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70 articles, 2016-05-20 06:04 1 Inside Yves Saint Laurent’s Studio, Archives Ahead of the two simultaneous openings of Yves Saint Laurent museums in Paris and Marrakech, the Pierre Bergé-Yves Saint (2.06/3) Laurent Foundation opened the doors of the couturier’s studio and the … 2016-05-19 20:21 5KB wwd.com 2 Lee Kit Asks Visitors to ‘Hold Your Breath, Dance Slowly’ at First US Museum Show Chinese artist Lee Kit brings domestic spaces and 13 karaoke (1.02/3) screens to Minneapolis for latest exhibition. 2016-05-19 20:41 2KB www.blouinartinfo.com 3 EXPO Chicago Releases List of Participants The international art comes to Chicago in September. Here's a list of newly-admitted galleries to get you up to speed. 2016-05-19 18:18 7KB (1.02/3) news.artnet.com

4 Rebecca Rabinow Is New Menil Collection Director Houston's Menil Collection has named Houston native and longtime Metropolitan Museum of Art curator as its new director. (1.02/3) 2016-05-19 17:36 2KB news.artnet.com 5 Arts and Arcology Pave the Way for Desert Experiment Arcosanti Architect Jeff Stein, artist Doug Aitken, and musician and co-founder (1.02/3) Zach Tetreault gather for FORM Arcosanti, an intimate desert music festival in its third year. 2016-05-19 17:30 12KB thecreatorsproject.vice.com 6 Top Things to See at Photo London 2016 Photo London returns to Somerset House through May 22. 2016-05-19 13:06 2KB www.blouinartinfo.com (1.02/3)

7 Brooklyn Museum Offers Staff Buyouts A year into new director Anne Pasternak's tenure, the Brooklyn Museum aims to cut costs by offering voluntary buyouts to its staff in a "course correction. " 2016-05-19 09:20 2KB news.artnet.com (1.02/3) 8 CHROFI + mcgregor coxall: acacia remembrance sanctuary the australian cemetery will focus on instilling a site-wide experience with a specific focus on natural burials without headstones. 2016-05-20 04:05 2KB www.designboom.com

9 konstantin grcic's OSB hack table for vitra created for office environments designed by konstantin grcic for vitra, the height adjustment feature offers standing, sitting and lounge options allowing distinct niches for work, meetings and relaxation. 2016-05-20 03:05 2KB www.designboom.com 10 robotic rock installation sorts stones based on their geological age artists prokop bartoníček and benjamin maus have realized 'jller', a robotic apparatus that sorts and organizes river pebbles based on their geological age. 2016-05-20 02:15 2KB www.designboom.com 11 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-20 04:29 12KB rhizome.org 12 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-20 04:27 1KB gdusa.com 13 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-19 22:11 972Bytes blogs.walkerart.org 14 Kiersey Clemons: ‘Dope’ Girl Next Door Kiersey Clemons, 22, has starred in “Dope” and “Transparent,” and breaks out Friday in “Neighbors 2: Sorority Rising.” 2016-05-20 00:34 5KB wwd.com 15 REX unveils 2050 M street office complex for washington DC new york-based architecture studio REX has revealed plans for '2050 M street', a premium office complex to be constructed in washington, DC. 2016-05-19 23:29 4KB www.designboom.com 16 They Are Wearing: CDG x DSM Super- Market-Market Sale The event drew a smartly dressed group of fashion collectors, editors, designers and stylists, as well as some VIPs. 2016-05-19 22:49 1KB wwd.com

17 Circuits of Saudade: Wind Grove Mind Alone , Night One To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-05-20 01:46 909Bytes blogs.walkerart.org 18 Park Chan-kyong’s First US Solo Show at Tina Kim Park Chan-kyong is currently holding his first ever US solo exhibition at Tina Kim Gallery through July 1, 2016. 2016-05-19 22:11 2KB www.blouinartinfo.com 19 marc thorpe translates the architecture of a corn husk into seating for moroso marc thorpe translates the architecture of a corn husk into seating for moroso marc thorpe extends his 'husk' collection for moroso wi 2016-05-19 21:05 2KB www.designboom.com 20 Bae Bien-U Revisits a Sacred Space at Axel Vervoordt Bae Bien-U returns to his roots at Axel Vervoordt Gallery Hong Kong with haunting black-and-white images of a Korean pine forest he’s been photographing for decades. 2016-05-19 20:57 1KB www.blouinartinfo.com 21 Wu Jian’an Shows ‘Ten Thousand Things’ at Chambers Fine Art Beijing A skeleton made of shells and an army of terracotta bricks are among the works in the latest exhibition of new work from Wu Jian’an. 2016-05-19 20:41 2KB www.blouinartinfo.com 22 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the 2016-05-19 22:26 858Bytes blogs.walkerart.org 23 Ralph Lauren, Leonardo DiCaprio Honored at Riverkeeper Ball Ralph Lauren and Leonardo DiCaprio honored at Riverkeeper’s 2016 Fisherman’s Ball. 2016-05-19 19:47 3KB wwd.com

