands such as Marks & Spencer and Burberry, and who acted in the Academy Award- and BAFTA-winning “Mad Max: Fury Road,” sat down with WWD and talked about growing up in the country. I think we live in an age now where people really want to see a bit more. There is still obviously this side of the industry that is all about being very aspirational and glamorous and unobtainable, and I think that is an important part of fashion, but I think at the same time, for brand like Ugg, and for somebody like myself, it’s really exciting when you can get to be more playful, more fun and show that side of yourself as well. I really wanted to move to London since I became a teenager, because I wanted the polar opposite (of the outdoors). I’ve lived in New York and in London. I love the city life, but what actually suits me really well right now is living in Los Angeles because it feels a little bit like living in the countryside, but living in the city at the same time. You can drive thirty minutes and be at the beach or the coast, or drive a few hours and be skiing. What is so cool about Ugg is that it’s a brand that I can always have in the back of my car, and pack them wherever I go. I recently got the Rella boot, which is the new boot for spring, and I’ve been wearing it during the weekend in Malibu, with the dogs on the beach, and it’s just the perfect shoe to have for my off-duty days. Living in Los Angeles, it’s the small things that you miss. I miss switching the TV on and hearing a British accent, reading the news, or putting the radio on and hearing my favorite DJ. Just being able to crack a joke and for people to kind of get it. Sometimes my sense of humor gets lost a little bit in Los Angeles. 2016-04-08 22:00 Lorelei Marfil

20 Jennifer Fisher Celebrates 10 Years at Mr. Chow More Articles By “A few years into it, I knew we had something special.” Jennifer Fisher was reflecting on hitting the 10-year milestone of her jewelry line at Mr. Chow in TriBeCa on Thursday night. The designer had invited some of her nearest and dearest to help her celebrate the occasion. “I started going to Mr. Chow when I was young growing up in California,” she explained of the venue choice, which was decked in greenery for the event. “They are home here — it’s sort of like our ‘Cheers’. It really felt right to do it here.” Athena Calderone, Georgia Fowler, Scott Studenberg, John Targon, Nell Diamond, Kyle Hotchkiss Carone, Cleo Wade, and Valerie Boster had all come out to toast the designer, who monogrammed a piece of jewelry for each guest. For most of the crowd, it wasn’t their first time donning her designs. “I have this yellow gold big chain, and I mix it with this soft one,” said Studenberg, showing off the two bracelets from Fisher’s collection on his wrist. He and Baja East codesigner Targon have used Fisher’s jewelry in several of their past collections, starting with resort 2015. “We were doing our look book and we needed something to kick it, clean, like now, fresh and all rose gold,” he explained. “Right after the shoot I was like, I need that chain.” Studenberg jangled the links of his bracelets. “So I had this in rose gold for a while, but then I lost it. Now I have another one.” Fisher took the floor during dinner, growing visibly moved as she spoke. “I am so thankful and grateful for all of you,” she told the room. “I would not be here if it wasn’t for all of you.” 2016-04-08 21:54 Kristen Tauer

21 Ford, V Magazine Announce 2016 Model Search Winners I WANNA BE A SUPERMODEL: The V/Ford Model Search, now in its third consecutive year, has chosen Kate Olthoff and Elise Agee as this year’s winners. In addition to scoring contracts with Ford Models — which is turning 70 this year — Olthoff and Agee will be featured in an upcoming editorial in V Magazine’s summer issue, V101, out in May and featuring imagery shot by Gia Coppola and styled by Arianne Phillips. Both blonde-haired and blue-eyed, Olthoff, 17, hails from Indiana and Agee, 21, lives in Chicago. The winners in 2014 included Iesha Hodges, who went onto walk the Marc Jacobs spring 2015 show, and Lilly Marie, who walked for Fendi and Chanel. 2016-04-08 21:29 Kristi Garced

22 Diane von Furstenberg Salutes DVF Award Winners at the United Nations Reminding guests that the former New York senator presented one of the DVF awards last year, the designer said, “I would like to ask all of you — the ones of you who know her, her passion, her dedication to women, our country, the world and to all the values that we believe in — to please spread the word. We want her as our president.” With Democratic and Republican candidates stumping in New York in advance of the April 19 primary, Chirlane McCray, New York Mayor Bill de Blasio’s wife, also talked politics. More specifically, she addressed Ted Cruz’s recent criticism of her husband’s liberalism. ”From what I’ve heard, New Yorkers have spoken to Ted Cruz. Didn’t they tell him to go home? That’s my response, too,” McCray said. American politics aside, the DVF Awards celebrated five champions of change — Lifetime Leadership Award winner Dr. Martine Rothblatt, International Award winner Agnes Igoye, Inspiration Award winner Sarah Jones, International Award winner Maria Pacheco and People’s Voice award winner Emily Greener. Doing double-duty with von Furstenberg as cohost of the U. N.’s two-day “Women In The World” conference, Tina Brown said, “It’s really hard to believe that all of this positive change-making energy started with a suitcase of figure-hugging wrap dresses in 1970. But when you consider who was lugging that suitcase from store to store, it does make perfect sense.” The designer welcomed the crowd – which included her daughter Tatiana, her son Alexander — who encouraged her to start the DVF Awards — and her husband Barry Diller – by paying tribute to the “brilliant, groundbreaking” architect Zaha Hadid, who died late last month. “Thankfully, she has left a huge body of work and the most majestic, and amazing buildings,” Von Furstenberg added. “And she was a Syrian girl and believe me it wasn’t easy.” After a few songs from Justine Skye, presenters like CBS’ Norah O’Donnell and Allison Williams of “Girls” helped to honor this year’s winners. Tony and Obie-winning “Bridge and Tunnel” playwright and performer Jones capped off her acceptance by acting out her thanks as different characters. She is soon off to Berkeley, Calif., to preview her new show “Sell By Date” before its September opening at the Manhattan Theater Club. After Igoye detailed her anti-human trafficking efforts in Uganda, Pacheco spoke of cofounding Wakami, handmade accessories produced by more than 450 Guatemalan women and exported to 20-plus countries.”This new concept of ethical fashion that is emerging is so powerful because it also makes the lives of people who produce it so beautiful, too,” she said. Von Furstenberg noted that previous winners like The Empowerment Plan’s founder Veronika Scott, who helped develop a self-heating coat for the homeless, and Jaycee Duggard, who after being released from a lengthy kidnapping started the JAYC foundation to help families dealing with abductions, have created a 35-person strong network. “Right now women’s conditions around the world are not doing good. It’s really important,” von Furstenberg said. “We can’t afford to pooh-pooh anything that deals with women. We’re losing, losing, losing…so we have to help one another.” 2016-04-08 21:22 Rosemary Feitelberg

23 Variety Honors Power of Women at New York Luncheon “I have a real understanding for what I represent.” Last summer, Misty Copeland was promoted to principal dancer at American Ballet Theatre, the first African-American dancer to earn that top ranking in the company’s history. “I’m just so happy there are little girls that can look at me and see themselves,” she said on Friday afternoon. The dancer had swapped her leotard for Oscar de la Renta to take the stage at Variety’s Power of Women luncheon at Cipriani 42nd Street. Copeland was being recognized along with Lupita Nyong’o, Julianne Moore , Vera Wang , Megyn Kelly and Mariska Hargitay for their individual professional and philanthropic achievements. Yes, Friday’s honorees have a collectively impressive list of accolades but what exactly defines a “powerful woman”? “I think a powerful woman is one who doesn’t apologize for her femininity,” Nyong’o told WWD. “And a powerful woman stands up for what she believes.” Wang added her thoughts to the designation. “Courage to live life the way you want to, courage to pursue what you really love — and courage to be yourself.” Host Billy Eichner was certainly taking advantage of the stage to be — and promote — himself. The comedian also opened the lunch with a shout-out of support for Democratic presidential nominee Hillary Clinton and knocked Donald Trump. Kelly told the crowd, “I’ve been thinking a lot lately about love and support, how critical they are to happiness, including my own this year. In the wake of the dust-up between yours truly and Donald Trump — has anyone here heard of that? — some have used the word ‘fearless’ about me. And it’s wrong. I am not fearless,” she continued. “Fear is normal. The goal is not to get rid of it, the goal is to walk through it. Courage is what we need.” Moore, speaking out for Everytown for Gun Safety, closed the lunch with a song lyric. “As Teddy Pendergrass sang, ‘The world won’t get no better if we just let it be, the world won’t get no better, we gotta change it, yeah, you and me.” Before the lunch, Moore had also shared her concept of power. “I think power is taking advantage of your voice, being able to use it and being free with it,” she said. “And using it to support things you believe in.” The women at Friday’s lunch did exactly that. 2016-04-08 21:16 Kristen Tauer

24 Could Virtual Reality Revolutionize the World of... Mimes? Image courtesy the artist In a land of self-driving cars , animal-free meat , robots that look like Scarlett Johansson , and chairs that build themselves , isn't it about time mimes got with the program? Here to usher the dusty old world of miming into the 21st century are Pablo Rochat and Fabio Benedetto , two art directors and designers who just launched the VR-enabled Mime Academy. Gone is the need for imagination; finally you can feel like you're tugging on actual rope and pressing your palms on actual walls as you bother people and frighten children in public spaces. The official website lets you know everything you need to become the very model of a modern mime: 1. Request Mime Academy Beta for Oculus 2. Get Oculus Rift 3. Get Leap Motion for VR 4. Get Mime Costume "VR is on the rise, but no one has made use of the ridiculous arm gestures people make while using a VR headset," Rochat tells The Creators Project. "We’re putting those arms to use, but teaching you how to become a mime! " Together with Benedetto, Rochat has spent the last year mocking iPhone ads and founding the first annual Netflix and Chill Festival at the University of Philidelphia. Now they're poised to conquer the antiquated world of mimes with modern technology. If you remained unconvinced of the power and influence of this medium after reading our coverage of Chris Milk's documentaries on the refugee crisis or BeAnotherLab's VR sex change , you can now set your skepticism aside. The future is going to be awesome. See more of Pablo Rochat and Fabio Benedetto 's work on their websites. Related: This Guy Just Spent 48 Hours in Virtual Reality Virtual Reality Journalism Puts You Inside the Refugee Crisis Can Virtual Reality Show Us What Love Feels Like? Code Like a God in Virtual Reality Video Game 'Loop' 2016-04-08 20:35 Beckett Mufson

25 Spaces for Conversation The Long Now Non-Nonprofit Ongoing Projects and Happenings Models for Community Building “What’s going on here?” It’s a question that Sam Gould, founder of Beyond Repair , invariably gets when people enter the painted-plywood booth in the Midtown Global Market. And it’s a question that Gould asks of himself, and others, constantly. At first glance, Beyond Repair appears to be a bookstore or print center nestled between a taco shop, an Indian fusion restaurant, and a microbrewery in Minneapolis’s Midtown Global Market. Paperback books, booklets, and text-based posters bearing mantras like “RESISTANCE IS POSSIBLE” line the shelves of the booth. A monolithic digital printer symbolically occupies the center of the stall. Along one wall, a hand-built table filled with projects and papers creates a natural conversation space. The printed material is for sale, but at Beyond Repair the exchange of inked paper is secondary to the exchange of ideas. It is a shop, but more like a workshop than a store: an ongoing project shaped and informed by the conversations, publications, and relationships that materialize within and around it. Gould says he and the artists he collaborates with “see the shop itself as a site to start generating publications, whether that means a book or a booklet or a parade or a protest or a meal—it doesn’t matter.” It may be easier for visitors to conceive of the artistic project as a bookshop that makes its own books and works with a variety of authors and artists, but it is much more than a quirky store. It employs the trope of being a business within a literal and figurative marketplace both to sustain itself and to complicate existing notions of exchange—asking what role a business should occupy within a community and what it may be capable of when the community is active in molding its form and direction. Gould is cofounder of the Red76 artistic collaborative, its Journal of Radical Shimming , and the South Minneapolis Society Library , a book lending resource for residents of the Powderhorn, Central, and West Phillips neighborhoods. While conceptually centered on independent projects, Red76 also works with institutions on initiatives that invite communities to engage in conversations about art, politics, and the notion of public space. At the Walker, these have included the Anywhere/Anyplace Academy and Surplus Seminar for Open Field , the “three-year experiment in participation and public space,” and the Tools for Remediation book-binding workshop held as part of the recent exhibition Hippie Modernism. What these collaborations all have in common is the designation of open spaces for conversation—something that Beyond Repair will do as well, though its semi-permanent manifestation allows the scope to be broader and more undetermined, defined along the way by those who participate. For the next three years, Beyond Repair will operate from a leased space within the Midtown Global Market in the city’s Ninth Ward. Gould says its positioning within the existing infrastructure of a multicultural marketplace is intentional, as it grants the project “a certain amount of legitimacy” that can be toyed with and subverted. Shoppers may stumble upon it and start asking the questions imperative to its activation: What is this doing here? What does it have to do with me? How can I get involved? A key part of the project is its inclusiveness and honesty. Matt Olson , an artist/designer who had an Open Field residency with his then-studio ROLU in 2012, points out similarities between the virtual, ever-expanding social space created by blogs and the “analogue” space created by a crowdsourced art project like Beyond Repair, noting that “social networks and growth happen really naturally in certain contexts when inclusiveness and openness are part of the platform.” Following this logic, Beyond Repair aims to be transparent and communal in ways that most businesses aren’t, from production to financing to decision-making. Beyond putting words on paper, Gould points out, publication is the act of making something public—through shared spaces, open conversations, and ongoing projects. The idea is that Beyond Repair can act as a catalyst to collaborations and conversations between neighbors, “so that we can form a public that is attuned to asking our own questions and not this reflex to respond to questions from people in positions of power who don’t live here.” Gould, who lives with his family a few blocks from the market, hopes his community can resist narratives foisted upon neighborhoods like the Ninth Ward by governments, developers, and NGOs: that it needs to be “fixed,” that the tools for fixing come from outside the community, that the community needs to be saved from itself. Instead of answering to higher powers, neighbors can think “beyond repair”: if something isn’t working, perhaps it needs to be replaced with something totally new. Gould acknowledges that answers won’t be immediate or clear. “These sorts of conversations need years”—which is why Beyond Repair is a multi-year project. After the three-year lease in the market ends, the project will continue as deemed appropriate by involved members of the neighborhood. Not all conversations need to be theoretical and tactical: just sharing everyday events and thoughts can help to create publics and publications, too. Monica Haller, who got know Gould because they both made artworks relating to the war in Iraq, visits the space to converse about issues that relate to their lives: locally, daily, globally, and over time. “Sometimes this has evolved into tangible or tactile works,” she says, “and sometimes it remains, for now, in conversation, debate, and taking care. We talk about ‘the long now.’ A lot of this activity and work is about letting things slowly unfold, or to unfold at their own pace.” Beyond Repair provides the space and starting point for ongoing dialogue and thought around issues large and small, without pressure for individuals to “decide” or “act” or “respond” immediately. With flexibility and transparency as top priorities, Beyond Repair “looks towards a diverse system of funding and support strategies, with a core interest in maintaining conceptual and political autonomy over its purpose.” Put simply, Beyond Repair doesn’t receive large grants or public funding—and it’s a conscious choice. Though nonprofit organization and funding seems to be the in-vogue solution to well-intentioned social projects, the “bureaucracy and the beholdenment to certain forms of hierarchy” inherent in the nonprofit framework isn’t necessarily worth it. As a community-driven project that resists answering to external concentrations of power, it didn’t make sense for Beyond Repair to rely on government funding and approval every step of the way. “Not being a nonprofit doesn’t mean that we are explicitly for-profit,” Gould explains. It means that the project doesn’t need to appease outside expectations to receive support and legitimacy. In order to sustain itself, Beyond Repair can (and must) focus its attention instead on what the community wants and needs it to be. And, existing outside the nonprofit bureaucratic system grants the project the flexibility to switch gears as deemed necessary by collaborators, and allows money earned through sales to be put towards a wide range of projects and initiatives. In addition to the ongoing conversations happening in the shop every day—from “What does a healthy neighborhood look like?” to “What is social design?”—Beyond Repair is involved in numerous collaborations with individuals and groups. According to designer Alex Hage, “Beyond Repair represents the type of artist-driven, open-format space that should exist more in this world because (in addition to being a bookstore) it offers a venue for events, conversations, and projects that are about how artists view the world—which is different from the “normal” ways the world works.” Hage works for Small Multiples , a worker cooperative that does graphic design and web development “in support of social and economic justice, education, and the arts,” and built Beyond Repair’s website—just one of many collaborations that have already been instigated in the name of Beyond Repair. One of the strategies for covering the shop’s rent and insurance is the sale of limited editions of prints by local artists inspired by the idea of a ‘rent check’—the price of each edition being equivalent to a month’s expenses. In February, designer/archivist/activist Josh MacPhee created one with a watermark that reads, “Theft is Rent.” The series aims to cover recurring expenses so that revenue from any other source (sales, print services, commissions, grants, etc.) can be put towards projects in the neighborhood. In December, Beyond Repair and Juxtaposition Arts hosted a conversation with Emory Douglas about the Black Panther newspaper and how it was used to form a public around the ideals of the Black Panthers. A book will be made out of the conversation, and sales will be used to support projects that question and address the role of the police in south Minneapolis. Lacey Prpić Hedtke is a photographer and the head librarian of the South Minneapolis Society Library, which will soon have select titles available for perusal and borrowing in the Midtown Global Market. She also helps assemble books in Beyond Repair a few times a week and is publishing a “21st century guide to spiritualism” zine and accompanying poster. “It’s nice to have more things in the Powderhorn/Phillips neighborhood that feels like they’re for the neighborhood —accessible, conscious of who those neighborhoods are made up of, and working to engage with them and reflect those communities,” she says. “It’s also nice to know of an artist-friendly print shop that is affordable and run by an actual artist.” Every Saturday, a pop-up portrait studio is set up outside Beyond Repair for Sean Smuda’s ongoing project, What’s Your Beauty and Will You Share it With the World? , a “portrait of the neighborhood” created through photos of its residents and descriptions of places and things they find beautiful within it. In addition to work produced for or with Beyond Repair, the shop also republishes existing works. The Walker’s Artist Op-Eds initiative —an ongoing series of commissioned online essays, accompanied by print pamphlets—will soon be available as a Beyond Repair reprint, keeping the production local and extending the project’s reach. Beyond Repair exists in dialogue with a range of artistic traditions and cultural genres, says Gould, who cites inspirations from collectives, publishers, and individuals “from the English Civil War to today.” He names the True Levellers—also known as Diggers—who produced radical pamphlets in 17th-century England and provided a name and inspiration for the San Fransisco Diggers centuries later, anarchist publications coming out of Washington State in the 1800s, and Thomas Paine’s Common Sense , perhaps the most well known example of a publication that galvanized a large public into political action. Then there was the boom of independent and countercultural media springing up in the second half of the 20th century. From the Whole Earth Catalog and Black Panther newspaper to Hippie Rags and photocopied zines being made in basements and copy shops, communities were using printed material to spread ideas, form relationships, shape and document a changing culture, negotiate new technologies and realities, and record personal experiences. Ed Sanders’s Peace Eye Bookstore—a site dedicated to socialization and publication—is a significant inspiration for Beyond Repair. Sanders ’s interests as a musician, writer, and activist were manifested in the bookstore in 1960s New York City, which became a gathering place for “writers, artists, musicians, poets, members of the alternative press, political activists, and outsiders.” Another tradition that Beyond Repair exists within is relational aesthetics, a form of artistic practice in which human interaction is both the medium and the product. Coined by critic Nicolas Bourriaud, it is often associated with Rirkrit Tiravanija , whose art, including a pop-up kitchen serving Thai food and a jigsaw puzzle to be pieced together in a gallery , fosters “the formation of communities, networks of acquaintances, and lasting friendships within them.” Though not within the institutional context of a gallery, Beyond Repair also recreates familiar frameworks for interaction (a business, a print shop, a publishing cooperative), within an existing trusted structure (the market), to serve as the catalyst for community building and publication—in all senses of the word. 2016-04-08 23:23 By Haley

26 Remembering Zaha Hadid, the Queen of the Curve Photo by Brigitte Lacombe. Image courtesy Zaha Hadid Architects. Known for swooping, avant-garde structures, British-Iraqi architect Zaha Hadid was arguably more artist than architect. As the world mourns her sudden passing, articles about her unique and often misunderstood vision continue to make her all the more intriguing. The first woman to receive the Priztker Prize—architecture’s highest honor—was as much a triumph for women architects, as well as a recognition that Hadid was pioneer in her field. When she received her award in 2004, much fuss was made about her accomplishments as a woman, but the architectural critic, Joseph Giovannini decided to focus elsewhere--on her work, “Air is Hadid’s element: she floats buildings that reside aloft. At a time, in the early 80s, when architects were concerned about manifesting the path of gravity through buildings, Hadid invented a new anti-gravitational visual physics. She suspended weight in the same way dramatists suspend disbelief.” Galaxy SOHO in Bejing, China, 2010. Creative Commons Giovannini was onto something: Hadid's uncanny ability to change the way we see and feel space foreshadowed the discipline’s direction, making her a legendary figure for architects and non-architects alike. Born in Baghdad, Iraq in 1950, Hadid came of age in an era when the Middle East was in love with modernity. She grew up in a Bauhaus-style home in an affluent Baghdad neighborhood, and later studied mathematics at the American University in Beirut, Lebanon. Having always been intrigued by how the structure and style of a building could affect an individual as well as whole culture, she turned her attention to architecture—which took her to swinging 1960s London. Dongdaemun Design Plaza, Seoul, Korea, 2014. Photography by Virgile Simon Bertrand. Images courtesy Zaha Hadid Architects It was during this time that she was able to view her Arab heritage and culture through the lens of an outsider and begin to reconsider how architecture was not only a manifestation of culture or a historical marker, but also a way for an individual to influence and literally shape that culture. Hadid’s early fascination with Russian revolutionary architecture grew from her interest in how design could affect individual experiences while at the same time advance a government agenda. 2016-04-08 20:25 Molly Hannon

27 An Autonomous New Gadget Makes Light and Sound Art Images courtesy the artist It seems that every few months Russian artist and electronics tinkerer ::vtol:: (a.k.a., Dmitry Morozov) unleashes some newfangled gadget. While his visuals are as much an aesthetic component as audio, much of ::vtol::’s recent work has been built around sound. Late year he made Silk , a “cryptocurrency-tracking” musical instrument, and then Ra , a synthesizer that generates sound from a pyrite disc. His latest project, Red , is an algorithm-powered machine that combines optics and sound, while somewhat resembling a robotic weapon. To create the evolving molten visuals, ::vtol:: used a red glass crystal and flexible Fresnel lens, which the robot bends to create variations in the optics. “The project includes many reworked electronic devices—a CD-rom, an old scanner, reused electric motors,” ::vtol:: explains. “Multiple moving elements provide wide variability for rather primitive optical elements. It is accomplished by constant change of focal length between the light source, crystal, and lens, as well as by changing the crystal's tilt angle and mechanical distortion of the lens.” Like any true robot, ::vtol:: has programmed Red autonomously with pure data and Python scripts getting routed to Arduino and Rasberry Pi 2 circuit boards. Powered by an algorithm with a number of accidental events tied to feedback, Red is equipped with sensors that define the position of various mechanical elements relative to the range of their movement. “The sound part has up to four voices which depend on the activity of various elements,” he explains. “The sound is also in direct interaction with actual position of those elements, and basically is voicing the process of movement, brightness of light, and intensity of the piece.” Check out Red in action below: ::vtol:: red from ::vtol:: on Vimeo . Click here to see more of ::vtol::’s work. Related: This Musical Instrument Tracks Cryptocurrencies in Real Time Motion-Sensing Robot Orchestra Plays Algorthmic Symphonies Hear Haunting Music Made by Slowly-Crushed Toys and Smartphones 2016-04-08 20:10 DJ Pangburn

28 The Smallest Waterpark in Dubai Is Bite-Sized | Insta of the Week Miniature street artist extraoridinaire Slinkachu hit Dubai this week with a series of desert and anti-desert themed public dioramas, the latest of which is this tiny water park in one of the city's public gardens. He has also installed an itty bitty bonfire on top of a fire alarm, a teeny weenie yacht sinking into a puddle, a very small camel trudging across a very small sand dune, a petite sightseer atop a surveillance camera, and a Hot Wheels Lamborghini splattered with life-sized bird poop. Slinkachu has ten sculptures planned in the City of Superlatives, produced with the help of street art groups City Walk Dubai and Dubai Walls. The series will culminate in an open air gallery of Slinkachu's photography. Check out more of his work in Dubai below. Follow Slinkachu's on Instagram here. Check out more artists on The Creators Project's Instagram feed. Related: Solar "Smart Palms" to Power Dubai's Public Places This Is What We Should Do with Old Oil Tankers Breakneck Dubai Timelapse Effortlessly Blends Night and Day 2016-04-08 19:20 Beckett Mufson

29 I Watched Every Single 'Mortal Kombat' Fatality and You Can Too Screencap via Call me a sick freak (if you're nasty), but I always saw Mortal Kombat as less of a skill-based arcade game than a reward-based exercise in satiating bloodthirst. Before I could watch rated 'R' movies, "Fatalities," did the trick. Although I don't play video games, whenever a new MK game comes out, I peruse both the promo clips and character lists to get the dish on who I'll get to see get dished, whether by slicing, shattering, or sex appeal. It's a wonder this didn't exist before, but YouTube video game channel IZUNIY compiled every Mortal Kombat fatality ever into the 104-minute medly of my middle school nightmares. There will be blood: Mortal Kombat X is out now. Click here for more info. Related: Get Customizing with Fallout 4's Wasteland Workshop Somebody Meticulously Recreated 1920s Berlin in Second Life This Game Is 'Monument Valley,' 'GTA,' and 'Where's Waldo?' Combined 2016-04-08 19:15 Emerson Rosenthal

30 garage-terrace house in kyoto by yoshiaki yamashita yoshiaki yamashita places transparent garage at the center of a kyoto home all images courtesy of yoshiaki yamashita in kyoto, japanese architect yoshiaki yamashita has completed a single-storey timber dwelling for a couple who are both car enthusiasts. as such, the design places their vehicle at the center of the scheme, as part of a garage that can also serve as a sheltered terrace. a kitchen and dining area adjoin this primary living space, with a bedroom positioned at the other end of the home, linking to a private backyard. a significant storage area is also found at ground level, alongside a bathroom and separate toilet. although the house measures only 173 square meters, double- height volumes and an abundance of natural light ensure that it feels much larger than its modest size. the project is located in the japanese city of kyoto the design places the clients’ vehicle at the center of the scheme the couple who inhabit the house are both car enthusiasts elements of greenery are incorporated throughout the design the garage can also serve as a sheltered terrace an abundance of natural light ensures that the home feels much larger than its modest size a bedroom is positioned at the other end of the home the washroom also adjoins to the small garden 2016-04-08 19:14 Philip Stevens

31 Outward Bound: David de Rothschild Discusses His Latest Venture, TheLostExplorer.com “The Lost Explorer is really a combination of the last 15 years of working with brands, of designing and creating products for other people, being on adventures, telling stories, giving nature a voice. I mean that’s really been my mission — to give nature a voice,” said de Rothschild over boiled eggs and toast at Little House in London. A member of the famous banking family, and a dogged adventurer and explorer, de Rothschild has skied across Antarctica and sailed the Pacific on a boat made from 12,500 plastic bottles. He is currently trying to get the World Charter for Nature retabled at the United Nations. He is also collaborating on Jungle-ized, an interactive sonic and visual art installation in Times Square that marks Earth Month in April. Here, he talks about he talks about some of the products on the new site, why the whales need saving, and how real men wear diaper cream. When we went to the North Pole or the South Pole, when I was skiing across Antarctica, every evening you get in the tent and you pull out a tube of nappy [diaper] rash cream — basically Vaseline — and you put that on if your skin is chapped and dry. We would laugh about it — these tough explorers. “Pass me the nappy cream!” Our merula seeds are collected by about 800 people who are living in villages from Kenya to Tanzania. We’ve got orange wax, which protects the skin and is anti-inflammatory and antimicrobial. There is foraha seed oil, used for treating wounds, facial neuralgia, skin ailments, and hair loss. It’s one of the main staples in Madagascar. Nature has all the answers: She has billions of years of R&D [research and development]. She is our mentor, our partner. If you’re willing to listen to her she gives you all the answers, and they are right there in the products. The funny thing is that we think we’re at the top of the food chain, but we’re not. And what’s interesting is: If you take any historical collapse, it’s the things at the top that have to go first. The big guys are already starting to go — the whales, the sharks, the tigers, the leopards, the pandas, the rhinos. You go through the list and you’re like, “Right, OK: where are we as humans?” 2016-04-08 18:54 Samantha Conti

32 The Week in Art: Tribeca Ball and MoMA PS1 Though it may seem that Armory Week and Frieze Week get all the action, the reality is that there is never a dull moment in the New York art world. From the East Side to the West Side, there's always something happening at the city's museums, galleries, and various event spaces. This week was no exception. Tribeca Ball , presented by Van Cleef & Arpels at the New York Academy of Art The week started with a bang on Monday, April 4, with the annual Tribeca Ball, this year honoring Eva and Michael Chow. Event chairs Jeffrey Deitch and Urs Fischer and dinner chair Brooke Shields were just a few of the bold faced names in attendance, which also included artists Marina Abramovic , Will Cotton , and Dustin Yellin , fashion designer Vera Wang, gallerist Tony Shafrazi , collector Beth Rudin DeWoody, and actors Al Pacino, Rose McGowan, and Naomi Watts. But with stilt-walking models coated in gold and blue body paint, a photo booth full of mermaids, magic tricks from Matthew Holtzclaw , a festive dress code of "shimmery attire," and ample food and drink (including waiters with oyster shucking utility belts outfitted with a full range of condiments) it was hard to spot the celebrities wandering the crowded, labyrinthine artist studios. Even with all that going on, the focus was still on the art, which included a one-night-only exhibition titled "Funny Stuff," curated by New York Times critic Ken Johnson. "It's always a great event," said actress Naomi Watts, who attends every year she's in town, to artnet News. "I love finding affordable art, and it's great to support emerging artists. " Annual Spring Gala at the New Museum Monday was also a star-studded night at Spring Studios, where the New Museum held their annual gala. Amid the crowd were artists Jeff Koons and Juliana Huxtable , collector and musician Swizz Beatz (doubling down on art events for the evening, having also stopped by the Tribeca Ball), and museum directors Thelma Golden and Karen Wong. The items auctioned off that night were donated by hefty art-world names: a piece by Albert Oehlen , a watercolor by Elizabeth Peyton , a painting by Rashid Johnson , a photograph by Wolfgang Tillmans , and an installation by Urs Fischer. The New Museum's deputy director Karen Wong noted: “We've been very lucky. Artists have been so loyal since we held so many of their first exhibitions. Some of the works came directly from the artists' studios. " MoMA PS1 Spring Open House Held on April 3, MoMA PS1's annual Spring Open House celebrated the opening of its new Cao Fei exhibition , her first major museum solo show in the US. The event, which was free and open to the public, saw the artist performing "Straight Out of Time" with Chinatown based rap group the Notorious MSG under the VW Dome. It was a reunion for the group and the artist after they collaborated in Cao's video work Hip Hop: New York in 2006. In the afternoon, after a conversation between Cao and Klaus Biesenbach, MoMA PS1 director and the curator of Cao's exhibition, the band returned to the stage for a loud and fierce performance. The stage was adorned with the elements of a Chinatown street scene, replete with cardboard images of roasted ducks and pork chops, and a projection of spinning dim sum plates on the ceiling of the dome. Cao was surprised to learn, she told artnet News, that she was the first artist to project moving images onto the dome's ceiling. A few MSG hit tunes later, Cao surprised the audience with her cameo in the MSG song “Dim Sum Girl. " She appeared in sunglasses and mini apron, holding a notepad to take orders from the singers and the audience in the role of, of course, the dim sum girl. The crowd was fighting to catch the dim sum Cao was tossing from the stage. Cao wrapped up the show with a solo of her singing her favorite karaoke song, "Shanghai Bund. " 1:54 Contemporary African Art Fair Celebration of 1:54 FORUM at Richard Taittinger Gallery As 1:54 Contemporary African Art Fair prepares returns to Pioneer Works for Frieze Week (May 5–8), the fair, now in its second edition, announced the details for 1:54 FORUM, with a cocktail event at Richard Tattinger on April 7. Frances Goodman's current solo exhibition "Rapaciously Yours," provided a dramatic backdrop to the festivities, particularly with her large- scale installation, The Dream , made from discarded wedding dresses. Fair director Touria El Glaoui introduced FORUM curator Koyo Kouoh, of EVA International 2016 (Ireland's Biennial) and RAW Material Company in Dakar, who has an impressive team on board for this year's programming: Adrienne Edwards (Performa, New York and Walker Art Center, Minneapolis), Ugochukwu-Smooth C. Nzewi (Hood Museum of Art, Dartmouth College), and independent New York-based curator Dexter Wimberly. Young New Yorkers Benefit Auction Young New Yorkers, which provides arts-based diversion programs to court-involved young people in New York, hosted a silent auction celebrating the art and activism of the American street artist Shepard Fairey on April 7. Street art inspired works by Fairey and other New York artists lined the walls as well-heeled guests enthusiastically placed bids and sipped cocktails. The proceeds from the evening went towards Young New Yorker's goal of transforming the criminal justice system through art. "It was fun being in the same room with so many socially conscience artists," event volunteer Natalia Donoso told artnet News. It brings another level of appreciation for the arts. " "Sky Descending: Texas Landscapes" by Gay Gaddis at the Curator Gallery Curator Rebecca Michelman of New York's Michelman Fine Art tapped Gay Gaddis, founder of T3, the largest woman-owned advertising firm in the country, for her debut solo show. Guests at the opening included Ann S. Moore, former chairman and CEO of Time Inc., fashion designer Kay Unger and former Chairman and CEO of Ogilvy & Mather, Shelly Lazarus. Additional reporting by Rain Embuscado, Liz Li, and Henri Neuendorf. Follow artnet News on Facebook. 2016-04-08 18:47 artnet News

33 Christos Angelides’ Pay Totals $18 Million for 14-Month Tenure Christos Angelides missed out on the top job at Abercrombie & Fitch Co., but it’s hard to say he really lost. Angelides was brand president of Abercrombie & Fitch and Abercrombie kids until December, when he was terminated without cause. He left as Fran Horowitz, Hollister brand president, was named president of the whole company, as well as chief merchandising officer. Angelides received severance of $5.5 million, which boosted his total compensation from the company to $8.5 million last year, including a salary of $903,154 and stock awards and options valued at $2.1 million, although he might not realize that amount, given vesting schedules and changes to the price of the company’s shares. Angelides was the most highly paid executive at Abercrombie last year, according to a filing with the Securities and Exchange Commission. He also received compensation of $9.4 million for 2014, mostly in the form of stock options, giving him compensation of $18 million for the 14 months. Horowitz’s pay for 2015 totaled $4.8 million, including stock awards and options valued at $2.1 million and incentive pay of $1.7 million. Both Angelides and Horowitz joined the company in October and were seen as contenders for the top job since Michael Jeffries exited as chief executive officer. The company is run by executive chairman Arthur Martinez. Abercrombie’s chief operating officer, Jonathan Ramsden, saw compensation double from the prior year, to $6.1 million, with stock awards and options valued at $4 million and incentive pay of $1 million. The firm has been changing dramatically, closing stores and refocusing brands as management gets reshuffled. Chief financial officer Joanne Crevoiserat told investors last month that “there is much work ahead. While we expect the environment to remain challenging, we are encouraged by our progress and believe that the many changes we are making will allow us to realize the full potential of our brand.” The company is looking for flat to slightly positive comparable sales this year, with continued headwinds from foreign currency and a passing hit from the closure of Hollister stores for remodeling. 2016-04-08 18:41 Evan Clark

34 Twin Cities choreographer wins Guggenheim Fellowship Twin Cities-based choreographer Emily Johnson , an Alaska native whose work is marked by intelligence, subtlety and striking imagery, has won a Guggenheim fellowship, the New York- based foundation has announced. Johnson is one of approximately 200 creative artists, natural scientists and humanities scholars to land the prestigious mid-career honor out of approximately 4,000 applicants. Guggenheim winners get varying amount of funding, which helps to support their work over a period of six months to a year. Johnson, who has performed at Walker Art Center and Northrop, among other venues, is one of several Twin Cities-connected winners. Writer Paul Lisicky , whose books include “Lawnboy,” “Famous Builder” and “The Narrow Door,” is published by Minneapolis-based Graywolf Press. Poet Sally Keith , also a Guggenheim winner, is published by Milkweed. And poet Stephen Burt , who now teaches at Harvard, is a former Twin Citian. The long list of fellowship awardees has some august names, including theater-maker Anna Deavere Smith , choreographer Camille Brown and photographer Lyle Ashton Harris . 2016-04-08 21:03 www.startribune

35 At Large Magazine Updates Look for New Issue, Adds Former Details Editors to Masthead Independent men’s magazine At Large will debut an updated look when its spring issue hits newsstands on April 19. The tri-annual glossy can thank new hire Rockwell Harwood , who joined as art and design director in February. Harwood was the creative director of Details , which shuttered late last year. “We always wanted him but we couldn’t have him. He was at Condé Nast ,” said creative director Randall Mesdon , who scooped up Harwood to refine the design of the magazine. New contributors to the upcoming issue features actor Jack Huston , model Lucky Blue Smith , model-turned-actor Travis Fimmel and a limited- edition cover of Callie Thorne Smith on four separate covers. The magazine dubbed “Issue 5” includes work from Harwood’s former colleague from Details, fashion director Matthew Marden and Mr Porter style director Dan May. Other contributors include veteran fashion creative director David Bradshaw and Nick Wooster , who serves as editor at large for the glossy. “One of the goals of At Large was for it to be a nurturing platform. We would nurture different voices and opinions in our industry,” Mesdon said. “We have a very small team that is in our New York offices, but a lot of our contributors are truly at large.” The name — At Large — is taken seriously and may one day take the literal form of being produced in a different city each issue. Mesdon said he’d like to take At Large on the road and produce the magazine from Australia and Japan. Mesdon said At Large is looking to pump up its online presence with some new hires, but noted that as a tri-annual, it “will not compete with a monthly magazine” by “inserting ourselves in people’s lives.” He was of course referring to the frequency of posting new stories. “You need to have your presence online,” he acknowledged. “But we do not want to do nonsensical content. I hope it isn’t pretentious to say that.” With no tangible digital goals other than to spread awareness, the creative director said the main focus is print and to “provide an object that is more luxury.” The upcoming 240-page issue includes interviews on artist Fabio Viale, fashion exec Andy Spade and a portfolio of Los Angeles artists that includes Larry Bell, Jonas Wood and Piero Golia. On the newsstand, At Large distributes about 15,000 copies in the American market, with issues going out to Barnes & Noble, select museums, high-end hotels and fashion stores. “Our mission is truly to be collectible,” said Mesdon, noting that the magazine, which costs $20 a pop has a circulation of about 18,000. That laser-focus on producing a collectible object is central to At Large’s mission, as more print magazines change their focus to other revenue streams, or fade away altogether. “The magazine as we know it is undeniably changing super, super fast,” he offered. “I’m not sure any of us have an understanding or a grasp of where it will be in five years.” 2016-04-08 18:02 Alexandra Steigrad

36 Façonnable Designs Outfits for the Monte-Carlo Rolex Masters French Riviera-based fashion brand Façonnable , which is among the main sponsors of the Monte-Carlo Rolex Masters , running April 9 to 17, designed the official outfits for the prestigious tennis tournament’s linesmen, members of steering committee, control managers, ball boy managers and hostesses. In addition, Façonnable paid homage to the Monte-Carlo Country Club by developing a men’s and women’s exclusive collection including polo shirts, shirts, pants and sweatshirts embellished with the club’s blazon. The range will be available at the brand’s store at the Monte-Carlo Rolex Series village, as well as in all the label’s flagships and in selected boutiques worldwide. 2016-04-08 17:57 Alessandra Turra