24 Uniforms in the Spotlight in New Exhibition at The Museum at FIT “Uniformity” showcases an assortment of uniforms and the influence of such designs on fashion designers through the years. 2016-05-19 19:36 2KB wwd.com 25 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood a... 2016-05-19 22:26 832Bytes blogs.walkerart.org 26 Think Tank Columns Offer Latest Market Insights Our guest columnists include well-known authors, scholars and industry experts from every corner of the fashion apparel and retail world. 2016-05-19 19:16 993Bytes wwd.com 27 Meet the Soft-Sculpture Artist Making Beaded Paintings | City of the Seekers Like a palm tree, Elena Stonaker is a transplant who's thriving in LA. 2016-05-19 19:15 7KB thecreatorsproject.vice.com 28 Stephen Webster Opens New Mount Street Salon The store will offer a private shopping experience. 2016-05-19 19:09 3KB wwd.com 29 Every Street Dog Knows These Feels A gutter punk mutt finds his way home in my favorite music video this year. 2016-05-19 18:55 2KB thecreatorsproject.vice.com 30 qin feng unfolds experimental ink brush paintings across three sites in venice a solo exhibition of work by chinese ink artist qin feng unfolds across three locations in venice, italy from now until june 19, 2016. 2016-05-19 18:45 3KB www.designboom.com 31 Wolfgang Tillmans at Galerie Buchholz, Berlin Pictures at an Exhibition presents images of one notable show every weekday 2016-05-19 18:45 1KB www.artnews.com 32 Leslie Hewitt Trains Her Lens on Photography’s Charged History “We should expect more from the indexical nature of the photographic medium,” Leslie Hewitt says emphatically as she pins a large, arresting photograph to a wall in her studio. 2016-05-19 18:17 1KB www.blouinartinfo.com