37 This "Screen Test” Will Scare You Out of Auditions Screencaps via A comedic, ER - inspired short featured on truTV's Rachel Dratch's Late Night Snack perfectly captures the magic of filmmaking and intersperses it with the awkward quality of the audition process. Conceived, directed, written and produced by Edmond Hawkins (a graphic/VFX artist for SNL ) and backed by a crew composed of minds from PFFR ( The Heart, She Holler , Wonder Showzen , Delocated ) and actors, directors, and writers that have worked on Archer , Jug Face , and Workaholics —Michael Cargill, Mack Williams, Lauren Ashley Carter, Bill Grandberg, and Scotty Landes certainly knocked it out of the park. The style brings to mind Tim and Eric ’s Doug Lussenhop and Vic Berger’s style of editing—a frenzied mess brought together by absurd sound design, effects, and live direction, birthing a comedically unsettling narrative. Using only screen test footage from real actors—yes, REAL ACTORS that didn’t have a CLUE as to what was going on— The Screen Test: Love Triangle in The Emergency Room tears into the audition process and makes it not-as-hard to watch. “I was running my lines on the subway and really sweating it over this doctor role. There was all this medical jargon and I thought, 'Man, I am wasting their time.' But when I walked in the room they were like 'No, really ham it up.' I started making an ass of myself and everyone in the room was like, 'Yes. Perfect,'" says actor and comedian Ryan Bennett. He and the other actors were subject to a true-to-life audition process, including having to run lines in different accents and act solo with a crowd of people watching the whole way through. Unbeknownst to them, they were pawns in a production they could never have imagined, “When the big reveal happened in the end and I was told what was really going on, I couldn't help but just laugh. They got me. Oh man , they got me. I hope the people watching get the same sense of fun,” says actor and participant William Douglas Turner. “The idea came from hearing how odd the audition process can be for actors and then finding a way to shine a light on that process,” says Hawkins. “From a casting director’s point of view, it makes sense how having them do a variety of performances would show an actor’s range; but of those requests actually made the final cut for a commercial, TV show, or movie that otherwise took itself seriously, felt like a unique way to approach comedy,” and it certainly is. With a diverse crew pouring all sorts of spins into the experience, they had more than enough footage to choose from. “Post-production was fun because we basically treated the edit and VFX as if it was a serious attempt at the short’s respective genre, so that the tonally bad direction would really stand out,” says Hawkins. Watch The Screen Test: Love Triangle in The Emergency Room below. Try not to require a defibrillator after: Rachel Dratch's Late Night Snack is all-new this Thursday at 11/10 Central. Click here for more information, and check out more on Edmond Hawkins' website. Related: Not Dead Yet: Meet Sisters Weekend, America's Next Video Sweethearts Here's Why It's Great to Join a Creative Collective An Interview with 'We Bare Bears' Writer Mikey Heller A Look Inside Brooklyn’s First All-Day Alt-Comedy Fest 2016-04-08 17:45 Lorelei Ramirez

38 New Yorkers for Children Throws Annual Spring Dinner Dance Nothing signals the early throes of spring gala season quite like the annual Fool’s Fête, hosted by New Yorkers for Children at the Mandarin Oriental, which took place on Thursday night. Benefiting youth in foster care, the event drew the usual mix of uptown socials and Victoria’s Secret models — among them Josephine Skriver, Valentina Zelyaeva, Mirte Maas, Vita Sidorkina, Madison Headrick, Selita Ebanks, Ebonee Davis, Jennifer Creel, Zani Gugelmann, Gillian Miniter and Mary Alice Stephenson — most of whom could be found peacocking in glitzy gowns and taking selfies as the party got under way in the hotel’s 36th-floor ballroom. “You know how it is with these things,” mused one guest while applying lipstick in the ladies’ room. “If you miss the press, why did you even go?” Aside from all the posing, posturing and preening, the annual celebration, sponsored this season by Chloé, also took on a dimmer tone. New Yorkers for Children’s founder and former FDNY commissioner Nicholas Scoppetta — once a foster child himself — died last month at age 83. During dinner, speakers gave a teary tribute to the late founder, a lifelong devotee to child welfare. “If you ever encountered him, you know what a light, shining face and warm heart he had. There will be a few tears in the room at the end of the night,” said event chair Alina Cho, who was wearing a pink ruffled Gucci dress. “I thought tonight would be the night to bring out this dress. I actually might wear it again next week; I love it that much,” she said. Elsewhere, Olivia Chantecaille wore a beaded Valentino dress chosen by her two-and-a-half- year-old daughter, Delphina. “I know that people always say their child picked out their outfit, and sometimes it’s a horrible miss, so I hope that tonight is not a horrible miss,” she said. “[Delphina] also knows how to put makeup on — she knows exactly what goes where. She’s probably the only two-year-old that knows what an eyebrow brush is. She’s way ahead of her time, and she’s smarter than us. We’re in trouble.” The evening, which raised nearly $500,000 for the charity, featured a brief live auction led by Christie’s auctioneer Lydia Fenet, as well as a silent auction, which included clutches from Alexander McQueen and Christian Louboutin; Dior Prestige beauty products; an Oscar de la Renta cheese board; and a night of shopping at Stuart Weitzman, among other goodies. At table four, Crystal Renn was waxing on astrology, which she studied intensely for about five years in a failed effort to debunk it. The model — a Gemini — occasionally practices her psychic abilities on friends and strangers. She paused to listen to a couple of moving speeches by former foster children who’ve benefited from the organization’s support. “That could’ve easily been me up there. I was never in foster care, but I was raised by a single grandmother, and that’s why I love coming to this event,” Renn said. Across the table, Ebanks said she was focusing on her acting career. Did she ever miss modeling? “I feel like I model every day. I’m a walking mannequin,” she said. “I do sometimes miss it, but I enjoy helping other people find their light. Recently I’ve been getting yelled at that I’m not Instagramming enough.” 2016-04-08 17:34 Kristi Garced

39 Harris Tweed Mounts Installation at Milan’s Triennale for Salone del Mobile More Articles By “A lover of wild open spaces, I feel an affinity for Harris Tweed,” Howell told WWD. “Weaving on hand looms creates a depth and complexity of texture that can’t be imitated by a mechanical process. The resilient wool, the designs in earthy colors reflect the landscape, the climate and the skills of the local people who produce it.” Howell selected an overcoat from her fall 2015 collection that features the fabric. “It seemed to be the obvious choice when designing my first winter jacket and overcoat — and I’ve used it ever since. The proof is also that our customers are drawn to this heritage fabric as much as I am,” she said. The show, which kicked off earlier this month, runs until September 12 and is hosted in association with the V&A Dundee and the British Government. “Harris Tweed cloth is used by many and most of the world’s design houses,” said Lorna Macaulay, chief executive officer of Harris Tweed Authority. “We wanted to showcase with our colleagues at the V&A the exceptional design innovation coming out of Scotland. We feel the garments and overall look achieved through exhibiting Zegna, Westwood, and Margaret Howell captures the very essence of classic yet contemporary use of Harris Tweed in both mens and women’s wear. Margaret Howell’s choice of fabrics echoes the landscape in which the cloth is handwoven by skilled craftsmen and women.” Launched in 1909, the company has been supplying handwoven fabric to brands including Alexander McQueen , Chanel , Comme des Garçons, J. Crew and Saint Laurent, and exports to more than 60 countries globally. 2016-04-08 17:03 Lorelei Marfil

40 Transcending Language: Chris Strouth on Kid Koala’s Nufonia Must Fall 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, composer, producer, writer, and filmmaker Chris Strouth shares his perspective on Kid Koala’s […] 2016-04-08 17:02 By

41 41 Olivia Culpo Talks Sexy Scents and Spring Fashion at Lord & Taylor

The rose is back in bloom at Lord & Taylor. On Thursday evening, the department store welcomed shoppers — and former Miss Universe Olivia Culpo — onto the main floor of its Fifth Avenue flagship for the opening of their spring Birdcage , a seasonal concept shop. The Birdcage is set to the theme of a “free spirit rose,” a twist on the retailer’s iconic symbol. Guests were customizing sweatshirts and browsing a selection of rose-themed curated goods, ranging from rose gold jewelry and paper goods to floral beauty products and T-shirts printed with on-the-nose slogans like “rosé all day” and “every rose has its thorn.” After posing in front of a rose-filled step-and-repeat, which seems to be the party move du jour — we blame Kim and Kanye — Culpo made her way through the mini-boutique, as shoppers craned their phones in hopes of a semi-focused Snapchat. “Well, obviously, this is Lord & Taylor bringing back the Free Spirit rose, so I do see a lot of roses, which are very exciting,” Culpo said, surveying the space. “It’s spring-feeling all around. Everybody kind of has that breath of fresh air feeling around them, which is common in April.” Culpo had only arrived in New York earlier in the week, just in time for some rather unthematic weather. “I’m telling you, two weeks, and that’s it,” she said of the dwindling winter. The damp skies were also making her adjust her plans while in town. “The weather has been a little rainy so that’s never good, but I’m looking forward to walking around the park actually,” she said. “I miss that. The blossoms are almost making their way out.” Her favorite rose blossom? “I think the red rose is so romantic,” she said. “I also like a white rose. And a pink — I just named three. But yeah. And I actually love Viktor & Rolf Flowerbomb , it’s one of the most beautiful, sexy scents out there. And it’s done so well. It’s one of my absolute favorites.” When it comes to spring fashion, Culpo skews traditional. “I think spring is the time to be very ethereal and to be kind of born again, and light feeling,” she said. “I really love to embrace the pale pinks, the pale yellows, the pale blues, the creams, the whites, everything in that palette.” 2016-04-08 17:02 Leigh Nordstrom

42 alexei sovertkov's surreal species of human caricatures as an exploration of the synergy between analogue and digital media, moscow-based photographer and visual artist alexei sovertkov has realized a series of surreal portraits that blends the physical and virtual worlds. ‘portraituning’ sees five photos of human figures morphed into cartoon-like caricatures, with unnaturally widened eyes and abnormally enlarged skulls. while these modifications warp the viewer’s sense of scale and perspective, the models retain most of their figurative characteristics, rendering them on the edge between alien and human. adding to the intrigue, props and ‘pets’ appear as unusual additions to the scene, like a hybrid dinosaur-cat and a grotesque hairless beaver. with titles like ‘grandma with diplodocus’ and ‘girl with a water jug’, the compositions are clearly inspired by classical portraiture, yet maintain a decidedly disturbing and eerie edge. 2016-04-08 16:45 Nina Azzarello

43 Ta-Nehisi Coates' 'Black Panther' Rules: This Week in Comics #12 Panel from Black Panther #1. Illustrated by Brian Stelfreeze, colors by Laura Martin. Image courtesy of Marvel Comics. Screencap via the author The biggest news in the comic world this week is, by far, the release of the first book reviewed below: Black Panther #1. Not only is this a new start to the first black superhero in mainstream comics, but it’s also written by MacArthur Fellow and The Atlantic correspondent Ta-Nehisi Coates. The comic, set to sell over 300,000 copies , is just the start of a push to get the character out into the mainstream. You’ll see an iteration of him next month in Captain America: Civil War and then he gets his own movie, Black Panther (set to release in July 2018). Readers will find more details about the character and the new storyline below, but it’s important to mention the momentousness of this occasion. Marvel Comics (who have historically been a bit better than DC at superhero diversity) are going to sell hundreds of thousands of copies of a book starring a black superhero. It's a big deal. Also, this week we look at a new batch of heroes from DC, an undead witch with killer illustration, and wonderfully illustrated indie heroes. Cover for Black Panther #1. Illustrated by Brian Stelfreeze. Photo courtesy of Marvel Comics. Written by Ta-Nehisi Coates, illustrated by Brian Stelfreeze, colors by Laura Martin, letters by VC’s Joe Sabino. T’Challa, a.k.a., Black Panther, is the king of the African country of Wakanda. Rich in an ore called vibranium, Wakanda is the most technologically advanced country in the world. T’Challa has just returned to rule his country, but there’s a superhuman terrorist group called The People that’s sowing distrust within its borders. This is a story of upheaval, of right to rule, of the role of a leader, and the duty of a superhero. This is the beginning of Coates’ 11-issue arc, and he’s already coming out of the gate at full speed. He’s shaking up the world, immediately introducing a lesbian couple, issues of power and abuse of power, and plotting this out carefully, expertly. This is an amazing, ambitious comic only given more depth and pathos through Stelfreeze’s expert artistry. Without fear of hyperbole, this is the pinnacle of what a comic book can be. When people talk about the medium as an art form, they’re talking about comics like Black Panther #1. Cover for Bloodlines #1. Illustrated by V. Ken Marion with Sean Parsons and Peter Steigerwald. Photo courtesy of DC Comics. Written by J. T. Krul, pencils by V. Ken Marion, inks by Sean Parsons, colors by Andrew Dalhouse, letters by Sal Cipriano. Bloodlines is a new comic taking place in the main world of DC Comics, but tucked far away from any major hero. It follows Eddie, a high schooler with a genetic disease that has him on crutches and promises a far more debilitating future. He hangs around his best friend, and we’re introduced to a few other characters that seem like they’ll be important in the future, but for now the story’s all about Eddie. In the woods, a meteor crashes and mutates a deer, and when that deer attacks Eddie and other students, Eddie transforms into a hulking blue monster. Back in the 1990s , a series of Bloodlines comics were released into the DC Universe, where the villains were Alien -style rip-off monsters who fed on spinal fluid and turned some people into heroes. No sign of Ripley and her foes in this issue, and hopefully this new line of Bloodlines comics will only lovingly nod to the original storyline. Cover for Rachel Rising #41. Illustrated by Terry Moore. Photo courtesy of Abstract Studio. Written and illustrated by Terry Moore. Rachel Rising is the independently produced comic from Terry Moore (of Strangers in Paradise fame) about Rachel Beck, a young woman who wakes up in a shallow grave after being murdered. She doesn’t remember who killed her, and the early issues of this comic set her out on a quest to avenge her own death. Now, the scope’s widened considerably, as a demon named Malus plagues Rachel and her friends, and has bigger plans for the world. This is some of the best illustration you’ll see in indie comics, with attention paid to the entire page. Every page feels balanced, and the small details of leaves and grass create a lush, verdant world worth exploring. Cover for The Hero Code #5. Illustrated by Agustin Calcagno and Heather Breckel. Photo courtesy of Monkey Pipe Studios. Written by Jamie Gambell, art by Agustin Calcagno, colors by Heather Breckel, letters by Frank Cvetkovic. Issue five of The Hero Code is the end of its first major arc, so readers jumping in here may be a bit confused. But the premise is simple enough, a group of three heroes with extraordinary abilities (speed, strength, brains, flight... the works) team up to stop a madman named The Mannequin from destroying the city. The story’s solid and well-plotted, but the real draw on this indie is the artwork. It’s hard to find a superhero indie that feels like it could be a DC title, but The Hero Code ’s Agustin Calcagno does just that. Drawing equal inspiration from modern day superheroics and classic Conan or Prince Valiant comics, the artwork is enhanced by Heather Breckel’s savvy coloring. Breckel’s lush, primary colors don’t give in to modern trends of darkness and burgundy, but call back to the glory days of spandex superheroics. What were you reading this week? Let us know @CreatorsProject or in the comments below. Related: #11 #10 #9 #8 #7 #6 #5 #4 #3 #2 #1 2016-04-08 16:40 Giaco Furino

44 Q&A: Photographer Nadav Kander on “Dust” at Flower Gallery Related Artists Nadav Kander The two atomic-era towns along the border of Kazakhstan and Russia don’t have names as instantly recognizable as the Nevada Test Site in the United States. That, in part, is because Kurchatov and Priozersk were secret cities, laboratories for Soviet nuclear and anti-ballistic research. They only appeared on the map for the first time in the 1990s. Over the course of decades, atomic tests reduced the areas to towers of crumbling concrete, derelict structures recently captured by photographer Nadav Kander in his series “Dust.” Ahead of the opening of his show at Flower Gallery in New York, ARTINFO spoke to the London-based photographer about documenting these radioactive ruins. It is the area, just out of interest, where Fyodor Dostoevsky was banished. It is very barren, very empty, very flat. You can catch a train there for six or eight hours and nothing changes. One of the places I photographed was a science town, set up to discover how to flip the atom and trigger an atomic bomb. Outside this town, 20 or 30 kilometers away was an area called the Polygon. And the Polygon was where they exploded hundreds of bombs over the next 30 years. It is a very contaminated, radioactive place. But that is what interested me: The beauty of devastation and the beauty of ruins. I am very interested in harnessing memory and in what ruins mean to us as human beings — that we find ruins necessary and interesting and melancholic and romantic. They allude to times gone by. They almost give us a security that there is more to come. European painters would paint landscapes and include a fictitious ruin, because it lent heft to the painting. They alluded to human presence and human existence of times gone by. Why do we look at a collapsed church in Ireland covered in ivy and think, “Wow, how beautiful,” while possibly its doors were locked in 1500 with Protestants burned alive? The atrocities of these ruins are awful. And yet as time goes by and nature overcomes them, they feel quite vulnerable. But I totally agree with you. If you walked around Dresden in 1948 when it was a bombed-out city, you certainly wouldn’t feel like that. But I think those are the questions that we must ask ourselves. I find quite a beauty in the acceptance that this is our past. But I sound like a bloody prophet! No, well, it is — I always want there to be a question in a photograph, I don’t want there to be an answer. And the way that I do that is twofold: I photograph difficult places, but places with a veil of beauty over them. And the other way is by stepping back. I like to allow you to be the viewer and for me not to get stuck in. That is a dispassionate view for you to write the narrative. I don’t show the figure, because there were not human beings around. I would not have minded had there been. But the narrative, as it unfolded for me, was without humans. I met a doctor who said there were a lot more people living there at the time of the bombs and there were a lot of birth defects in that area. But they are not people that I came across. I had to be quite athletic with these pictures. I could only go to the Polygon twice, because otherwise I think I would have gotten arrested a third time. In any case, I don’t know if I would have wanted to get involved with the people, because I think the work would have become photojournalistic, which I am so not wanting to do. The point of the pictures is about accepting the darkness that is actually just as beautiful as the light in human beings. You are not illegally there, if you have a visa to Kazakhstan. But in the Polygon itself you are not allowed in. There are, however, people who take you in for a fee and they just make sure that the military is not driving around. It is only the Polygon you have to wear a dust mask and a white suit. The guide tells you where not to go. It is a very surreal feeling, willing yourself to make beautiful pictures when you are clicking away, while also seeing the dangers. There were notes taken about the silence after the noise of the atmospheric bomb where the only sound was of birds lying on the ground scorched, dying. The only animal I ever saw in the Polygon was the crow and in the front of my book I show that mystical animal. They are also Biblical animals. When Cain killed Abel, the crow taught Adam how to burry a body. I love crows and ravens. There is an amazing Japanese photographer called Masahisa Fukase who did a book called the “Solitude of Ravens.” In a way, it was the inspiration for this work. Once I found those crows there, it all made much more sense to me. The melancholy that one gets with a hymn is very much what I was feeling when I was making the work. 2016-04-08 16:12 Noelle Bodick

45 The Truth is Out There: “Art of the Real” at Film Society of Lincoln Center Related Venues Film Society of Lincoln Center “Art of the Real,” the Film Society of Lincoln Center’s annual series dedicated to work that expands the definition of documentary film, is, by its very nature, constantly moving backward and forward. A documentary film is always looking behind itself, documenting what came before. But what does it mean, exactly, to document? And are the old methods not just overused but somehow insufficient? There are many ways to find truth on film, and many of them, as the series displays, involve incorporating various, and sometime obvious, fictional modes. José Luis Guerín’s “ Academy of the Muses ” plays with this idea in a way that sneaks up on the viewer. What begins as a document of a lecture hall discussion about the role of muses in the creation of art becomes a portrait of the students, mostly women who appear to be actors, and who, through conversations together and with the professor, reveal the intricacies of their intertwined lives. The movement from nonfiction to fiction isn’t announced or even really acknowledged. It subtly emerges, allowing the viewer to decide what falls into what category, or if either of the categories even apply here. Andrea Bussmann and Nicolás Pereda’s “ Tales of Two Who Dreamt ,” about a Hungarian family waiting out the decision over their asylum application in a dreary housing block in Toronto, is involved in a similar, if more obvious, exchange of ideas about what is real. The film shifts from what appear to be observational shots of the family and life around the housing complex to more overtly scripted scenes involving mythical stories — including one about a boy who mysteriously turns into a bird — that the main character first announces in a series of retakes at the beginning of the film. The characters or subjects of “Tales of Two” are engaged in the creation of their own reality in front of the camera. Through a breaking of traditional models they are revealing a hidden truth about documentary cinema and the subjectivity of the camera. The same can be said for the painter Rose Wylie, who is at the center of Ben Rivers’s “ What Means Something.” The film, a portrait of the artist’s life in isolation as she sips coffee and works in her studio, collapses the distance between filmed and being filmed. Rivers does not try to hide his own voice, and Wylie frequently asks him questions and performs the duty of using her hands as a clapperboard between takes. What we get is something more akin to collaboration. In a different way, Claire Simon’s “ The Woods Dreams Are Made Of ” is also a collaboration between the person filming and what and who are being filmed. Shot entirely in Paris’s massive Le Bois de Vincennes, the largest public park in the city, the work follows all the different visitors and residents of the park. These include prostitutes, fisherman, homeless people, dog walkers, cyclists, groundskeepers, and old men who use the park’s natural resources as their expansive gym. Each is given ample time to tell their story and to explain their use of the space. No one is held above another, all are treated compassionately and fairly, and each is essential to the intricate puzzle Simon weaves of the necessity of public space. (With its abundance of outdoor sequences, the film makes an interesting pair with the very different work of Bruce Baillie, who is deservedly getting his own sidebar-retrospective as part of the series). “The Woods,” in its dissection of public and private space, also dovetails nicely with “ The Prison in Twelve Landscapes ,” Brett Story’s deft examination of how the endless construction of prisons has effects that reach outside its walls. We see men in Washington Square Park in New York talking about how they honed their chess game at Rikers, get a tour of Quicken Loans’ sprawling corporate campus in downtown Detroit, where the tour guide at once extols the current hipness and former dangers of the neighborhood, and arrive at the street in Ferguson, Missouri, where Michael Brown was shot in 2014. “Twelve Landscapes” achieves much of its power through its lack of informational explanation. The connections don’t need to be spelled out or described; they are shown, felt, understood. It’s essayistic, but never didactic and not afraid to let abstraction become part of its depiction of reality. It’s engaged in presenting a new way of seeing. Thom Andersen’s “ The Thoughts That Once We Had ” and Jean-Gabriel Périot’s “ A German Youth ,” using very different formal methods, are involved in a similar reorganization of how we see the world and film itself. “Thoughts” is a dense film that utilizes Gilles Deleuze’s writings on cinema as the loose structure for a personal history of the medium, using footage from different films as its body. This allows Andersen to free-associate, making connections across the history of cinema and finding visual patterns and linking them together. A familiarity with Deleuze (who also shows up, via his daughter, in “The Woods Dreams Are Made Of,” a phantom presence who haunts the series) and his ideas might help when watching “Thoughts,” but Andersen seems to be using his work so loosely and without restriction that it’s not without its pleasures. “A German Youth” is engaged with a comparable formal strategy, using found footage — from films, television broadcasts — and recreated events to reexamine the formation of the Red Army Faction, a group of intellectuals turned militants known for their escalating political actions in West Germany in the 1970s. The film, through an investigation of what the group was saying and how they were saying it, but also what was being said about them, recreates the mood and tensions of the time, and makes the argument that the atmosphere of the time pushed the group into existence. “A German Youth” is part of recent trend of documentary film that uses existing footage, the debris of daily visual life, to take another look at our past. Instead of analysis through interviews with experts, and/or a flimsy attempt at ethical observation, these films are finding new ways to look at personal, and political, and cinematic history — separately or at the same time — through a reshaping of material that already exists. The truth is out there; sometimes it just takes another look, another voice, to bring it to the surface. 2016-04-08 15:52 Craig Hubert

46 The Sensations of Sex, Visualized | GIF Six-Pack This article contains adult content. GIPHY Mike McDonnell illustrates and animates a lot of subjects, from dinosaurs and motorcycles, to the occasional David Bowie GIF. But his Tumblr page is largely dominated by an entrancing swarm of pink and yellow figures furiously copulating. If you look at his archive, it looks like a very well-organized orgy. His minimalist approach focuses on illustrating sexy sensations, from yellow lighting coursing through the body and out the eyes during orgasm to skeletal x-rays revealing whats bumping what. Like Phazed's rainbow sex GIFs , McDonnell's work seems less pornographic than celebratory of sexuality and just feelin' good. Check out six of his sexy, sexxy GIFs below. BONUS: BOWIE GIF See more of Mike McDonnell's work on his website. Find more sexy GIFs on GIPHY. Related: Learn How To Make Stereoscopic GIFs With Mr. GIF A Blind GIF Artist Visualizes His Lost Sight V-Day Hearts That Don't Suck | GIF Six-Pack Celebrate National Hot Dog Day with Meaty Renaissance GIFs 2016-04-08 15:35 Beckett Mufson

47 artnet Asks: British Pop Pioneer Allen Jones Just after the opening of Allen Jones 's " Retrospective " at Michael Werner 's Upper East Side gallery—the British pop artist's first New York solo show in 40 years —artnet News spoke to the controversial painter and sculptor about his influences, his consistent depiction of the female figure, and going against the art establishment. Dressed in a dark blue suit and a pink tie, the 79-years-old artist was in exceptional shape and insisted on standing during the entirety of the interview so that he could discuss the works on view. Jones made a name for himself in the mid '60s for his provocative, colorful, and daring depictions of women. In 1969, when his controversial and infamous "Furniture" series, erotic fiberglass sculptures of scantily-clad women posed as furniture, was exhibited, it caused an uproar. In a subsequent exhibition in 1978, one of the works was targeted in an acid attack by feminists. But that didn't stop Jones, whose pop art influenced paintings and sculptures propelled him to success. With works from important public and private collections, the current show at Michael Werner, curated by Norman Rosenthal, represents a unique survey of the artist's iconic imagery that may not be seen in its current constellation again for several years. Speaking to artnet News, Jones looked back at his long and remarkable career. How did you arrive at figuratism and especially the female figure? The first few years of professional life were really absorbing the lessons of the recent past and recent art history, which for me would have been surrealism and futurism. You gradually find your own voice. With the early work, my anxiety as a young student was to have the work taken seriously and be seen as fine art. You sort of process the images through the grille of fine art, but then what you learn is that you have to actually speak directly and find a language to speak directly rather than through those filters. So by the mid '60s, when I returned to the UK after having lived in New York—and I suppose it was important to experience New York firsthand; if it had been 1910 one would have been in Paris… In a way, I found my own voice by about the mid '60s in the late paintings. The blatant preoccupation with the female figure came to the fore, whereas in the earlier work it's more embedded. The other thing was that I'm interested, and have been for years, in the canvas being a visual performance, so the canvas is a performance area. So taking subjects which are about performance, like the magicians, or the stage, or dance, they became a vehicle for actually picturing what the artist actually does. What's behind the use of perspective and dimension in your paintings? The mainstream of modern art through the '60s, when I started working professionally, was towards abstraction. The main thrust of art history in the 20th century was from Mondrian and from Minimalism. Although I could empathize with that, I couldn't do it; I temperamentally could not get rid of representation. And so nevertheless you knew the problem, the visual language problem of how to deal with that, and one of the things is that by definition when you paint an image which is a recognizable image, the area next to the image is space. And so the whole thing is how do you counter that? Or how do you make it clear that it's not an illusionistic depth? That it's not pretending to be a room, or pretending to be a field or something? And so I tend to use color as a way of counteracting that. The lesson from 20th century art was that if color is the key to the paintings, there is an optical space created on the retina between the play of one color against the other. And so the shallow spaces which exist in my pictures are what I call a real optical space. It is a depth which you build with a color reaction on the brain. I'm not sure that makes sense… Why did you shift from painting to sculpture and back again? I spent the '60s trying to develop my own pictorial language for describing the figure. And by the end of the decade I realized that I was modeling and suggesting volume so strongly that maybe I should take a chance and actually make the image rather than reproduce it two dimensionally. And so that was my second excursion into sculpture. This [ Third Man (1965)] is one of the earliest ones. This is from the mid '60s and was very much to do with the idea again of using color. The shift to three dimensional figures released the painting of having to be that descriptive. I think that the works after those initial furniture sculptures became more lyrical, more free, and the brush strokes started to play a bigger part in the paintings. And the same with steel. In the '80s I had another idea, I thought well what if you actually make the figure real, what if you cut it out. Well of course if it was paper or canvas, it would collapse. But if you fold it, it gives it an arbitrary physical strength. Whereas I only occasionally make three dimensional, volumetric figures using resin fiberglass, I've been consistently working with steel, using that folded idea pretty regularly since the '80s. So to me there are three different languages. There's the painting, there's the steel, and there's the fiberglass. I think its an interesting idea to say the same thing, but you're speaking three different languages, but hopefully you're making sense the same as you would be if you were speaking German, French, or Croatian. What is behind your desire to go against the art establishment? Either you can use your natural talent to replicate what has gone before, and you can speak intelligently using a visual language. Every period in art history, you've got the people who write the vocabulary, and then you have lots of people who learn the vocabulary and use it quite intelligently. There are lots of Fauvists apart from Matisse and Derain , but you remember the people who actually establish the rules. And so for me wanting to make representation of the figure, you had to find a way to do it that didn't rely on a crutch of the history of art. So instead of making the figures in stone or marble or bronze, the thrust was that if you make something where there's no history to the fabrication process, then people have to somehow make up their mind from the start. There's no "Oh I don't like it very much but it's obviously art. " Do you think you're misunderstood? I think I have been misunderstood, but that seems to have been a generational problem from the '70s. The feedback I have from people who are much younger than myself means that I think things have turned a corner. Do you think people overreacted to the "furniture" series. No. I just think that people's reactions are based on their own experience and their own expectations. And the problem with an artist is that he's responsible for making visible what he makes visible. But he's not responsible for how people use it. If you could own any artwork from art history what would it be? It would be very hard, there's got to be a dozen things. But most recently I've been thinking again about a Bronzino in the National Gallery in London called Venus, Cupid, Folly and Time (ca. 1545). I could live with that forever. Follow artnet News on Facebook. 2016-04-08 15:31 Henri Neuendorf

48 Cover Girl Unveils Beauty App Cover Girl is launching its first makeup app, BeautyU, into the burgeoning beauty app market. But what distinguishes BeautyU is that in addition to augmented reality, there is a profiling feature to add personalization to recommendations. Although estimated worldwide mobile app revenue is projected to reach $77 billion in 2017, according to Go-Globe, there is still a gap in the mass beauty brand business. Beauty brands are looking to apps to crack the barrier posed by the fact cosmetics can’t be tried on in mass market doors. “One of our goals is to make makeup easier [to use]. We all love makeup but don’t always know what is right for us,” said Esi Eggleston Bracey, executive vice president, Global Cosmetics at Procter & Gamble Co. “We also want to make it easier to shop. When you know what you want, it makes it easier to buy. We don’t push, we pull.” That premise is one reason Eggleston Bracey believes apps can drive sales both online and in physical stores. “When you give consumers a recipe and guide them to what to purchase, it makes a big difference. We’ve seen that with ‘get the look’ programs. The more women use the app, the smarter it gets, offering personalized tips and tricks. This leads to greater engagement with our brand, which encourages sales.” In addition to exposing users to products they can seek in stores, BeautyU offers a click-to-buy function. Among the features of BeautyU is a face scan to help identify individual facial features. “It really helps us get to know [the user] by understanding all of their features. The facial scan reads your face shape, specific features, and skin tone, so the recommendations are unique to you.” The magic mirror technology creates an augmented reality for virtual try on of products and looks with face tracking capabilities to follow movements. Photos virtually wearing the looks can be saved and shared. But what one buyer noted that helps BeautyU stand out in the new wave of apps is the diagnostic tool. A series of questions narrows down suggestions so each look or product is customized for that user. The prompts range from “What’s your favorite makeup mantra?” to “What’s your perfect date.” The app also uses the brand’s ambassadors including Katy Perry, Ellen DeGeneres, Becky G. and Janelle Monae to help users identify with looks. “We want to give a clear road map of what to buy,” Eggleston Bracey added. Additionally BeautyU offers a range of options based on the user’s features and profile. “We try to not give just one recommendation,” Eggleston Bracey said. Acknowledging there are many choices, she said the timing was right for Cover Girl to enter the fray. “In the digital age, downloading apps to help us with problems we have has become part of life. With the demand for personalization, we offer a true point of difference.” With little fanfare — marketing behind the campaign goes full throttle this summer — BeautyU already has exceeded 17,000 downloads since March. The app was featured in a program at Walgreens called Masters in Makeup with callouts for the app on displays along with video screens showing how-tos. Eggleston Bracey believes most use will be in the privacy of homes in preparation for shopping, but women can click on the app to scan products in stores and receive more information. One of her favorite components of the app creation was input from two students from the Girls Who Code partnership with CoverGirl. The young women were flown to Berlin to assist in creating the app. “Girls rock. They can do anything. We want to break gender barriers,” Eggleston Bracey said. “It was great to have their input.” 2016-04-08 15:26 Faye Brookman

49 Burberry and GQ Toast the Launch of Mr. Burberry Fragrance GQ and Burberry cohosted a party at the brand’s SoHo flagship in New York City to celebrate its new men’s fragrance, Mr. Burberry Thursday night. Guests included a seasoned actor on a hit show — Michael Kelly of “House of Cards” — and an assortment of emerging actors on buzzy series — Jake Lacy of “Girls,” Sam Heughan of “ Outlander ,” and Rami Malek of “Mr. Robot” — who are all inching their way into the limelight. “It is very random and it’s very strange, but I love it,” said Heughan. The Scottish actor was referring to a new aspect of his job: hobnobbing and having his picture taken at fancy parties. “You start to build relationships and everyone I’ve met is so nice. You also get to wear a Burberry suit, which is probably the best part about it.” Lacy is also new to the party circuit and earlier this year his private life became fodder for celebrity news outlets when he “revealed” he was secretly married in August. “I think it just came up in discussion. I wasn’t like, ‘You’ve got the big scoop — Jake Lacy is married,'” said Lacy, who attended the event with his wife. “I don’t particularly like people knowing my personal business, but I had my ring on and someone asked and so I was like, ‘Yeah.'” Although Lacy shies away from discussing his private life, he is enjoying another facet of fame: wearing better clothes. “I mean, Burberry hooked it up tonight,” Lacy told WWD. “It’s nice leaving the house with confidence and not having to put something together myself and hope I don’t look like an idiot when I get there.” Across the room was British model-actress Amber Anderson, who appears alongside musician Josh Whitehouse in the Mr. Burberry campaign, lensed by English director Steve McQueen. Anderson has become a go-to for Burberry — she opened and closed their fall 2015 runway show and has appeared in several of the brand’s fashion and beauty campaigns. “I grew up in the U. K., I come from the middle of nowhere and my family isn’t very fashion- conscious,” said Anderson. “But because Burberry has such strong heritage it’s something you can really tell your family about and they really understand how much it means.” 2016-04-08 15:19 Aria Hughes

50 Bang on a Can Marathon Loses Its Home They need to find somewhere else to bang on their cans. The annual Bang on a Can Marathon, a vibrant new- music event, will not be held this year in New York City because it has lost its space and presenting partner of the past decade, the Winter Garden at Brookfield Place in Lower Manhattan. Festival officials said they were looking for a new space for 2017, when they will celebrate the marathon’s 30th anniversary. “We’re moving on, we’re going someplace new,” said Julia Wolfe, the Pulitzer Prize-winning composer who founded Bang on a Can with the composers Michael Gordon and David Lang. She noted that the marathon had been held at a number of different homes across the city during its nearly three decades in existence, including the old R. A. P. P. Arts Center on the Lower East Side, Lincoln Center and the Brooklyn Academy of Music. Ms. Wolfe praised Arts Brookfield, the group that offers cultural events at the Winter Garden — the public atrium in Brookfield Place, the office and shopping complex formerly known as the World Financial Center — for its years as co-presenter of the marathon, which offered many hours of free, innovative and occasionally zany musical performances. Debra Simon, the vice president for arts and events at Arts Brookfield, said that after an “incredible” 10-year partnership with Bang on a Can, they had decided not to continue to hold it at Brookfield Place, but said that they would continue other musical programming. “There are many artists and organizations that need support and we are continuing to curate in order to provide opportunities for a wide range of performers,” she said in an email. There have been marathon-free years in the past, occasionally. And hardcore New York Bang on a Can fans will have an opportunity to hear another marathon: the annual Bang on a Can Summer Music Festival at MASS MoCA, which will feature John Luther Adams as its guest composer this summer, ends each year with its own marathon. This summer Bang on a Can plans to charter a bus from New York City for the event, which is planned for July 30. 2016-04-08 15:16 By

51 First and Final Frames: TV's New Golden Age This article contains spoilers. Screencap via Hugely successful creator-driven television shows like The Sopranos, Breaking Bad, Game of Thrones, and Mad Men have made the last two decades a new Golden Age of television. Hours have been spent discussing the minutiae of character development and world building, but video essayist Celia Gómez , dissects most of these Golden Age series in a matter of minutes using the "first and final frames" format we first saw used by Jacob T. Swinney. Some frames are clearly linked, such as the close-ups of Don Draper's head in Mad Men , the mirror shots of Twin Peaks , and the opening and closing eyes of Lost. If you haven't seen the series listed below, it might be best to skip this one. But if you're ok with a few spoilers, the poetry that showrunners like Vince Gilligan, Matthew Weiner, and J. J. Abrams demonstrate in their first and final frames is worth soaking in. See more of Celia Gómez's work on her Vimeo page . Related: Supercut Pairs First and Final Frames of 55 Films What Does It Mean When a Film Fades to White? This Programmer Will Show You How To Make Instant Movie Supercut When First and Final Frames Tell a Film's Entire Story 2016-04-08 15:10 Beckett Mufson

52 Contemporary Art Museum Opens in Amsterdam AMSTERDAM — A private museum of modern and contemporary art has joined the heavy hitters on the city’s Museumplein. The Modern Contemporary Museum , or Moco, which opens to the public Saturday with a show of works by Banksy and Andy Warhol, is across from the Rijksmuseum and adjacent to the Van Gogh Museum and the Stedelijk. It aims to present the “rock stars of contemporary art,” according to its founders, the art dealers Kim and Lionel Logchies. The husband and wife own the Lionel Gallery in the Spiegel quarter of Amsterdam. The gallery represents Banksy, Mark Lagrange, Jeff Koons, Julian Opie and others. They have invested an undisclosed amount of their own money into the project and enlisted the help of four unnamed investors to rent the 13,500-square-foot space, in the former Villa Alsberg, a stately private home built in 1904. “We had a good few years, so we thought we could make our house nicer or we could make a big jump and do this,” Ms. Logchies said during a tour of the space on Friday. “Some clients were interested in investing as well.” Exhibitions will be based on works loaned from private collectors, including clients of the Lionel Gallery. Ms. Logchies said future shows could include works by Damien Hirst, Salvador Dalí and Picasso, as well as emerging street artists such as Os Gemeos, KAWS and Maya Hayuk. 2016-04-08 15:01 By

53 When Artists Kill Caravaggio, Salome with the Head of Saint John the Baptist (1610). All images via Wikimedia Commons. Many artists grace the idea of death every day, with their pens, pencils, and brushes. But throughout art history, a handful have brought actual death into the world, with knives, guns, and defenestration. This begs the question: When an artist kills, what happens to their work? The Renaissance master Caravaggio is known for chiaroscuro and dramatic compositions. His life was just as dramatic: in 1606, he got in a brawl with a man named Ranuccio Tomassoni over a prostitute named Fillide Melandroni. Caravaggio attempted to castrate his dueling partner, but missed and instead hit the femoral artery. Tomassoni bled out. Caravaggio spent the last four years of his life on the run from Roman authorities, who would have publicly displayed his disembodied head if caught. His work turned increasingly violent, perhaps in an attempt to atone. It is rumored that the artist signed his 1608 The Beheading of St. John the Baptist with the phrase “I, Caravaggio, did this,” referring to either his authorship of the painting, or of a murder. He painted three more beheadings between 1606 and his death in 1610: two versions of Salome with the Head of John the Baptist , and David with the Head of Goliath. In place of the severed heads of John the Baptist and Goliath, he painted his own likeness. Caravaggio, David with the Head of Goliath (1606-7) For Caravaggio, travel was the way to escape prosecution and continue his work. 250 years later, Eadweard Muybridge followed almost the same path—swapping the prostitute for a wife, and adding an acquittal. In 1874, Muybridge discovered a letter from his wife, Flora Dawns, to theater critic Harry Larkyns, that led him to believe Larkyns was the father of his wife’s child. Muybridge immediately tracked Larkyns down, shot, and killed him. He was acquitted on the grounds of “justifiable homicide,” and immediately left town, spending the next nine months photographing Central America. Back home, his wife divorced him and died soon after, sending the bastard child to an orphanage. Murder, in a way, allowed Muybridge to focus on his work. Eadweard Muybridge, The Horse in Motion (1878) In 1872, he went to the Yosemite Valley to upstage a fellow nature photographer, Carlton Watkins , taking extreme lengths to prove his photographic prowess. In order to capture a more perfect landscape, he chopped down trees with his own hands. Perhaps, to Muybridge, his murder victim was tantamount to an unsightly tree. These irrational behaviors might be explained by brain chemistry. In 1860, Muybridge was involved in a stagecoach accident that left him in a coma, caused months of double vision, sensory deprivation, and, according to the hypothesis of psychologist Arthur Shimamura, uncontrollable emotional outbursts. Shimamura believes Muybridge suffered damage to his frontal cortex, the part of the brain that regulates emotions. Eadward Muybridge, Yosemite Falls, 2700 feet, Yosemite Valley (1868-1873) Brain damage might explain Muybridge’s murderous temperament and obsessive dedication to his work. But for Minimalist sculptor Carl Andre, the only chemical imbalance involved in a tragic death was a high BAC. Andre was apparently drunk when he and his wife of eight months, artist Ana Mendieta, had an argument that ended in her fall to death from the window of his 34th-floor apartment. Mendieta’s death on September 8, 1985, and the ensuing investigation, were heavily covered by the press. The New York Times reported that a Manhattan district attourney “said a passer-by had heard screams that were ‘consistent with someone being thrown out the window.’” In a later article , the newspaper reported “[a] doorman working nearby testified that he had heard cries of: 'No! No! No!' just before the body hit the ground.” Andre told a 911 dispatcher that Mendieta had “somehow gone out the window,” after a dispute about “the fact that [he] was, eh, more exposed to the public than she was.” Andre was acquitted, but it’s difficult not to speculate that he was at least a little bit jealous of Mendieta’s youth and promise, when he had already been canonized and pigeonholed. 17 years Andre’s junior, Mendieta had learned about Andre’s work in college. HIs early work was in some ways revolutionary; but as he aged, his work stayed the same, seemingly unaffected by anything external—not even the death of his wife. As late as 2009, he was still stacking blocks of wood. Mendieta, on the other hand, was just gaining traction in her career. Where Andre’s work dealt with form and gestalt, Mendieta’s was political, feminist, and engaging new media—more in line with the zeitgeist of the 1980s. After Andre’s acquittal, it was noted in The New York Times that Mendieta “was lesser known [than Andre], but her sculptures were gaining prominence.” Today, Mendieta’s work obscures the living Andre’s, the latter prompting protests in the former’s name, the former receiving posthumous exhibitions . What do these three controversial have in common? Well, for starters, each of their crimes or trials were brought about by passion. None were punished by law, not even those who confessed. They were all landmark artists: some pinpoint Caravaggio as the father of the Baroque, Muybridge as the father of the motion picture, and Andre as the father of Minimalist sculpture. If these patriarchs’ spotty histories are any indication, perhaps we should start thinking in terms of mothers of great art movements instead. Related: A 15-Year-Old Murder Inspires a Haunting Installation See Grisly Photos from the Godfather of Crime Scene Photography 7 Art Secrets that Were Uncovered with Technology 2016-04-08 14:20 Alyssa Buffenstein