33 Dealer’s Notebook: Anke Kempkes Kempkes has been building awareness of 20th-century female avant-garde artists since opening her New York gallery, Broadway 1602, in 2005. 2016-05-19 18:13 818Bytes www.blouinartinfo.com 34 CFDA and Swarovski Host Carnival Cocktail The CFDA Swarovski prize nominees unveiled their pennant designs Wednesday evening. 2016-05-19 18:04 2KB wwd.com 35 In the Studio: Dorothea Rockburne For more than 50 years, Dorothea Rockburne has combined her studies of mathematics, astronomy, and topology with material experimentation in the studio. 2016-05-19 17:59 8KB www.blouinartinfo.com 36 Onia Partners With We Wore What Blogger Danielle Bernstein The resort brand has created a capsule swim collection with the popular blogger. 2016-05-19 17:59 1KB wwd.com 37 Holt Renfrew Teams With Kenzo on Capsule Range for Charity The items will be available for purchase at Holt Renfrew stores and the retailer’s web site on World’s Ocean Day, June 8. 2016-05-19 17:58 1KB wwd.com 38 Chanel Sets ‘Culture’ Exhibition in Venice “The Woman Who Reads” will be held at the Ca’ Pesaro International Gallery of Modern Art from Sept. 17 to Jan. 8. 2016-05-19 17:57 1KB wwd.com 39 3D-Printed Hair Can Sense and Spark Motion The furry structures from MIT's Tangible Media Group have surprisingly diverse applications. 2016-05-19 17:55 4KB thecreatorsproject.vice.com 40 Comme des Garçons, Dover Street Market Elevate the Sample Sale Comme des Garçons and Dover Street Market have teamed up to create “an epic sale of mammoth proportions” opening this Friday to the public. 2016-05-19 17:54 4KB wwd.com 41 The Best Pins in the World: #16 Featuring new pins from Kawaii Collective, Brace Legs Collective, Pin Museum, The Leftorium, Suspect LTD, and an exclusive 20% off discount code from Strike Gently Co. 2016-05-19 16:45 4KB thecreatorsproject.vice.com 42 zemi aria featuring ron arad design zemi aria features apple’s ‘airplay’ connectivity and bluetooth technology for a wireless experience, giving music lovers high quality sound in a distinctively formed design. 2016-05-19 16:35 1KB www.designboom.com 43 Meet the Faces Behind Street Art's Tropical Getaway POW WOW! Hawaii hosts the most exciting names in street art each year. Meet them in this gorgeous video. 2016-05-19 16:05 2KB thecreatorsproject.vice.com 44 Philipp Kaiser Will Curate First Show at Marciano Foundation’s L. A. Museum, Opening Date Uncertain [Updated] The Scottish Rite Masonic Temple, which will be home to the museum. LARRY UNDERHILL/LOS ANGELES CONSERVANCY Yesterday, curator Philipp Kaiser and a source 2016-05-19 15:40 2KB www.artnews.com 45 Anime, NeoWave, and Adventure Meet in the Art of Oska The graphic artist Oska describes the influence and process behind his surreal, neo-futurist creations. 2016-05-19 15:30 3KB thecreatorsproject.vice.com 46 Damien Hirst Defends Money's Place in Art In an interview with Jeff Koon on the BBC, Damien Hirst defends money's place in the art world, and insists he doesn't live a luxurious lifestyle. 2016-05-19 15:26 2KB news.artnet.com 47 Dan Fox’s Pretentiousness: Why It Matters Nobody likes a pretentious ass, you might think. But in his new book Pretentiousness: Why It Matters, published by Coffee House Press and Fitzcarraldo Editions, Dan Fox argues that pomposity... 2016-05-19 15:23 2KB www.flashartonline.com 48 When Morley Safer Visited Art Basel Veteran journalist Morley Safer has died. We take a look at his visit to Art Basel in Miami Beach, when he last took the measure of contemporary art. 2016-05-19 15:01 3KB news.artnet.com

49 Nude Dudes and Swimming Pools: Inside the David Hockney Documentary 'Hockney' is a brilliant, buoyant profile of the blonde haired, bespectacled master artist. 2016-05-19 14:40 4KB thecreatorsproject.vice.com 50 Surrender to a Digital Archive of Physical Junk From candy wrappers to ancient artifacts, Thngs is a place for preserving the data of stuff. 2016-05-19 14:35 4KB thecreatorsproject.vice.com 51 Pyotr Pavlensky Found Guilty, But Avoids Jail The controversial performance artist Pyotr Pavlensky has been found guilty by a Moscow court, but he will avoid a prison sentence. 2016-05-19 14:34 1KB news.artnet.com 52 Short Film 'Hyper-Reality' Imagines an Oversaturated AR Future Keiichi Matsuda's new film 'Hyper-Reality' poses an augmented reality future where everything is media. 2016-05-19 14:05 5KB thecreatorsproject.vice.com 53 The Year’s Most Beautiful Skate Film Takes Place on a Frozen Beach in Norway We spoke to the filmmaker Jørn Nyseth Ranum about the stunning 'Northbound. ' 2016-05-19 13:45 5KB thecreatorsproject.vice.com 54 Bruce High Quality Foundation Benefit Honors Warhol Superstar Baby Jane Holzer TKTK 2016-05-19 13:44 1KB www.blouinartinfo.com 55 aisaka architects’ atelier organizes japanese nursery around grassy playground slides, tunnels, bridges and rooftop decking are elements that form the nursery by aisaka architects' atelier. 2016-05-19 13:20 2KB www.designboom.com 56 architecture microclimat extends hôtel-de- ville residence canadian practice architecture microclimat have completed the expansion a family home in a suburban neighborhood of montreal. 2016-05-19 13:10 2KB www.designboom.com