54 Nahmad Modigliani in Panama Papers When the uber wealthy want to obscure their financial dealings, they have often turned to Panama-based law firm Mossack Fonseca, which has set up offshore tax havens and shell corporations for a number of the art world elite. Now, such maneuvering has become public knowledge , thanks to a massive data leak of the firm's files. Among the latest revelations to come out of the Panama Papers leak is that the Nahmad family does, in fact, own a Amedeo Modigliani canvas that was seized by Nazis during World War II and is the subject of an ongoing quest for restitution . Related: Chinese Auction House King Named in Panama Papers In the case of Modigliani's Seated Man With a Cane (1918), which was taken from Philippe Maestracci's grandfather, the ownership comes as no great surprise. The Nahmad family claimed in court that a company called the International Art Center (IAC) was the painting's owner, but Maestracci, who has long been seeking restitution of the work, maintained that IAC is a shell company for the Nahmad family's New York and London galleries. (IAC purchased Seated Man $3.2 million at Christie's London in 1996.) Maestracci's lawyers note that IAC was one of 11,000 companies that listed Fonseca as its director. The recent leaks show that the Nahmads have controlled IAC for more than 20 years. Related: Helly Nahmad Accused of Hiding $20 Million Nazi-Looted Modigliani The Nahmad's lawyer, Richard Golub, told the BBC that ownership of the IAC was "irrelevant" because "the main thing is what are the issues in the case, and can the plaintiff prove them? " He has previously questioned whether Maestracci's grandfather, Jewish art dealer Oscar Stettiner, ever owned the canvas. The case was dismissed in November on the grounds that the complaint should have been filed in Panama, not in New York, and that Maestracci was not the appropriate plaintiff. His most recent complaint with New York's Supreme Court , filed with the administrator of Stettiner's estate as the plaintiff, argues the Nahmad family operates through IAC "in a manner so as to confuse and conceal their identities, and hide revenues generated. " Follow artnet News on Facebook. 2016-04-08 14:04 Sarah Cascone

55 Pop Designer Eero Aarnio Retrospective At Design Museum Helsinki Related Artists Eero Aarnio Eero Aarnio ’s designs captured the imagination of the trend-setters in the 1960s. With bold colors, round curves, and forms inspired by pop culture, Aarnio was at the forefront of a time when the use of plastic and fiberglass revolutionized furniture and interior design. Now, Design Museum Helsinki is staging a retrospective of his works. The Ball chair, designed in 1963 and presented on the world stage at the Cologne Furniture Fair in 1966, was the work that made Aarnio famous. A brightly colored bauble on a swivel pedestal, upholstered inside to form a cozy, yet modern, cocoon, the chair is one of the quintessential icons of the Swinging Sixties. Regularly featured in sci-fi movies of the time, it has also made an appearance in Austin Powers in 1997, a testament to its “iconicity.” The unconventional chair was designed for the home use of Aarnios: “We had a home but no proper big chair, so I decided to make one, but some way a really new one,” wrote Aarnio. “After some drawing I noticed that the shape of the chair had become so simple that it was merely a ball. “I pinned the full scale drawing on the wall and sat in the chair to see how my head would move when sitting inside it. Being the taller one of us I sat in the chair and my wife drew the course of my head on the wall. This is how I determined the height of the chair. Since I aimed at a ball shape, the other lines were easy to draw, just remembering that the chair would have to fit through a doorway.” Aarnio's playful, yet elegant, designs were perfect for an era characterized by a new optimism, rapid economic growth, and the birth of youth culture. “ Eero Aarnio 's work combines the irrational and the rational in an almost schizophrenic way,” notes Suvi Saloniemi, Chief Curator at Design Museum. “The combination of the comical and unruly with reduced modern form creates an interesting tension.” Other Aarnio's classic designs – today featured in collections of MoMA, V&A Museum, Stedelijk Museum, as well as Centre Pompidou and Vitra Design Museum – include the Chanterelle Table (1966), the Pastil and Bubble chairs (1968), the Tomato chair (1971), and the Pony chair (1973). An unusually prolific designer, Aarnio continued to produce significant work well into his nineties: the Screw Table, resembling an upright screw, was designed in 1991, and as recently as 2005 he created another classic object, the Puppy children’s chair. Although sensitive to the demands of the mass production process, there is a joyfulness to Aarnio's designs that set him apart from the stern dictum of Modernism that form must follow function. The Ball Chair prototype was equipped with a telephone – an gesture of unnecessary opulence, perhaps, or just a celebration of consumer technology. Today, the same chair comes fitted with broadband! Commenting on his Puppy children's seat, today a common feature in start-up communal spaces, he said: “It is also possible to create a new need - no one needs it, but there are so many who want to have it.” The exhibition will comprehensively survey Aarnio's work in furniture, lamps, small objects, and unique one-off pieces, from the 1950s to the present. Original drawings and sketches will also be on show, collected both from the production lines of factories, and Aarnio’s desk. A comprehensive monograph on Aarnio’s work will accompany the exhibition, jointly produced by Design Museum in Helsinki and WSOY publishers, and containing previously unpublished writings, photographs, and drawings. The Eero Aarnio retrospective runs from April 8 through September 25 at Design Museum, Helsinki. 2016-04-08 13:35 Jana Perkovic

56 Adam Green's Psychedelic 'Aladdin' Is a Handmade Labor of Love Your friendly neighborhood visionary art, film, and song maker Adam Green has put the better part of the last four years into a new adaptation of the classic Arabian Nights tale, Aladdin. The film, which premiered at Pioneer Works on Tuesday night, is a very different beast from the "Jessica," "Friends of Mine," and "Dance with Me" songwriter's first feature, The Wrong Ferrari , which was shot on an iPhone and rests conceptually on a foundation of ketamine. Vibrant, and dripping with a meticulous craft aesthetic best described as, "cartoons made flesh," Aladdin is a testament to the power of a good love story. The trailer, which you can watch above, hints of an inscrutable romp through Green's subconscious, but the film is actually fairly linear and straightforward, thanks to the influence of Green's wife, Yasmín, and the collective efforts of Green's sprawling network of friends and acolytes in the New York scene. The plot is driven by a lamp that, rather than relying on pure magic, takes the form of a 3D printer, opening all the doors to sex, power, and antics that modern technology promises in our own world. Adam Green funded Aladdin through Kickstarter, rented a warehouse in Red Hook a few blocks from Pioneer Works, and wound up using many of the artists doing residencies there as extras and minor characters. Written in the lyrical style of an album of songs, it's impossible to grasp every single line, but relaxing and letting sentences unpack themselves helps the film makes sense on it's own terms. "It's like a cartoon where you feel what's happening in the movie," Green explains to The Creators Project. "A kid could watch the movie and follow it—well, not a kid becayse it's not really a kids movie. But somebody could watch the movie and zone out and feel like they'd watched the movie Aladdin. Or they could analyze every line, because every line is its own nugget of something I thought to include in the movie. " In an exclusive behind-the-scenes documentary, premiering today on The Creators Project, actor Macaulay Culkin, one of Green's longtime friends, and the character who plays Ralph, the leader of anti-government revolutionary group called the Magical Americans, affectionately says, "I said yes to the script before [Green] had even written it," effectively summarizing the way everyone on set seems to feel about working with Green. Watch that below: Aladdin 's colorful set is populated by Green's fiercely loyal friends, who also happen to be film and fashion celebrities or art world around-towners. The film is uncompromisingly Green, which somehow also means that each actor's individual personality and humanness is made to shine through. "[Actor] Jack Dishel would do these voices in the [Moldy Peaches] tour van," Green tells us, explaining that Aladdin's characters are as much a product of the actors as the script. Dishel is the creator of Uber-bashing web series : Dryvers , and a talented impressionist and character actor. In Aladdin , he takes on two separate main charaters, Aladdin's wholesome-ish Uncle Gary and a villainous technophile Sultan. "He'd do this old man character and this pan-European character. One time some guy came on the bus, very drunk and very foreign, and just felt entitled to everything, and I was just watching, thinking, 'Who the fuck is this guy?' Later, Jack did an impression of him, and that, partially, became the Sultan. " In this way, Green gives the human indulgences and imperfections normally airbrushed out of Hollywood productions a chance to thrive in the characters of Aladdin. This thread links together all the seemingly non-sensical characters in Green's Arabia, whether it's Dishel's dual roles, or Culkin as Ralph. Arrested Development star Alia Shawkat as Aladdin's sister Emily, Emmy- winner Natasha Lyonne as Aladdin's voluptuous mom, internet curiosity Bip Ling as the Kardashian-esque Princess Barbara, Zoë Kravitz as an asparagus-loving miner, and neo- Expressionist painter Francesco Clemente's portrayal as the genie each tackle Adam's lyrical voice in their own way. Courtesy Adam Green Green summarizes his approach in Aladdin as a reaction to the Dogme 95 movement started by Lars von Trier and Thomas Vinterberg, and championed by Harmony Korine. "I loved Lars von Trier and Harmony Korine growing up, with their whole set of rules: you won't have any pros, your actors will come to the location, location will not be changed at all, there's no music that isn't played at the time of shooting," Green explains. "My movie is the opposite. It's completely hand- made, and the rule is that nothing can be real in the movie. Which is funny because it's actually abut a real life experience. " Yasmín Green produced the film while pregnant with Adam's child and working at Google. "She's the smartest person I know," says Adam. Her influence was a pivotal factor in the growth you can see between The Wrong Ferarri and Aladdin. They met shortly after he finished his cinematic debut, tripping and falling headfirst into romance and then marriage. Their daughter is now 18 months old. More than just his wife's producing abilities, the relationship itself is what drew Green to Aladdin in the first place. "I like it because it's a love story, and I spent the last few years finding love in my life," Green says. "I was really relating to it because it's about love trumping material things. " There is a wedding at the end of the movie, culminating in a set of heart-lifting set of vows that Green reveals are identical to the ones from his own wedding. "We made the movie together, it was our project. And I think all my projects in the future will be ones I do with her. " Courtesy Adam Green Learn more about Adam Green's Aladdin on the movie's official website , where you can also to see when the stoner adventure epic/romance/sci-fi/fantasy/legend movie arrives at an art cinema near you. Check out more of Adam Green's film, music, and artwork here. Related: [Exclusive] Inside the DIY Mini-Films of 'Me and Earl and the Dying Girl' How to Fly to Mars on a DIY Spaceship Nothing Is Sacred in the Robot Chicken Christmas Special The Creators of 'Rick and Morty' Told Us the Secret to Comedy 2016-04-08 13:30 Beckett Mufson

57 Tangled Web: Lizzie Fitch and Ryan Trecartin at Andrea Rosen, New York Ryan Trecartin, Temple Time , 2016, single- channel HD video, 49 minutes 23 seconds. ©RYAN TRECARTIN/COURTESY ANDREA ROSEN GALLERY, NEW YORK AND REGEN PROJECTS, LOS ANGELES H yped-up, fast-paced filmmaking has become the norm— Mad Max: Fury Road , this year’s Oscar winner for editing, packs 2,700 cuts into its two-hour runtime. But even by George Miller’s standards, Lizzie Fitch and Ryan Trecartin’s turbo-charged videos are excessive. Most shots don’t last more than half a second, and, in the rare cases when they do, the camera is in constant motion. The work rarely contains a plot. Sexually and morally ambiguous characters simply jabber on about nothing in nondescript spaces that mirror the environments Fitch and Trecartin have constructed for the viewers to immerse themselves in the work. These environments often include bland household furniture installed in odd ways, a sly subversion of a home theater, providing a contrast to the artists’ frenetic style. Onscreen, there’s always too much and too little going on, but that’s the point. These videos are about being distracted. In four new videos on view now at Andrea Rosen , Fitch and Trecartin use split screens, superimpositions, jump cuts, digital distortions, and other techniques to heighten viewers’ short attention spans. Computer-generated images of animals also appear, with no apparent shred of logic. The new videos are heavy on nonsensical banter about drinking, bodily functions, and suffering general boredom. All of this is fairly standard for Fitch and Trecartin, but they also go in a new direction, transplanting their characters into nature. Or, at least, some strange approximation of nature. For whatever reason, camping is a unifying theme here, whether it’s done in-doors during an intoxicated slumber party, as is the case in most of the videos, or in a mosquito-bitten backyard. Distraction, of course, remains the mise en scène. In a time when millions of videos on the Internet vie for users’ attention, I get the feeling that Fitch and Trecartin’s characters would much rather be checking their phones than doing anything else—including appearing in a Fitch and Trecartin video. In Mark Trade (2016), the titular protagonist, a drunken and off-putting man with long hair and oddly colored contacts, says, “This used to be a lake, but I can’t get any fucking service anywhere now.” The artists’ faithfulness to the Internet’s hysterical diversion renders the characters mysteriously underdeveloped. Ryan Trecartin, Permission Streak (still), 2016, single-channel HD video, 21 minutes 17 seconds. ©RYAN TRECARTIN/COURTESY ANDREA ROSEN GALLERY, NEW YORK AND REGEN PROJECTS, LOS ANGELES Likewise, all of the videos are lavishly installed in rooms where few things make sense. Sound effects—the patter of rain, the whoosh of a breeze—created by an online generator play throughout the show, and gym mats and a makeshift bunk bed sometimes appear in the same room. There’s no binding theme, but it only adds to the show’s schizoid intensity. In the most elaborate installation, titled Lake Anticipation (2016), a video called Temple Time appears in what looks like an upscale campsite, replete with two beanbags, oddly designed chairs, real trees, and empty hot-coal bins. The video has the clearest scenario of the four—it evokes a haunted-house reality show where ghost hunters look for supernatural activity in an abandoned Masonic temple. A Blair Witch Project knockoff video in which computer-generated weasels seem to be supernatural creatures, it features little true horror, but is unnerving, no less. Digital technology rarely appears in these works, but it always has an implicit presence. Just as these characters seem not to notice the screeching, unseen ghosts in Temple Time , Internet users are too busy going from website to website to care about the insidious, invisible forces online— search algorithms, computer viruses, and surveillance systems. That’s always been a part of Fitch and Trecartin’s work, but never before has their dialogue with their cultural milieu been so mature. Whereas in the past the sinister side of our obsession with technology has been either too much at the forefront or too obscure, the artists have now struck a balance between confounding chit-chat and heady critique. And, like any good viral video, you want to see these new works again and again, looking for information you may have missed the first time. ABOVE ©Ryan Trecartin/Courtesy Andrea Rosen Gallery, New York and Regen Projects, Los Angeles 2016-04-08 13:15 Alex Greenberger

58 ‘It’s About Bringing People Together’: Fabiola Alondra and Jane Harmon on Their ‘Non-Gallery Gallery,’ Fortnight Institute Carmen Winant, Self Healing (II) (detail), 2016. COURTESY FORTNIGHT INSTITUTE On Saturday, April 16, Fortnight Institute, which bills itself as a public salon, will open at 60 East 4th Street, on a quaint, boutique-lined street in the East Village. The Institute “was the beginning of wanting to do something that was unconditional and a space for artists and books and collectors and ephemera,” founder Fabiola Alondra told me over the phone, with co-founder Jane Harmon at her side. The two friends met in London, where they completed their graduate degrees in art history. “We really loved the arts scene in London,” Harmon told me. “The art galleries there really seemed to have a different model and a different way of doing things.” When the pair returned to New York, they again reunited under the employment of Richard Prince, specifically at Prince’s secret bookstore, Fulton Ryder, which closed on Christmas Day in 2014. Harmon continued to work for Prince, while Alondra began working with 303 Gallery’s Lisa Spellman on the gallery’s publishing imprint, 303 in Print. Inspired by their experience with Prince, as well as by their experiences as members of the feminist collective Minerva Cult—of which Marilyn Minter and Betty Tompkins are fans—the two decided to create an artist-driven space of their own.“It was this fantasy of ideas,” Harmon said of their experience working under Prince. “We had this really cool dynamic of working together and putting the art out there in all of these different ways. And we didn’t really have to adhere to a format, or hours…looking back, it was a really fun time. When that ran its course, we thought, ‘OK, we need to start something of our own.’ For the past eight months, we’ve been seriously thinking of how we could build on that idea of a non-gallery gallery, so to speak.”At first, the two planned recurring private salon sessions at Alondra’s apartment, where attendees could come to discuss ideas and look at art. After two editions, the pair decided to go public. “We thought we would find a place to try it out for one month,” Alondra said. “We went walking all around Chinatown, and all around the Lower East Side, but we couldn’t find anything. Then, we were speaking with some people, and they were like, ‘If you only do something for a month, what does that mean?’ We really thought about what we wanted to accomplish with this space, and it kind of propelled us to skip [a test run].”Finally, Alondra and Harmon found a space in the East Village, where they now neighbor an eclectic mix of businesses ranging from laundromats to hat makers. “We just moved in there last week to start renovations, and it’s so funny, all of the old neighborhood people just come up to you and talk to you,” said Harmon. “It feels like a great space for us. There are a lot of theaters and different small businesses, and there’s also this huge history of art in the East Village. The neighborhood isn’t very trendy right now, but that appealed to us as well.” Carmen Winant, She Was Not Dead Yet (But She Feared She Was Dying) , 2016. COURTESY OF THE ARTIST AND FORTNIGHT INSTITUTE The name of the project was not conceived on a whim. “Fortnight is such a meaningful word for us,” said Alondra. “It’s the combination of ‘fort’—which itself is strong—and ‘night,’ because it will be open late at night two times a week. The reason we like ‘fortnight’ is because we like that it’s an old British word that’s used to measure time—fourteen days exactly—and it’s one of the few words that you use to describe a time span of two weeks. Also, it’s interesting that fortnight is one of the few words used to describe time in terms of nights instead of days.” “The word institute came afterwards we knew we weren’t a gallery,” Harmon added. “So what were we? We looked up the definition of an institution, and we were definitely not that. But we looked up what an institute is, and it’s just an organized body that has a purpose. We felt like that kind of description suited us perfectly.”Fortnight Institute will keep unusual hours, as both Alondra and Harmon still work at 303 Gallery and Richard Prince’s studio, respectively, during the day. They plan on some evening hours, late into the night, as well as weekends. Sometimes they will be open only by appointment. Next Saturday, their first show, an exhibition of work by Ohio- based artist Carmen Winant, titled “Who Says Pain Is Erotic?,” will open to the public. “I think it’s important that our first two show is with an artist that isn’t New York-based,” Alondra said. “It’s refreshing to work with artists who aren’t in the New York bubble, and we’ll continue to do that down the line as well. We’ll of course work with New York artists, but we’ll try to fit in people outside of the New York scene.” Their second show, opening a month later, on May 16, will feature work by the Canadian artist BP Laval. Alondra and Harmon also plan to organize performances and screenings in the future, and have contacted a few booksellers, who will begin selling books at Fortnight Institute. When I asked if the two had to raise funding for this project, however, the answer was an emphatic no.“No, we are completely self-funded,” Harmon said. “We thought it was an important thing to do on our own. Even in terms of just getting the space ready, we’re there every day painting and plumbing and sanding floors. We’ve physically, financially, and creatively invested ourselves and our time into this. We had a lot of people who were happy to offer funding to us, which we just really didn’t want to take.”“We kindly declined,” Alondra chimed in, laughing. “We never wanted to have to answer to investors. We just want to do what we want to do, and we want to build a sense of community around what we’re doing. Just this week, we’ve not only had friends come in to help us renovate, but we’ve had our new neighbors come in to visit, looking to be a part of something. [Fortnight Institute] isn’t only about the art—it’s mostly about bringing people together.” 2016-04-08 12:48 Hannah Ghorashi