57 Must-See Art Guide: Buenos Aires This week's guide features Marcelo Brodsky, Gaspar Libedinsky, Kirin, and more. 2016-05-19 13:02 2KB news.artnet.com 58 Artist Brings Finger Paintings to Life, Harry Potter-Style If magical paintings had Popeyes chicken and a hatred for pants, they might look like Lauren Gregory's oil on canvas GIFs. 2016-05-19 13:00 3KB thecreatorsproject.vice.com 59 Robot Artist Weaves Stunning Web at V&A A German team designed an innovative new robot arm to create the Elytra Filament Pavilion at London's Victoria and Albert Museum. 2016-05-19 12:27 2KB news.artnet.com 60 INTERVIEW: Soprano Sophie Bevan on Murder, Incest and Sludge Bevan sings the role of Antigone in George Enescu’s 1936 opera “Oedipe” at the Royal Opera. 2016-05-19 12:06 4KB www.blouinartinfo.com 61 Nazis, Con Men, Forgers, and Thieves: Art Crime in Postwar Cinema Film still of Sterling Hayden in Stanley Kubrick’s The Killing, 1956. COURTESY THE CRITERION COLLECTION On August 21, 1961, Francisco Goya’s Portrait of the 2016-05-19 11:49 14KB www.artnews.com 62 Renaissance Sculptures Found in Moscow A cache of Italian Renaissance artworks from Germany's Bode Museum, looted by the Soviets during WWII, have been found at Moscow's Pushkin Museum. 2016-05-19 11:31 2KB news.artnet.com 63 Emotit for President: Building a Site for the Election’s Most Unique App With an election as crazy as this one, the Emotit for President app needed a website that told its story in concise and striking fashion. 2016-05-19 11:18 2KB realart.com 64 Ai Weiwei's New Refugee Crisis-Inspired Art Artist and activist Ai Weiwei was speaking out in support of refugees ahead of the opening of his exhibition at the Museum of Cycladic Art in Athens. 2016-05-19 10:55 2KB news.artnet.com 65 Greenpeace Forces British Museum Shutdown For what is thought to be the first time ever, the British Museum shut down temporarily as Greenpeace activists scaled its facade to protest BP sponsorship. 2016-05-19 10:42 2KB news.artnet.com

66 Singapore's Shanda To Increase Sotheby's Stake - news artnet The Singapore-based investment company Shanda won US approval to increase it stake in Sotheby's. 2016-05-19 10:10 2KB news.artnet.com 67 Christie's, Sotheby's, Phillips See Definitive Shift in May Sales All three major players experienced contractions across categories last week, and aggregate sales, which totaled over a billion dollars, were more than 50% down from last May. 2016-05-19 10:06 3KB www.blouinartinfo.com 68 Public Art Fund Names Daniel S. Palmer Associate Curator Daniel S. Palmer.© CAREY DENNISTON The Public Art Fund has announced the appointment of Daniel S. Palmer as associate curator, effective May 31. Palmer 2016-05-19 10:00 2KB www.artnews.com 69 Artist List Announced for Accessible Art Fair NY The Accessible Art Fair is coming to New York from Brussels; see which 60 artists will get a space to shine. 2016-05-19 09:55 4KB news.artnet.com 70 Gray Areas: Documentary Filmmaker Peter Nicks on His Oakland Trilogy "The Waiting Room" director talks about his planned trilogy of documentaries set in Oakland, California. 2016-05-19 09:23 4KB www.blouinartinfo.com Articles

70 articles, 2016-05-20 06:04

1 Inside Yves Saint Laurent’s Studio, Archives (2.06/3) More Articles By The museum will also feature a 70-piece display from the house’s archives, which includes 5,000 couture garments from Saint Laurent’s 40-year career and 15,000 accessories, as well as thousands of sketches, collection boards, photographs and objects. Garments will be shown in batches of 70 on a rotating basis to protect the textiles. Ahead of the opening and the simultaneous inauguration of another Saint Laurent museum in Marrakech, Morocco, in fall 2017, the foundation has given several tours of the studio and archives to a handful of journalists. “It’s about understanding the extraordinary importance of the collections,” Bergé told WWD over the phone from Morocco. Located on the first floor of the building at 5 Avenue Marceau, the studio feels frozen in time. On the couturier’s desk are his signature eyeglasses, pencils and figurines, such as the one representing his dog Moujik. On the wall, there’s a framed 1980 W magazine cover. Saint Laurent and Bergé had the preservation of the designer’s collections in mind from day one, when they set aside the prototype of a black dress, “griffe 001,” in 1962. “This kind of conservation work, no other houses did it.…I did it since the very first day, because I believed that Yves Saint Laurent was to be the greatest couturier of the end of the 20th century. I was right, and therefore that he deserved this type of conservation,” said Bergé. “I’ll meet with Anthony Vaccarello this week. I’ll tell him what I told Tom Ford, Stefano Pilati and Hedi Slimane – that the archives are open to him,” he added of the fashion house’s new creative director. (Of the three, only Slimane took up the offer and went on a regular basis.) Precautions to maintain the clothes are widespread: Visitors are equipped with paper blouses and covers for their shoes. Only employees sporting gloves can touch the pieces, and garments are shielded from light in hermetically sealed compacts that are kept in a room with a steady temperature of between 64 and 68 degrees Fahrenheit and a 50 percent humidity level. Lying flat in one drawer to protect the embroidery is the Iris jacket worn by Naomi Campbell in 2002 from the Vincent van Gogh collection from the summer of 1988. Hanging nearby is the dress in silk crepe and bayadère stripes that Deneuve wore at a Cannes Film Festival and the Piet Mondrian-inspired dress from winter 1965. There is also an array of Bougainvilliers capes from summer 1989 and the Seventies wedding dress festooned with “Love me forever” on the front “or never” on the back. Transparent gauze covers were conceived specially for the archives, as were rolls for padding the garments. Each time a pieces is taken out for an exhibit, or whenever an acquisition is made (the foundation makes about 20 of them each year, excluding donations), it is treated with an anoxia process to prevent moths. “There are things even we cannot prevent,” deplored Sandrine Tinturier, head of conservation at the Fondation Pierre Bergé-Yves Saint Laurent, citing examples such as white tulle turning gray or varnish getting cracked. (Anything else can be thwarted by the team of four restorers specifically on hand for that.) French architecture firm Studio KO is heading the Morocco project, on Rue Yves Saint Laurent near Jardin Majorelle, the garden the designer and Bergé turned into a cultural site with a museum focused on Berber culture. Spanning more than 43,000 square feet, the building will display 50 pieces by Saint Laurent (out of the total of 150 pieces sent to Morocco, which will be shown on a rotating basis), and have space for temporary exhibitions, an auditorium, a research library, a café and a restaurant. The first temporary exhibition will be dedicated to the painter Jacques Majorelle. Meanwhile, the exhibition space in Paris will be doubled in size to 4,300 square feet and refurbished in the style of Saint Laurent ’s original couture house. The renovation is headed by stage designer Nathalie Crinière and curation is to be spearheaded by Bergé. Some 70 pieces will be displayed there. Although the selection has yet to be made, it’s understood that the Paris museum will feature such key pieces as a Smoking, a Piet Mondrian-inspired dress and a dress from the Pop collection. The museum is also to give a play to the work Saint Laurent and Bergé did together. “Yves is the genius. But it’s true that this couture house, we created it together,” Bergé noted. In the meantime, around 100 fashion pieces will travel abroad for “Yves Saint Laurent: The Perfection of Style,” an exhibit opening at the Seattle Art Museum in October. And two pieces just went to the Salvatore Ferragamo Museum in Florence for the new show called “Across Art and Fashion.” There is also an exhibit set to open in 2017 on Yves Saint Laurent at the Virginia Museum of Fine Arts in Richmond. -Do lay down flat embroidered and heavy garments to avoid tears. -Don’t lay velvet down flat. It gives a faded aspect. -Don’t lay down feather pieces. Always hang them to keep the feathers plump and fluffy. -Do space out pieces in a wardrobe – 12 inches ideally between each. -Use rolls for padding when you hang clothes in a wardrobe. -Before incorporating new pieces, give them an anoxia treatment for three weeks. -When shipping clothes, use airmail instead of boat and do ship in several batches in case of accident. 2016-05-19 20:21 Laure Guilbault