59 Cao Fei's First US Museum Solo at MoMA PS1 Cao Fei has seen the future of China and it looks like Detroit—after a Hollywood zombie apocalypse. That's certainly the impression one receives on entering the 37-old artist's eponymously titled exhibition at MoMA PS1. In this, her first US museum solo outing, she presents several roomfuls of dystopic scenarios that include alienated teens, utopian musings, digital escapism, and post-apocalyptic clichés. Hailed as among the most innovative Chinese artists working today, Fei has made video and digital technology her media of choice in exploring the lives of China's citizens—especially its young citizens—as they struggle with raised expectations, falling economic growth rates, and a repressive society that censors the press and the Internet. In Fei's still and moving image works, her country's messy prospects are characteristically seen through the prism of China's 13-to-35-year-old demographic. Unfortunately, global youth culture is just as conservative in the East as it is in the West. Born in Guangzhou, also known as the “world's factory," Fei has experienced China's economic boom first hand as well as the topsy-turvy paradoxes brought by one party laissez-faire capitalism. Among these is the absurdity of life in a city like Guangzhou, where Zaha Hadid's futuristic opera house rises and whose pollution has been likened to a nuclear winter. If there is a place that symbolizes China's dangerous contradictions, it's Fei's hometown; in turn, this fact gives the artist's predictions of a coming Asian rust belt both their bite and urgency. Fei's objects, C-prints, standalone videos, and film installations liberally mix together disparate cultural elements to comment on the roiling changes bedeviling Chinese society. Among the more frequently used tropes in her arsenal are Pop aesthetics, social commentary, digital animation, virtual reality, and an evolving preoccupation with youth subcultures. An artist seemingly addicted to the ideal of roleplaying, Fei uses her performances to embark on various analog and digital fantasies that star herself or others. As the artist told artnet News 's Kathleen Massara , she's insistently in search of what she has termed “resistant power. " Fei's exhibition—tidily curated by Klaus Biesenbach, Director, MoMA PS1 and Chief Curator at Large, the Museum of Modern Art—is arrayed around eight rooms on the museum's first floor and also occupies the VW sponsored dome in the museum's courtyard. This last space contains an especially raucous multimedia installation: It's constituent parts include a stage set, fake Chinatown signage, reproductions of hanging birds, musical instruments and the music video stylings of the NYC-based hip-hop group Notorious MSG, one of Fei's more entertaining collaborators. (Fei held a performance with the hip-hop group this past Sunday.) According to the museum literature, the band's three core members currently work at restaurants in New York City's Chinatown. Their song “Straight out of Canton" captures a great deal of the joy and some of the potential “resistance" Fei ascribes to the group's all-immigrant appropriation of American hip-hop. However spunky and fun-filled, though, the irony of VW—a company that has admitted to massively evading global emission regulations—sponsoring this portion of the exhibition should be lost on no one. If Fei's early films from the 1990s and early 2000s—eight of which are arrayed in a circle on monitors in one of the show's last room—consist of low-fi abject fictions involving mostly friends and fellow students from the Guangzhou Academy of Fine Arts, her ensuing projects feature a combination of social realist portraiture and escapist make-believe. In 2004, for instance, Fei followed a tribe of Cosplayers around Guangzhou. In her photographs and videos a troupe of young adults lunge, thrust, and pose like American Civil War reenactors in full manga and anime costume. Like other global simulators in similar soul-killing locales— say, Brussels or Albany—they ritually refight their own Gettysburgs amid their city's ubiquitous gray high-rises and concrete plazas. A second Fei project that goes all-in with a richly evasive Western subculture is the artist's embrace of Second Life: Linden Lab's formerly hot, now not virtual world that companies like Amazon, American Apparel, and Disney rushed to brand in the early 2000s (sales in that virtual universe peaked at $64 million in 2006). From 2007 to 2011, Fei purchased enough alt-real estate to build RMB City , a digital mashup of various global gothams she ghosts with China Tracy, her own Western-looking avatar. In real life—or at least in the artist's exhibition—the project is represented by a promotional video, white construction tools, and a broker's reception desk. In the wall text, Fei describes the effects of her installation: “It's perhaps no longer important to draw the line between the virtual and the real, as the border between the two has been blurred. " The reaction of hardline Chinese officials to this fanciful fairytale is easy to fathom : From Cao Fei's mouth to Xi Jinping's ears. But not all of Fei's elaborate artworks sound the same naïve fugitive note. In 2006, for instance, she took advantage of a residence in a Siemens lighting factory to juxtapose the daydreams of workers with their lives as they are actually lived inside a manufacturing plant. The ensuing project, Whose Utopia? , materializes these workers aspirations through photographs, a newspaper titled “Utopia Daily," and a video by the same title. In Fei's film a prima ballerina in wings and a fuzzy white halo dances amid shop machinery, an older gentleman slides silkily around the factory floor to Chinese pop music, and a young man acts out the dream of being a rock guitarist. Extravagant fantasies all, they are saved from mere amusement by one true thing. They are located inside a place of actual exploitation. Cao Fei's most recent project, La Town , on the other hand, falls back on Hollywood boilerplate to depict the kind of post-apocalyptic imaginings that animate mass entertainment vehicles like HBOs The Walking Dead and MILFs Versus Zombies. The film, which opens Fei's current survey, enlists 3D dioramas to present a Breugel-like portrait of civilization struck by an unspecified disaster. As such, it begs for something more specific, less generic, more critical and less dependent on Western clichés—including copycat subcultures—to convincingly make its dystopic point. Despite some inventiveness, the first US museum show by this fast-rising Chinese art star invites adult skepticism. Escapism is not resistance, and fantasy is not utopia. Follow artnet News on Facebook. 2016-04-08 12:42 Christian Viveros

60 ‘He Nudges the Sacred Liberal Cows of Assimilation’: A Brief History of David Hammons David Hammons, A Movable Object , 2012. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY With David Hammons’s 50-year career being surveyed at New York’s Mnuchin Gallery, many critics have taken the opportunity to reflect on the artist’s work, which has often dealt with racial and economic inequities, both in the art world and in America as a whole. Below are excerpts from articles in the ARTnews archives, starting with Hammons’s early body prints from the late 1960s and ’70s, moving through an unauthorized retrospective at Triple Candie in 2006 and on to Hammons’s plans to set up a Yonkers space in the future. —Alex Greenberger “Creating her own world” By Gordon J. Hazlitt November 1974A one-man show of the work of David Hammons opened at the not-well-enough- known Fine Arts Gallery at California State University, Los Angeles. Collectors seeking preview glimpses of the art of California’s future should not fail to be on director Josine Ianco-Starrels’ mailing list. Ianco-Starrels has the keenest and most affectionate eyes for searching out new and promising talent. Parking, the curse of our town, is the main problem in reaching this gallery within the educational factory of Cal State LA. Seek it out. David Hammons shows a series of highly intense and colorful prints combined with stencil and collage. He forms images by applying oil to his body, then imprinting the paper and applying dry color to the oiled paper. David Hammons, Untitled , 2013. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY “David Hammons at Jack Tilton and P. S. 1” By Frances De Vuono March 1991 At a time when simple social commentary is welcomed as part of art commerce, David Hammons’ pieces pack a particularly complex and satisfying punch. His style is as cool as that of Marcel Duchamp, his barbs as vitriolic as those of Amiri Baraka. With an easy sense of material, Hammons turns the neighborhood basketball hoop into political theater. He nudges the sacred liberal cows of assimilation. He critiques the patronage patterns of the poor. And he gives the public, in galleries and on the street, elegant, thought-provoking sculpture. At P. S. 1, over 20 years of Hammons’ work demonstrated his unerring eye for both formal and conceptually textured juxtapositions. Bottlecaps become as decorative as cowrie shells, a rusty plow part turns into a bodice for an antebellum petticoat. It’s offbeat, timely, idiosyncratic work. In one room he reconstructed his controversial Washington, D. C. mural of a blond Jesse Jackson. Another room was turned into a surreal chapel, with piped-in gospel music and phosphorescent statues of Jesus suspended from the ceiling. “David Hammons at Ace” By Lilly Wei March 2003David Hammons likes to tweak the hand that feeds him, from selling snowballs in winter to selling colored air at this latest exhibition. Ace, notorious for its cavernous, ever taunting, elegantly bunkerlike spaces, has bushwhacked many formidable artists’ attempts to fill it. Hammons, in his sly way, took the challenge by not filling it at all—or by not filling it in the expected way. At the opening, visitors walked through the monumental doors as if through the Gates of Hell into a murmuring darkness the wattage of most sci-fi thrillers. After a moment of adjustment, we noticed what seemed to be a font (it was actually a wok sawed in half) of luminous blue. A young woman reached into it and handed each spectator a disc the size of a quarter with a tiny blue light that could be turned on and off, like an electric firefly. Walking with light in hand was like taking a magical mystery tour through the enchantingly transformed rooms. Installation view of “David Hammons: Five Decades” at Mnuchin Gallery. COURTESY MNUCHIN GALLERY/ART: ©DAVID HAMMONS/TOM POWEL IMAGING, INC. “ ‘David Hammons: The Unauthorized Retrospective’ at Triple Candie” By Elisabeth Kley May 2006 The Triple Candie gallery fruitlessly pursued a project with the notoriously elusive artist David Hammons for several years before embarking on the brilliant, Duchampian gesture of presenting an unauthorized retrospective of Hammons’s work using reproductions taken from books and the Internet. Every available example of Hammons’s output from the 1960s to 2004 was printed on letter-size paper and taped in chronological order to plywood panels nailed to the walls. A space was left at the end in case something new appeared…In Bliz-aard Ball Sale (1983), one of Hammons’s most brilliant performances, he sold snowballs from a table on a Harlem street. And in Concerto in Black and Blue (2004), visitors provided with flashlights made their way through the enormous vacant rooms of Ace gallery, themselves the exhibition. For a reclusive artist who specializes in such ephemeral work, this made an ideal retrospective. David Hammons, Untitled , 2008–14. ©DAVID HAMMONS/TOM POWEL IMAGING, INC./COURTESY MNUCHIN GALLERY “Looking at Seeing: David Hammons and the Politics of Visibility” By Andrew Russeth February 2015 It’s anyone’s guess what Hammons has planned for Yonkers. Perhaps there is a clue in the catalogue for his 1993 show at the Illinois State Museum in Springfield, Illinois, his hometown, in which he talks about having a private museum there, a place to show his work. It might also be a place to show other artists’ work—either a fully functioning commercial gallery or a nonprofit alternative space. The week before Christmas, I made the trip to the gallery’s future site. The BxM3 bus dropped me off at Radford Street on South Broadway, the town’s main commercial strip. There’s a McDonald’s, a smattering of pizza places, a non-chain pharmacy, a few vacant storefronts. The building that Hammons bought is a 5-minute walk away, past a few modest suburban homes and a block of public housing. It’s next door to the community affairs office of the Yonkers Police Department. There’s a storefront church and soup kitchen nearby, but otherwise it’s a sleepy section of town. Hammons’s space, at 39 Lawrence Street, is a one- story brick building with tall ceilings, filling a lot that measures two-thirds of an acre, about 29,200 square feet. According to property records, an entity called Duchamp Realty LLC, which is registered to the artist’s home address in Brooklyn, bought it for $2.05 million in January 2014. Construction permits for roof repair, issued a few months before I visited and valid well into 2015, were plastered over a door. Whatever the Yonkers gallery becomes, it will join many of Hammons’s works as a marking, and reconfiguration, of public space. Slipping just beyond city limits, it denotes a hallmark of our time: artists’ flight from the moneyed playground that New York has become. “I’ve always thought artists should concentrate on going against any kind of order…but here in New York, more than anywhere else, I don’t see any of that gut,” Hammons told the art historian and curator Kellie Jones in 1986, anticipating this moment. “Because it’s so hard to live in this city. The rent is so high, your shelter and eating, those necessities are so difficult, that’s what keeps the artists from being that maverick.” Perhaps “Duchamp Realty LLC” is another clue: one might see the gallery as an assisted readymade, a former industrial space redirected toward a new purpose. On the day I visited the site, the sound of a jackhammer was ringing through the neighborhood. It seemed to be emanating from within the building, but there was no obvious way in. The gates were down and locked, and looking through the high windows, I could see the sky peeking through sections of the roof that were missing. I bought a slice of pizza and headed back to Manhattan. “Creating her own world” copyright 1974, Gordon J. Hazlitt; “David Hammons at Jack Tilton and P. S. 1” copyright 1991, Frances De Vuono; “David Hammons at Ace” copyright 2003, Lilly Wei; “ ‘David Hammons: The Unauthorized Retrospective’ at Triple Candie” copyright 2006, Elisabeth Kley 2016-04-08 12:27 The Editors

61 Geology Gets Deep Dreamed into Georgia O'Keeffe-Like Abstractions Painter and filmmaker Kurtis Hough has filtered the landscapes of Oregon, Arizona, and Utah through Google's Deep Dream software for his latest short Painted Hills. As the title suggests, Hough has used the undulating psychedelia of Google's AI mind to turn the barren yet sculptural geology of those states into dreamy moving paintings, set to music by Colin Stetson. "The initial concept was to look at the sculptural shapes and colors of arid landscapes through the lens of a painting," explains Hough to The Creators Project. Hough camped out in the Coyote Buttes and spent hours hiking and filming video and timelapse footage of the swirling erosion that marks out the rocks and landscapes there. Once he got back home he ran each shot as an image through the Deep Dream code using Python, adjusting and layering the values until he was satisfied with the effect. "This process ended up being the most amount of manipulation I had undertook when making a short film. It went through 50 iterations before landing on the completed version," notes Hough. "Once I completed the Deep Dream layers, I wanted to go one step further. I began adjusting certain scenes in After Effects and adding 3D elements which have roots in mathematic formulas found in nature and geometric objects, like the Golden Ratio and Pi. " GIF courtesy of Kurtis Hough The result is a surreal effect caught between reality and manipulation, where the natural abstractions are further heightened by the application of Google's dreaming AI. "I wasn’t interested in the 'dog slug' images I was seeing in Deep Dream postings with furry eyeballs filling the frame. Instead, the painterly brush strokes of banding colors fit not only the layered colors found in the sandstone I was photographing, but also connected to the Georgia O’Keeffe style found in my paintings," Hough says. "That is what I found most interesting about Deep Dream, was the ability to combine styles from other mediums together to create a new image. " Image courtesy of Kurtis Hough GIF courtesy of Kurtis Hough Visit Kurtis Hough on Vimeo for more. Related: Stereoscopic GIFs Get Trippy Makeovers with Neural Network Imaging ‘Pikazo’ App Lets You Paint Neural Network Art Masterpieces If Picasso Painted 'Alice in Wonderland'... 2016-04-08 12:15 Kevin Holmes

62 Avid Art Buffs Camp Out for 'RCA Secret' Auction Think you can spot a Grayson Perry artwork when you see one? Your powers of discernment should come in handy at the Royal College of Art 's (RCA) annual auction, which offers up original postcards by renowned artists such as Perry and Anish Kapoor. This Friday, the RCA kicked off their 22nd iteration of "RCA Secret," an exhibition of nearly 2000 works which are all auctioned off at a starting price of £55 ($77). But here's the catch: The winning bidders aren't privy to the artist behind their prize until after the auction closes. Interested collectors, then, are invited to play a game of "who made what? " as they take their stabs at identifying the artists behind the postcards. (A similarly-anonymous Postcards From the Edge fundraiser from Visual AIDS takes place in New York each year .) With heavyweights like Steve McQueen , Zandra Rhodes , and Peter Blake also in the mix this year, the RCA Secret auction is arguably one of the most star-studded university-run fundraising events in the art world. Notable participants in previous years count Zaha Hadid , Paula Rego , and John Baldessari , just to name a few. But the RCA is apt to reassure collectors that even if an item wasn't made by whom they'd hoped, they may very well be holding a piece by the art world's next big star. According to the RCA's website, this year's auction has adopted a new format for the sale. Buyers may purchase their postcards during the week-long exhibition, allowing visitors to swing by and play 'guess the artist' just for fun. Those interested in placing a bid can do so at the exhibition itself or online. In a phone conversation with artnet News, Aine Duffy, head of communications for the RCA, said that eager bidders have been camping up outside with makeshift tents for the past week. The first person on cue, according to Duffy, is a man named Lee, who's spent the last 10 days living out of his tent. This is his tenth year coming to the RCA auction. "What's so unique about the event is that everyone has fun, whether making the artworks or buying the artworks," Duffy said in a follow-up email. The money raised goes to the RCA fund, which offers scholarships for students who face financial hardship. "RCA Secrets" will be on view at the Royal College of Art, Kensington Gore, London, April 8– April 15, 2016. Follow artnet News on Facebook. 2016-04-08 12:06 Rain Embuscado

63 Dealers Upbeat After Day One of SP Arte While many dealers approached the 12th edition of SP Arte in São Paulo with trepidation, they were visibly relieved after day one, when thousands of Paulistas descended on the fair. Important collectors from abroad have been also making appearances, including Maxine and Stuart Frankel, of Michigan, and Ella Fontanals- Cisneros, from Miami. A drastic slowdown in the national economy didn't dampen the atmosphere, and galleries reported healthy sales. São Paulo gallery Mendes Wood, in fact, sold a wall sculpture by Brazilian artist Sonia Gomes within the first few minutes of the VIP opening on Wednesday to a collector who made a beeline for the booth. The gallery is sharing a large space with Michael Werner Gallery , which has venues in New York, London, and Trebbin, Germany. Between them, they're offering artists from Sigmar Polke to Solange Pessoa. Still on offer is a striking painting on found wood by Celso Renato, a lawyer-turned-artist who died in 1992; according to Mendes Wood, there are only about two dozen of his works on the market. This one is priced at $250,000. The early sale of the Gomes is atypical at a fair that, Werner's Birte Kleemann said, is not exactly like Art Basel, known for a frenzy of sales during the opening minutes. All the same, Galleria Nara Roesler, with locations in São Paulo, Rio de Janeiro, and New York, had to reinstall a fair portion of its booth, having sold out an edition of kinetic sculptures by Artur Lescher and a few wall sculptures by Abraham Palatnik, all to private collectors. SIM Galeria, from Curitiba, sold all the works on offer by Rodrigo Torres, which are collages made from currency. Those works were at recession-friendly prices ranging from $1,000 to $16,000. Still available is a haunting photographic collage by Parisian-born Julia Kater; to create the work, she posed on a pebbly beach with the ocean behind her, and layered the resulting prints after cutting her own figure out, leaving a void at the center. The resulting work symbolizes the disappearance of Middle Eastern refugees trying to make safe passage to Europe's shores. “We expected to find a very sad situation, and the feeling is much better than we hoped," said Margherita Tanagli of Galleria Continua, which has venues in San Gimignano (Italy), Les Moulins (France), Beijing, and Havana. She was standing by a bizarre installation by Cuban artist Carlos Garaicoa inspired by a postage stamp showing Adolf Hitler greeting a young child; the artist later found many more examples of this phenomenon, discovering that the politician-with-child motif transcends borders. Also on view are mirror works by Michelangelo Pistoletto, and a sculpture by Shilpa Gupta, among other works. Alexandre Gabriel, of São Paulo's Galeria Fortes Vilaça , told artnet News, “We sold more than half the booth," including sculptures by Leda Catunda, Iran do Espírito Santo, and Erika Verzutti, and canvases by Marina Rheingantz and Lucia Laguna. Dominating the booth is a relief painting in in intense purples, greens, and blues by São Paulo polymath Nuno Ramos, who's also known for his award-winning novels. Tratado dos Manequins (2015) is nearly fifteen feet wide and almost a foot deep, and is a newer counterpart to a series of intensely physical works the artist and writer created in the 1980s as a reaction against conceptual art. It's still on offer at $150,000. Another surprise is that other works at the gallery were free. We were sitting at a table laden with cookies designed by Cuban duo Los Carpinteros, stamped with words grabbed from the Brazilian headlines. “I've been eating ‘corruption' cookies all day," said Gabriel with a laugh. That was one of the few incursions of the grim economic and political situation in Brazil into the space. "You don't feel the crisis inside the fair," said Anapaula Zamacona, with Mexico City's Kurimanzutto, “and that's a good thing. " Follow artnet News on Facebook. 2016-04-08 11:51 Brian Boucher

64 See and Spin #4: 3 Things to Read, 3 Things to Hear See and Spin, where Real Arters dish on a weekly serving of three (bonuses this week) things you need to read and three things you need to hear. The Voyeur’s Motel ( The New Yorker / Gay Talese) Legendary journalist Gay Talese (who went through a bit of trial by Twitter this week) tells the story of how Gerald Foos bought a motel in Colorado order to watch his guests having sex for decades, and how he ended up seeing a lot more than that. The Ballad of Fred and Yoko ( Arkansas Times / Will Stephenson) How one of the world’s foremost Beatles collectors died homeless on the streets of Little Rock. Dirty Little Secrets: The Panama Papers ( Fusion / The Naked Truth Staff) The Panama Papers, the biggest data leak in history, rocked the world this week with thousands of journalists across hundreds of countries working in collaboration to decipher the massive trove of documents and information. From Fusion: “It’s a parallel universe for the ultra-rich and ultra-powerful. But a massive new leak has exposed their underworld. Fusion goes inside the law firm that sells secrecy to drug dealers, dictators and alleged sex traffickers.” And for the bonus… In Memoriam: Five of Roger Ebert’s Best Pieces of Writing Three years ago this week, the world lost film critic, historian, journalist, screenwriter, author and the brilliant mind that was Roger Ebert. Below, an attempt to break down an illustrious life of writing into five pieces. I Remember You ( RogerEbert.com / 2012) “Memory. It makes us human. It creates our ideas of family, history, love, friendship. Within all our minds is a narrative of our own lives and all the people who were important to us. Who were eyewitnesses to the same times and events. Who could describe us to a stranger.” The Great Movies: Citizen Kane ( The Great Movies / 1998) “‘Citizen Kane’ knows the sled is not the answer. It explains what Rosebud is, but not what Rosebud means. The film’s construction shows how our lives, after we are gone, survive only in the memories of others, and those memories butt up against the walls we erect and the roles we play.” The Great Movies: Hoop Dreams ( The Great Movies / 2001) “No screenwriter would dare write this story; it is drama and melodrama, packaged with outrage and moments that make you want to cry. ”Hoop Dreams’ (1994) has the form of a sports documentary, but along the way it becomes a revealing and heartbreaking story about life in America.” I Do Not Fear Death ( Salon.com / 2011) “I will pass away sooner than most people who read this, but that doesn’t shake my sense of wonder and joy.” North ( RogerEbert.com / 1994) No one could write a pan quite like Ebert: “North is one of the most unpleasant, contrived, artificial, cloying experiences I’ve had at the movies. I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it.” Tegan and Sara / “U-turn” / Love You to Death (2016) In 2013, Tegan and Sara pulled the biggest “U-turn” of their career by releasing Heartthrob , an album of sleekly produced pop music. Though the intropsective, earnest, heart-on-sleeve themes remained, the Candian Quinn sisters replaced somber acoustic guitars with soaring synths and radio-ready sing-a-longs. “U-turn” is from the band’s upcoming Love You to Death , and much like Heartthrob and other new single “Boyfriend,” it continues their venture into a world of New Wave and electronic influences. The result is a colorful and dance floor ready blast that signals a rising level of comfort in their new soundscape. Over on BuzzFeed , Lauara Snapes writes a thoughtful piece on “How the Rest of the World Caught Up to Tegan and Sara.” The Thermals / “Thinking of You” / We Disappear (2016) Portland, Oregon’s The Thermals continue the tradition of Saddle Creek bands that straddle an infectious line between punk and indie, and new album We Disappear— the group’s seventh— is 10 tracks of fast and fun lo-fi goodness. Hutch Harris, leader of the trio, spends the song lamenting of a breakout fallout, and under the “woah-oh-oh-oh” chorus hooks and driving power chords, lies a song dripping with regret and longing, one that has no business being so goddamn catchy. But the more you listen—because the 1 minute and 58 seconds goes far too quickly—the more you recognize the tone is less despondent and more triumphant. Plenty of fish in the sea as they, and perhaps even the cover of We Disappear say. Nirvana / Live at Reading Festival (1992) April 5th marked 22 years since Nirvana’s Kurt Cobain took his life. Today, April 8th, marks 22 since the body was found. Though Cobain was gone far too soon at 27—joining the morbid “27 Club” in the process—his legacy sustains through his music and the tightly played, timeless live performances of Nirvana. Enjoy this energetic full set from Reading Festival in 1992, featuring a 29-song setlist that spans Nirvana’s career and features instrument destruction, a crazy dancing guy, “The Star Spangled Banner” and covers of Deep Purple and Boston classics. 2016-04-08 11:35 realart.com

65 65 L. A. Habitat: Thomas Houseago Thomas Houseago in his Frogtown studio on December 9, 2015. ©KATHERINE MCMAHON L. A. Habitat is a weekly series that visits with 16 artists in their workspaces around the city. This week’s studio: Thomas Houseago; Frogtown, Los Angeles. Thomas Houseago moved to Los Angeles from Brussels 13 years ago. “At that time,” he said during a recent visit to his studio, “it was like you were going to the desert. It didn’t feel like a very smart move. It looked like a desperate move for me.” A friend of Houseago’s suggested coming out to California for a “breather.” “I was really tired and at a breaking point.” Upon his arrival in L. A., he had a series of serendipitous meetings, including with David Kordansky, Houseago’s first dealer, who subsequently introduced his work to influential collectors Mera and Donald Rubell. Today, Houseago owns four massive, connected warehouse spaces in Frogtown. He bought the first building in 2008 during the financial meltdown. “The neighborhood was falling apart economically. I went from not really being able to afford one [warehouse] to owning four,” he said. “It was the smartest thing I ever did.”Originally from Leeds, Houseago had reservations about how he would be received on the West Coast. “I couldn’t possibly anticipate L. A. as a place that would nurture me in the way it did,” he said. “I didn’t quite know if I would fit, or if there would be room for me as an immigrant.” After he made the quantum leap from being a European to a Californian, Houseago’s career took an up-turn in unforeseen ways. “For the first time in my life, everything clicked,” he told me. “To be an artist here is really thrilling, and really frightening.” (As if in reference to this, at one point near the end of our interview, the table we were sitting at seemed to tremble. “Was that an earthquake?” Houseago asked. “Did you feel it?”)“I had to radically rethink who I was, and radically rethink the relationship to my references, which were very European,” he continued. A big draw to living and working in Los Angeles is the amount of space available. At his sprawling studio compound, he skips making models for his sculptures altogether. “I make things the size they’re meant to be,” he said. “You have a lot of space to make your own universe in L. A. If you really want, you can live in that universe independently.” Houseago believes artists tend to be more eccentric in Los Angeles. Of course, working in L. A. is not always easy. He said the main challenge is that “you have to be really self- sufficient.” But Houseago has high hopes for his adopted home. “The next ten years are going to be amazing, but I think it’s going to change a lot,” he said, adding that he hopes to one day buy a chunk of land and create a sculpture park. In Los Angeles, he says, “That’s still doable.” Below, a look around Houseago’s Frogtown studio. Houseago in his drawing room. “I draw a lot and spend a lot of time planning and working through shows in here.” Supplies in the painting studio. An in-progress sculpture in the studio. Houseago stands in the outdoor space between warehouses. Some clay sculptures made by Houseago’s children. “The kids are pretty active in the studio. They’ll make these strange landscapes,” he said. “I make things the size they’re meant to be,” said Houseago, who does not work from models, unlike many large-scale sculptors. Rattlesnake Park borders one side of the studio space. A view of some works in the studio. A view of the painting studio, which he considers a more intimate space. Houseago installed Sonos speakers across all the buildings. As Joy Division played in the background, he said, “I listen to music all the time when I’m working. If I hadn’t been a sculptor, I think I would have been in a band.” Houseago looks on as his partner Munae makes a matcha tea in the painting studio. In-process paintings in the studio at dusk. Thomas and Munae look out on the Los Angeles River. “This is where they filmed the racing scene from Grease,” he said. The neighborhood gets its name, Frogtown, from its proximity to the river.” 2016-04-08 11:32 Katherine McMahon

66 caramel architects' poolside family home overlooks city in austria completed by caramel architects, ‘house e’ is built on a hillside overlooking the city of linz in austria. topped with an oversized, flat concrete roof, the ground level is built six meters above street level to allow the surrounding garden to seamlessly connect to the living areas despite the steep topography. a spacious living and dining room occupy an entire storey during its construction, regulations only permitted up to a maximum of 200 square meters per storey. this posed challenges to the spatial organization of the dwelling built for the five-person family, with most of the living areas planned on one level. only the children’s rooms would be placed on another floor; each space with a gallery and an adjoining children’s balcony, obtained through stacking above the access. the dark golden brown of the mosaic tiles on both the interior and the facade match the fair- faced concrete surfaces the generous main entrance simultaneously serves as a driveway into the garage and cuts into the embankment, while a single-run stairway leads from the access to both the living room and wellness area. the sauna opens up onto a discreet rock garden on the northern part of the property. the residence is built for a family of five the dark golden brown of the mosaic tiles on both the interior and the façade match the fair- faced concrete surfaces produced from rough-cut shuttering; the projecting roof cantilevers over to produce different terrace areas. the interior and outer living areas are only separated by a curving glass glazing, large parts of which can be opened to give access onto the decking with the private infinity pool. the generous entry acts as a driveway into the garage the ground level is built six meters above street level the overhang of the concrete roof creates sheltered spaces for the outside terrace the property is located on the periphery of the city of linz 2016-04-08 11:15 Natasha Kwok

67 The 1:54 Contemporary African Art Fair Names Participants in ‘Forum’ Educational Programming Today the 1:54 Contemporary African Art Fair announced the lineup for Forum, its educational programming initiative during its New York fair, which will run at Pioneer Works in Brooklyn from May 6 through 8. Forum will be organized by Koyo Kouoh, the founder and artistic director of RAW Material, an arts center in Dakar. This year’s been a busy one for Kouoh, who also curated EVA International, Ireland’s Biennial of Contemporary Art. Performa curator Adrienne Edwards will be joining Kouoh to oversee a performance program, which will include a live video feed between 1:54 in New York and the Dakar Biennale. The full list of the Forum participants and their respective roles follow below in alphabetical order: Ruby Onyinyechi Amanze (artist) Ifeanyi Awachie (curator of Africa Salon: Yale University’s contemporary African arts and culture festival) Omar Victor Diop (artist) Andrew Dosunmu (filmmaker based in Nigeria) Kevin Dumouchelle (associate curator of Arts of Africa and the Pacific Islands at the Brooklyn Museum) Adrienne Edwards (curator at Performa and curator-at-large at the Walker Art Center) Claude Grunitzky (founder and editor-in-chief of TRUE Africa ) Nina Keïta (entrepreneur based in Côte d’Ivoire) Koyo Kouoh (Forum program curator; artistic director of RAW Material Company, Dakar) Karen Milbourne (curator at the Smithsonian’s National Museum of African Art) Dave McKenzie (artist) Elinyisia Mosha (journalist based in Tanzania) Ugochukwu-Smooth C. Nzewi (curator of African art at the Hood Museum of Art, Dartmouth College) Shimite Obialor (lawyer and founder of the digital platform Anoko) Sharon Obuobi, (founder of Art Accra: West African Contemporary Art Fair) Abiola Oke (CEO of Okayafrica) Ginny ‘Gingerlynn’ Suss, (copresident of Okayafrica) Yesomi Umolu (curator of exhibitions at University of Chicago’s Reva and David Logan Center for the Arts) Deborah Willis (university professor chair, Department of Photography & Imaging, New York University–Tisch School of the Arts) Dexter Wimberly (curator) Billie Zangewa (artist) 2016-04-08 10:33 Robin Scher

68 Interview: Goh Boon Teck on Staging ‘Kumarajiva’ Related Venues Victoria Theatre and Victoria Concert Hall The story of the legendary fourth-century Buddhist scholar and translator Kumarajiva is coming to Singapore’s Victoria Theatre this May through a collaboration between the theater company Toy Factory and the Foo Han Monastery. The production, from the Toy Factory’s founding artistic director Goh Boon Teck, will run May 28- 29. This week, we spoke to Goh about his latest show. Kumarajiva is the leading figure in translating Buddhist texts from Sanskrit to Chinese—pivotal in bridging these two cultures. He is recognized as the enlightening force of Buddhism in the Chinese-speaking world. His concise translations of key scriptures are unsurpassed—till this day still widely regarded as both literary and Buddhist treasures. Very little in fact, but that was eight months ago. Now, I feel strongly about him—as well as “closer” to him after months of intensive research. You can say Kumarajiva is “living” inside me now. There is much to learn and think about from the story of Kumarajiva! To consider and set out to do something useful and meaningful in life in your own way. And having the focus, determination, discipline, and resolve to see it through to the end is something that is getting rarer these days. We will be applying contemporary and stylish designs to this tale, which is over 1,600 years old. We hope to connect with the audience through various elements. The audience will be treated to a set against the backdrop of flowing lines; falling sand; paper puppets specially created by an Australian sculptor; exotic and vibrant “Xin Jiang” or Uyghur costumes; dramatic lighting designs; soul-stirring world music; and energetic performances by celebrated young actors. I feel there is lack of seriousness in the art world, and I hope to share the deeper, more profound, and sophisticated thoughts of Kumarajiva with a larger audience. 2016-04-08 10:26 Samuel Spencer

69 ordinary behavior brings juno jeon's furniture series to life ordinary behavior brings juno jeon’s furniture series to life (above) the aim of the project is to make users interact and communicate with objects all images courtesy of juno jeon netherlands-based designer juno jeon has created two pieces of furniture that aim to bring ordinary objects to live, by making them interact and communicate with their users. the humor- infused project aims to create a relationship between our space, which is full of objects, and ourselves. ‘pull me to live’ is a drawer that has a special skin: when the drawer is closed, it just sits there, showcasing its fancy skin. when it is pulled, its outer layer gradually changes the color from back to front. this creates the sensation that the drawer is reaction to the human stimulus, as if it was an animal. when the drawer is pushed back, its skin changes color again. a simple gesture of opening and closing the drawer changes the skin of the drawer by painting the skin with two different colors, the user is able to appreciate its two faces when close, the piece of furniture is in plain wood the animate shows how the colors of the cabinet change depending on the position it’s observed from ‘fade’ is a piece of furniture that can change color and visibility based on the position where its looked from. therefore, whenever the user passes by the cabinet, there’s a feeling that it changes, reacting to the movement. when watched carefully, the color change can be appreciated. although the cabinet doesn’t make a loud interaction, its subtle changes bring it to life. whenever the user passes by the cabinet, there’s a feeling that it changes ‘fade’ gives a sensation that it reacts to the user’s movement 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. 2016-04-08 10:24 Juno Jeon

70 In ‘Duilian,’ Wu Tsang Discovers a Queer Revolutionary Related Venues Spring Workshop Chinese revolutionary icon Qiu Jin is getting a fresh look at Hong Kong’s Spring Workshop beginning this week, with the world premiere of a new short film from multimedia artist and activist Wu Tsang. In “Duilian,” the Los Angeles-based Wu turns her camera on Qiu, a radical writer and thinker who was executed in 1907 for her role in a failed uprising against the Qing Dynasty. Qiu is popularly known in China as a martyr for the cause of revolution, but this mainstream history ignores a significant part of what made her so revolutionary. Wu, who also co-stars in the film as Qiu’s love interest, Wu Zhiying, applies the lens of queerness to Qiu’s life and legacy, reframing the contemporary understanding of Qiu as a historical and symbolic figure while casting light on the ways in which official histories erase narratives of queerness. 2016-04-08 09:49 Samuel Spencer

71 Design Dealers: Philippe Jousse, Jousse Entreprise Related Venues Jousse Entreprise Artists Charlotte Perriand Le Corbusier Pierre Paulin Jean Prouv Roger Tallon Philippe Jousse began as a photographer (working with Guy Bourdin, among others), before developing a passion for post-war French furniture design through the discovery of work by Jean Prouvé. In the early 1980s, he focused exclusively on promoting this generation of at-the-time overlooked French designers, which led to the first retrospective of the work of Charlotte Perriand. Since then, Jousse has been important in the appreciation and recognition of French post-war design. In the 1990s, Jousse opened a second gallery, dedicated to contemporary art, which became a bridge between the creation of objects and art: today, Jousse Entreprise is a rare gallery that works with equal ambition to develop programs both in furniture design and in contemporary art. Pierre Paulin in May, Roger Tallon in September and October 2016, Jean Prouvé and Georges Jouve for the end of 2016-beginning of 2017. The first step was when I discovered the work by Jean Prouvé. During that same period, I found documentation of his works, and of the people who worked with and around him: Charlotte Perriand , Pierre Jeanneret, Le Corbusier… All these designers had worked with each other, and shared experiences. That is how I discovered the French designers of the 1950s, that I exhibit and promote through my gallery. The exhibition and publication on Charlotte Perriand , in 1987. The exhibition on Jean Prouvé in 1994, and the monograph released in 1998, which led to the exhibition at the Pierre Chareau Maison de verre in Paris, in 1998. The Mathieu Matégot exhibition at the gallery in 2002 at Viila Noailles, Hyeres, and publication of a dedicated monograph; the exhibition and monograph on Georges Jouve in 2004-2005. Finally, the exhibition Villa Saint Clair on Jean Prouvé, at the Biennale des Anriquaires, in 2008. The first step in my segment of the market was the rediscovery of French mid-century design and architecture, and the next step was the recognition of those works by important art collectors. Today, a large part of these works are in important private and public collections, and that has created a scarcity on the market. I would say the artists that I work with in my gallery, as we have an extensive contemporary art program. In the field of design, my most recent important encounter was with Kristin McKirdy, contemporary ceramicist from the United States now living in France. I really like her contemporary approach to the ceramic object. A good gallerist has to have a good eye and remain determined. A good gallerist must not make choices with his 'ear' and take the easy route. Not only one work ….! …. still a fashion photographer, like I was before becoming a dealer. ...a new way of life. 2016-04-08 09:41 Jana Perkovic

72 Milan Triennale “Sempering” Show Takes a New Look at Design Related Events XXI Esposizione Internazionale – Triennale di Milano Venues Triennale di Milano The Milan Triennale has an intriguing exhibition titled “Sempering.” The word, meant to apply to design and architecture, comes from a verb “to semper,” itself a neologism from the surname of the German architect Gottfried Semper (1803- 1879). In 1851, the year of the first World Exhibition in London, Semper coined his own classification to bring order to the whole variety of “industrial arts.” So fast forward more than 150 years to the XXI Triennale di Milano International Exhibition on the theme of “21st Century: Design after Design,” and curators Luisa Collina and Cino Zucchi suggest an updated classification to interpret the plethora of artefacts that today shape our world. They use eight verbs, one for each category, and organize the set-up in eight different areas. Each verb refers to the actions of an artisan or a maker as fundamental as “ways of doing,” of creating a design object or building up an architecture. Some are obvious and some less so. “Stacking” refers to the action of the mason or bricklayer; “weaving,” to the work of the weaver; “folding,” to the talent of the tinsmith; “connecting,” to the action of the carpenter; “molding,” to the making of sculpture; “blowing,” to the art of the glassmaker; “engraving” to the skills of the engraver and “tiling,” to the task of the tiler. The curators state: “Each one of these processes, with its new or long-established formal potential, is best illustrated in the form of brief narratives. A variety of contributions (such as historical collections, experimental prototypes, molds, models, drawings and actual products) retrace their origins, as well as showing the forms and languages they have generated in the world of contemporary architecture and design. Adopting a succinct approach, the ‘Sempering’ exhibition shows how the most interesting research in architecture, design, landscape architecture and urban art can reveal a new approach to design that is able to take on the challenges posed by the environment.” The show puts together small-scale objects such as glass and bamboo lamps, wooden and bamboo furniture, fashion accessories (including the famous Bao-Bao it-bag by Issey Miyake, now a bestseller), contemporary jewels with architectural models, drawings and photographic images. They all underline the links and the relationships between architecture, design and fashion in the way they are conceived and made. 2016-04-08 09:04 Laura Maggi

73 Carsten Höller’s Den of Doubt at Pirelli HangarBicocca in Milan Related Venues HangarBicocca Artists Carsten Holler “Doubt” at the Pirelli HangarBicocca in Milan is a solo exhibition by German artist Carsten Höller. Curated by Vicente Todolí, the exhibition features more than 20 works, both existing and new, including sculpture, video, photography, environments, and installations. The works are aligned along the middle axis of the space, along two symmetrical and parallel paths, accessible from two different entry points, with visitors able to start their walkthrough of the installation from either the right or left section of the show. The format of the installation creates a dividing wall that allows visitors to only see and experience half of each work at a time. In order to reconstruct the experience as a whole, visitors need to remember the half they have seen until they encounter the other half on the other side. Conceived as an installation that develops through the different moments of division, multiplication, union, and overturning, “Doubt” engages the viewer as an integral part of the exhibition, as activators of the works, and as both observers and the subjects of observation. According to the HangarBicocca, the installation begins with “Y” (2003) and “Decision Corridors” (2015), creating twin routes that reunite in “Milan Swinging Corridor” (2016), which then disperse in the space of the Cubo with “Two Roaming Beds (Grey)” (2015). “Doubt” continues Höller’s ongoing investigation into the nature of human experience. His works often engage viewers in an experience of disorientation and uncertainty – a state of mind that gave the exhibition its title, and which Höller proposes is a productive state of mind. “There’s something unfolding in there, something that doesn’t show its borders easily, something that could possibly extend further than what you are able to grasp, something automatic, self- running and morphing,” Höller explains. “I’m always interested in having two feelings at the same time… I want to make something very boring, but producing at the same time something exciting, because you can use my carousel in very different ways.” 2016-04-08 08:51 Nicholas Forrest

74 David Ebony's Top 10 April NYC Gallery Shows 1. David Hammons at Mnuchin Gallery , through May 27. “David Hammons: Five Decades," the first survey in 25 years for the elusive artist , has already received a great deal of acclaim. I've joined the chorus not only since this is one of the most visually and aesthetically striking exhibitions in town—a must-see—but because it also touches on hot-button socio-political issues that are as pertinent today as ever, especially as the country roils in the midst of a polarizing presidential election. Racial conflict, class struggle, an exploration of power, oppression, and the nature of authoritarianism, are all explored in the 34 works on view, spanning 50 years. Hammons is a voice of the streets, of the downtrodden and the disenfranchised. There is more than a little irony in the fact that the 72-year-old artist has chosen to present this important retrospective of his work in a posh commercial gallery in Manhattan's Upper East Side, a favorite neighborhood of the well- heeled and the empowered. Despite the aggressive stance and assertive worldview in his work, Hammons is never merely didactic. Each of the pieces on view bears an elegant, formal beauty; his is a specific brand of street-smart poetry with an acerbic edge. The first work encountered in the show, Which Mike do you want to be like. . .? (2001), a work featuring three difference types of microphones, alludes to African American icons named Michael—Jackson, Jordan, and Tyson. Untitled (1989); a green glass sculpture made of empty bottles of cheap wine and booze glued together and arranged in a circular shape about three feet high, refers to the disparaging cycle of alcoholism. Decrying the disproportionate number of African Americans in US prisons, one the most potent pieces here, Orange is the New Black (2014), illuminates the problem by means of a ritual object: a Janus-headed dog. The once noble, or perhaps sacred carving has been defaced, though not destroyed, by an incongruous and disturbing coat of garish orange paint. 2. Sarah Braman at Mitchell-Innes & Nash, through April 16. Sarah Braman's sculptures and paintings are at once monumental and ethereal. She explores light and space with spare forms and a nonchalant, almost cavalier, manipulation of materials. Nothing she does ever seems over worked or overwrought. In her fresh and airy 3-D works, she combines found objects, often abject detritus, with carefully constructed forms made of tinted glass and steel. In this stunning show, her first solo in five years, “You are Everything," Braman delivers a wide variety of sculptural and conceptual ideas—all engaging and some thrilling. Formally, she allies herself with minimalism, picking up where Donald Judd , Sol LeWitt , and others left off, as in Space Talk (2016). Here, a boxy, hard-edge geometric shapes made of panels of blue-tinted glass in steel frames rests on a large tree stump. It recalls certain of David Shaw's recent sculptures in its passionate plea for a more convivial balance of nature and the human-built environment. The New York-born, Massachusetts-based artist makes a foray of sorts into architecture in this show, with a number of sculptures intended to be entered and inhabited. Driving, Sleeping, Screwing, Reading (2016) , for instance, consists of part of a truck, decked out with a cushy matte floor, tinted glass windows, and lots of reading material. Recover (2016) is a smaller, and even more meditative enclosure, with a foam padded floor. Hand-dyed cloth covers the entrance, and the walls are made of translucent tinted glass, including one in a warm shade of orange-pink. Resting inside this piece offers one a view through rose-colored glasses of the rest of the exhibition, as well as a quiet refuge from the cacophony of Chelsea. 3. Tom LaDuke at CRG, through April 24. In this tour-de-force exhibition of recent paintings and sculptures, Los Angeles-based artist Tom LaDuke continues an esoteric exploration of space, time, and perception, the impetus of his work for some years. At first, the paintings on view appear as abstract compositions, featuring gestural flourishes of fluid pigment of searing colors, which are certainly energetic and engaging enough. On extended and careful viewing, though, layers of refined, almost photographic images emerge in these works. Split Universe , for instance, with drips of gold from the top of the canvas and brilliant white light beams radiating from the center, harbors a detail of Diego Velázquez's 1630 masterpiece, Apollo in the Forge of Vulcan , in the Prado's collection, painstakingly rendered several layers deep into the surface. More like a two-dimensional exercise in archeology, Early Signs features an impressive painterly choreography of gestures and fragmented forms that activate the foreground. The random shapes recall a rocky post, an elongated arm, and organic pod-like elements, all floating in a cosmic ether. In the background, a phantomlike image emerges based on Salvador Dalí 's iconic 1936 Surrealist painting, Soft Construction with Boiled Beans (Premonition of Civil War ), from the Philadelphia Museum of Art. LaDuke offers similarly meticulous—and mind-bending— games in the 3-D works, such as Happy Trail, a life-size dandelion gone to seed, made of silicon and fingernail clippings. 4. Hernan Bas at Lehmann Maupin , through April 23. Sensuous and sumptuous, the recent paintings and works on paper on view in this exhibition, “Bright Young Things," are among Hernan Bas's most convincing efforts. The Miami-born artist is well known for his exploration of queer identity in figurative compositions filled with equal doses of angst and fantasy. For this group of works, he was inspired by specific literary and art- historical sources to examine bohemian lives of artists and writers in the early decades of the 20th century. Drawing especially on D. J. Taylor's book, Bright Young People: The Lost Generation of London's Jazz Age as a source, Bas's imagery centers on a critique of all things “masculine" following the catastrophic results of male aggression in World War I. With fresh and lively brushwork, and passages of purely abstract painting inspired by Art Deco designs, works like House Training (South American Blue Flamingo) , and The Haunters of First Nights, are striking and unforgettable. The former, a fantastic image, and one of my favorites here, shows two young men at a table piled with conch shells, leading a blue flamingo out of a pan of water. Champagne Corks Bobbed in the Pool That Morning , is a more subtle but equally gorgeous painting showing, as the title suggests, the melancholy, hung-over aftermath of what was, no doubt, an evening of drunken debauchery. The Roaring Twenties, indeed! 5. Eugene Von Bruenchenhein at Andrew Edlin Gallery, through May 8. During his lifetime, Wisconsin-born artist Eugene Von Bruenchenhein (1910-1983) was never unsure of his genius. The problem was that he almost never showed his work to anyone aside from his wife, and sometime model, Marie. Soon after his death, however, his work was brought to the attention of the John Michael Kohler Arts Center in Sheboygan; and the rest is history. Subsequently, Von Bruenchenhein's genius as an outsider artist has been widely recognized, and today, his renown transcends the self-taught genre. He filled his house with remarkable paintings featuring hallucinatory images of futuristic landscapes and sci-fi creatures. Over the course of his lifetime, he produced hundreds of painted chicken-bone sculptures, and made fanciful ceramic pieces fired in the kitchen oven. He also created large painted-cement heads based on imaginative tribal motifs, which he placed outdoors surrounding his house, ostensibly to ward off evil spirits. Several fine examples of these—including an oversize, if not exactly monumental, pair of male and female heads—are among the many highlights of “Eugene Von Bruenchenhein: King of Lesser Lands," a museum- quality survey of some 60 works, on view at Andrew Edlin Gallery's recently opened Bowery venue , across from the New Museum. On offer is a spectacular crash course in Von Bruenchenhein for those unfamiliar with his work; and for those of us already under Eugene's spell, there are some wonderful surprises. A number of the eroticized photo portraits of Marie have been rarely or never before shown; and numerous late paintings of imaginative skyscrapers, among other pieces, are making their New York debut. 6. Adam McEwen at Petzel, through April 30. London-born New York-based artist Adam McEwen is not exactly out to please art audiences. His works are audacious and challenging—and very often thrilling. The dark and brooding “Harvest," an engaging show of large-scale sculptures and paintings on sponges, is a fine example. All of the works on view address issues of movement and information gathering in a tightly controlled, Kafkaesque society—a strange and haunted place, not instantly recognizable as our own. McEwen's consistent aim toward verisimilitude, however, results in a kind of skewed but utterly convincing form of realism. Two imposing black objects in graphite, IBM Blue Gene 1 + 2, absorb practically all the light in the room. At first they recall Ronald Bladen's proto-Minimalist monuments. On closer inspection, McEwen has recreated to scale huge mainframe supercomputers, or, at least their outer shells. Similarly foreboding is TSA , a sculpture consisting of graphite replicas of a table and trays like those to be scanned at airport security checkpoints. The large, black-and-white paintings of tunnels convey a sense of claustrophobia, or fragile vulnerability, as least from a security standpoint. An absurdist sculpture, perhaps, a staircase to nowhere in the shape of a giant “K," for Kafka, directly confronts visitors. After signing an insurance waiver, determined art-goers are invited to climb up the rickety and narrow stairs to almost touch the gallery ceiling. It's a shaky climb up, and a bit scary coming down; the heightened level of anxiety the work induces is, no doubt, the gauge of its success. 7. Patti Smith at Robert Miller, through April 16. For rock legend Patti Smith , music and performing have always been her bread and butter; art and literature, though, are evidently her true passions, as she underscores in her wonderful memoir M Train , published last year by Knopf Doubleday. Throughout her career, she has made paintings, drawings, and photographs in periodic bursts of creativity. Her literary output has been fairly consistent and well received—her autobiographical Just Kids won the National Book Award in 2010. Her reputation as a visual artist is a bit more tentative, although this show should significantly change the situation. "Eighteen Stations," featuring 80 small-scale black- and-white images, is Smith's best art-world foray I've seen, mainly because it's so tightly focused — exclusively on photography. The show is an exhilarating concentration of rather ethereal images of people and places. Smith favors an old-fashioned Polaroid 250 Land Camera, and the images have an antique, dreamy look, often slightly out of focus, as if she used a pinhole camera à la Barbara Ess. Smith's works here are evocative and thought-provoking, conveying a conceptual breadth that belies the diminutive scale. Most are gelatin silver prints, although there are a number of digital ink jets pieces, including portraits of her friends, such as Johnny Depp ( Johnny Sleeping, London , 2010), and Sam Shepard, Central Park (2012). Overall, the pictures correspond to the narrative of M Train— some are reproduced in the book, and others complement this story of a life motivated and inspired by art, artists, writing and writers. Like the book, the photos trace a personal journey, sometimes literally, as when she recounts a trip to South America with her late husband, musician Fred "Sonic" Smith, in the early 1980s. Before raising a family, she wanted to visit French Guiana to see the remains of a penal colony, which had obsessed one of her literary heroes, Jean Genet. Photos from that trip are among show's highlights. Elsewhere, she pays homage to other major inspirations, including Frida Kahlo, Roberto Bolaño, and Virginia Woolf. 8. James Nares at Paul Kasmin Gallery , through April 23. At first there doesn't seem to be much action in James Nares's video portraits. The images of his sitters—mostly the artist's friends and art-world denizens, such as Douglas Crimp, Jim Jarmusch, Amy Taubin, Walter Robinson, and Glenn O'Brien, as well as the artist's daughters, Sasha, Zarina, and Jahanara—appear rather static, as if these were still images in a photography show. However, given time, a tense drama slowly unfolds in each of the videos, which are presented as life-size portraits on vertically hung monitors. Subtle hand movements, a blink of an eye, or a gentle shift in pose begin to seem like heightened drama. Filmed wearing a luminous Indian sari, and engaged in a graceful dance, Jahanara is one of the most animated of the portrait subjects. Known for hyper-energized paintings featuring single, convulsive gestural brushstrokes, Nares, in this show, uses high-speed cameras to capture at several hundred frames per second a sense of motion, or what the artist describes in a press statement as “micro-moments. " After a while, the sitters, despite their formal comportment, set against stark neutral backgrounds, become even more lifelike and mesmerizing. 9. Hew Locke at Edward Tyler Nahem , through April 13. Hew Locke's 2014 exhibition in Prospect 3 in New Orleans, “The Nameless," made an indelible impression on me. The Scotland-born artist spent his formative years in Guyana, and has been showing internationally for some time. In New Orleans, he presented murals depicting fantastical creatures and characters based on Caribbean mythology, made of countless strands of glittering black Marti-Gras beads and black rope, like that used by Bayou fishermen. Incredibly, Locke has never had a one-person show in New York until now. This exhibition, “The Wine Dark Sea," titled after a line in Homer's The Odyssey, marks his solo debut here, and is appropriately momentous and revelatory. The theme he chose for the show is nautical migration, alluding to the waves of refugees fleeing war-ravaged lands and obsessive regimes around the globe today. Suspended from the ceiling, and hanging several feet above the gallery floor, are dozens of elaborately outfitted toy boats, and intricately detailed model ships—some prefabricated and elaborately embellished by the artist, and others created from scratch. This crowded flotilla sails toward the gallery's windows, as to proceed onto the city's streets. With vessels ranging from Chinese junks to luxury ocean liners, Locke suggests that the boats are all filled with people and goods; the refugees seek a better life in a more hospitable world, a place of redemption, renewal, and hope. 10. Hedda Sterne at Van Doren Waxter , through April 29. Hedda Sterne was the only woman artist included in the famous—or infamous— Life magazine photograph of the prominent New York Abstract Expressionists, “The Irascibles," published in 1951. She died in 2011, age 100, after having worked for most of her life in obscurity, while her male “Irascibles" colleagues, including Pollock, Rothko, de Kooning, and Motherwell, et. al., went on to international renown. This remarkable and much-needed exhibition, “Hedda Sterne: Machines 1947-1951," including some 16 major paintings and works on paper, aims to illuminate Sterne's singular contribution to 20th-century art. In the late 1930s, Sterne escaped the Nazis in her hometown, Bucharest, Romania, and immigrated to New York. Her works of the period are Surrealist influenced, as in a number of later pieces on view, in which her spiky machine forms recall certain works by Marcel Duchamp or Roberto Matta. Monument (1949-51), a tall, vertical canvas with a pale blue background, features an imaginative architectural form, a totem-like tower of talismanic purpose, perhaps. In other works, the machine forms seem rather ominous, as if the artist disparages the Industrial Age. In a particularly potent painting, Untitled (ca. 1950), the elongated machine form on the lower right seems organic, and rather animistic, like a venomous, winged insect about to strike. Follow artnet News on Facebook. 2016-04-08 08:35 David Ebony

75 crossboundaries intersect colored hallways within kindergarten in china in zhengzhou china, a concrete circular building was erected ten years ago but never used for its purpose. instead of demolishing the vast structure, beijing-based practice crossboundaries have renovated and re- purposed the derelict buildings into a program including public recreational space with a kindergarten to result in the ‘sooyoo joyful growth center’. the building as a whole creates coherence and connections within the community lightweight ropes spanning from the existing roof to the ground wrap the exterior. they have been installed diagonally and layered to diminish the original building’s rigidness and add richness without blocking natural light. additionally, to provide ease for orientation, the ropes’ color follows the same color palette as the interiors. the large available space called for a unique spatial typology to follow with the regulations for conventional educational facilities in china. access into the scheme is through several entrances, children enter into an open lobby on the ground floor and are greeted with play frames and retail stores. at the center of the atrium, there is a fan-shaped swimming pool area. bright colors have been used to distinguish corridors and rooms the second floor is dedicated for reading, art, music, dance, geography – all created to flow onto the next without the use of partitioning – suggesting knowledge is interconnected. this open plan layout was chosen to encourage interaction and the opportunity to experience different subjects in a broader context. the diverse program continues with more learning areas, a planetarium and a green house on the third floor and finally, the building is topped with a running track and playground on the roof. the spatial organization is described as having no barriers to encourage socialization using vivid color to stimulate interest and knowledge, a distinctive element of this project is the insertion of five ‘tubes’ directly into the building to create additional pathways. the colored tubes cut through the building in different angles, deliberately breaking the rigidness of the floor plates. similar to a subway system, these tubes intersect and lead children to different parts of the building. ‘a child begins in a color tube, allowing its interest to guide it through various fields of knowledge and explore their interconnections. the experience is never the same for any one child, depending on each visit, opening up a multitude of journeys in soyoo, as well as in a universe of knowledge and social interactions.’ – crossboundaries on the third floor there are learning areas, a planetarium and a green house small stages installed aim to spark children’s interest in theater and music ropes have been intersected and added around the exterior to lessen the rigidness of the building people naturally weave in and out of the new and old façade 2016-04-08 08:25 Natasha Kwok

76 Leopold Museum Restitutes Schiele Watercolors The Leopold Museum in Vienna will return two looted watercolors by Egon Schiele to the 95- year-old descendent of the original owner. Eva Zirkl had been campaigning to have the watercolors returned to her for nearly 20 years. The artworks had originally belonged to art dealer Karl Maylaender, who was deported to Lodz in Poland from Austria in 1941 and then killed. “[It is] a very happy day," Austrian culture minister Josef Ostermayer told AFP. "It puts an end to years of conflict while allowing both parties to save face. " The crux of the story harks back to 2010, when a government commission in Austria recommended that the museum return five Schiele watercolors to an heir of Maylaender. Because the museum is privately funded, it could ignore the ruling and negotiate with the state the terms of the restitution. The result is that the museum is returning two and keeping three of the five works in question. Austria's Jewish Community, who represented Zirkl in the case, was pleased with the result. "I am so happy that the heiress can still enjoy these works," said representative Erika Jakubovits to AFP. The Leopold Museum has one of the greatest collections of works by Egon Schiele, whose work was considered degenerate under the Nazi regime . This is not the first time the museum has been involved in a Schiele restitution case. The most famous case is that of the painting Portrait of Wally, which was seized by the Nazis and ended up in the Leopold's collection in 2010. The museum paid $19 million to the heirs of Jewish gallerist Lea Bondi Jaray and was allowed to keep the work in turn. Another famous case— immortalized in a recent film —saw five works by Gustav Klimt returned to Maria Altmann, including the iconic Portrait of Adele Bloch Bauer I , which in turn was sold almost immediately for $135 million . Follow artnet News on Facebook. 2016-04-08 08:05 Amah-Rose

77 Artist Makes 80-Ton Mountain of Poo The theme for Manifesta 11, opening in June this year, is “What People Do for Money: Joint Ventures" and participating artist Mike Bouchet has taken a novel approach to the idea. Bouchet—known for his process-driven installations, sculptures, and paintings—wasn't interested in trades offered to him by the biennial, where artists are joining forces with “hosts" who work in the city to conceive works , and felt much more curious about what people throw away, rather than what they make. Bouchet is working with the local sewage plant to create a “monumental" work, entitled The Zurich Load (2016), using the human waste created by the citizens of Zurich, which will sit in one of the largest exhibition spaces in the city, the first floor of the Migros Museum. Weighing 80 tons, the final installation will indeed have a monumental quality to it, but how and why did Bouchet get this idea off the ground? “I really wanted it to be something monumental and bigger," Bouchet told artnet News as we watched the final stages of production. "It's a huge undertaking, on a lot of levels this is an impossible piece to make," he added. Bouchet and his team are currently fashioning the raw material into large bricks at a rate of 50 per day, a process that can only be done by hand. Which is precisely why making the substance safe to be around was the first challenge. “I had to find sludge that was processed the same way as it is here. Every city has a different process, it's a totally controlled substance," he explained. “First we were using polymers and then we got in touch with a university that was beginning to work with concrete. Then I spoke to an art conservator. " Bouchet not only had to remove toxins from the waste, but also had to remove water, prevent it from rotting, and control the smell, which I have to say stayed with me for some time. The work can only be shown indoors, and when the exhibition finishes, it will be destroyed. On considering a work for the city of Zurich, Bouchet was struck by the stereotype often held about the “clean" Swiss. He was drawn to the idea of allowing viewers to get up close and personal with their waste, thus making it more of an approachable subject. “With this work I like the idea of people being comfortable around it. There is reason why there's a taboo about waste that has built up over the ages," Bouchet conceded as we literally watched poo become an art material. "It's a biohazard," Bouchet added. "So what I'm interested in making is a work that makes this base material something more benign and less threatening.“ Bouchet likens the process they are using to make The Zurich Load to the making of frescos, due to the use of cement and lime. He also worked with the conservator to preserve the deep earthy brown color of the material. Bouchet would not reveal what the final realized work may or may not look like. Viewers will have to head to Manifesta 11 on June 11th to see it for themselves. One can only imagine what happens when a town is confronted with its own shit, but Bouchet hopes it will be a harmonious union. “I like that everyone in Zurich made it, it's a collaborative work and you know, everyone's contribution counts, it's a community artwork!,“ Bouchet laughed. “I laugh and I joke about it, but I'm also serious. I like that it's something that everyone helped make. " Manifesta 11 will be on view across several venues in Zurich, from June 11-September 18, 2016. Follow artnet News on Facebook. 2016-04-08 06:52 Amah-Rose Total 77 articles. Created at 2016-04-09 06:00