2 Lee Kit Asks Visitors to ‘Hold Your Breath, Dance Slowly’ at First US Museum Show (1.02/3) Related Venues Walker Art Center Artists Lee Kit Chris Marker Chinese artist Lee Kit ’s first American solo museum exhibition titled “Hold Your Breath, Dance Slowly” is running at Minneapolis’ Walker Art Center through October 9. Composed of new and recent works from the artist, the exhibition combines previously created works, including paintings, sculptures, videos, and found object assemblages, with works the artist made on site while putting together the exhibition, a process that saw Lee “considering the exhibition space as one would a painterly composition,” according to a press release. One of the centerpieces of the exhibition is Lee’s video installation “I can’t help falling in love,” 2012, which was recently purchased by the Walker Art Center after featuring in Lee’s exhibition representing Hong Kong at the 55th Venice Biennale in 2013. The piece consists of 13 screens showing household items, each of which has its brand name on screen like lyrics in a karaoke video, making for a piece reminiscent of a kitsch update of a Chris Marker installation. Karaoke screens are an element of Asian culture that Lee has referred back to time and time again in his work; for example, in Lee’s first interview with our sister magazine Modern Painters in 2013, Stephanie Bailey discusses a Lee Kit installation she saw in 2009, a “four-part video installation,” in which each screen was “devoted to a particular item...with the object’s name spelled out on-screen as if for karaoke lyrics.” In the Walker exhibition, this work is joined by other works that turn the gallery into a domestic space, combining video projections of home interiors with paintings and mixed media works stuck directly onto the walls poster-style to create an exhibition that highlights the full range of Lee’ current practice. 2016-05-19 20:41 Samuel Spencer

3 EXPO Chicago Releases List of Participants (1.02/3) Returning to the Windy City for the fifth year from September 22 to 25, EXPO Chicago has cemented its reputation as the go-to destination for collectors looking to buy contemporary art in the Midwest. In anticipation of the fair, President and Director Tony Karman announced today the list of 145 exhibitors that have been granted a coveted booth at the event. This year's edition will have a distinctly international flavor with galleries from 23 different countries and 52 cities slated to participate at EXPO—including representatives from Singapore, Lebanon, South Africa, and the United Arab Emirates. Paul Kasmin Gallery (New York); König Galerie (Berlin); and Pearl Lam Galleries (Hong Kong, Shanghai, and Singapore) are a few notable galleries returning to the fair this year. Meanwhile, the selection committee admitted a handful of new participants including, David Kordansky Gallery (Los Angeles); Maccarone (New York, Los Angeles); Galerie Nordenhake (Berlin, Stockholm; and Galerie Perrotin (New York, Paris, Hong Kong, Seoul). This year features two sections, with a part of the fair dedicated to young galleries that have been in business for eight years or less, in an attempt to grant more exposure to the up-and-coming participants programs. This year's exhibiting galleries include: Galería Álvaro Alcázar, Madrid Ameringer | McEnery | Yohe , New York AND NOW, Dallas Anglim Gilbert Gallery , San Francisco Peter Blake Gallery, Laguna Beach Bortolami , New York Bozo Gallery, Amsterdam Rena Bransten Gallery, San Francisco The Breeder, Athens Browse & Darby, London Buchmann Galerie , Berlin, Lugano CarrerasMugica, Bilbao Carpenters Workshop Gallery , London, Paris, New York casati gallery, Chicago David Castillo Gallery, Miami Beach Cernuda Arte, Coral Gables Hezi Cohen Gallery, Tel Aviv CONNERSMITH ., Washington, DC Corbett vs. Dempsey, Chicago CRG Gallery , New York Alan Cristea Gallery, London Galerie Crone , Berlin, Vienna Crown Point Press , San Francisco Douglas Dawson, Chicago Catherine Edelman Gallery, Chicago Flowers Gallery , London, New York Forum Gallery, New York, Beverly Hills Honor Fraser, Los Angeles Geary Contemporary, New York Graphicstudio, Tampa Alexander Gray Associates, New York Richard Gray Gallery , Chicago, New York Christopher Grimes Gallery , Santa Monica GRIMM, Amsterdam Kavi Gupta, Chicago Hackett | Mill , San Francisco Leila Heller Gallery , New York, Dubai Richard Heller Gallery, Los Angeles Galerie Ernst Hilger, Vienna Hill Gallery , Birmingham Nancy Hoffman Gallery , New York Rhona Hoffman Gallery, Chicago HOSTLER BURROWS, New York Edwynn Houk Gallery , New York, Zürich Jenkins Johnson Gallery , San Francisco, New York Paul Kasmin Gallery, New York Kayne Griffin Corcoran , Los Angeles Galerie Peter Kilchmann, Zürich Robert Koch Gallery , San Francisco KÖNIG GALERIE, Berlin Alan Koppel Gallery , Chicago David Kordansky Gallery, Los Angeles Pearl Lam Galleries, Hong Kong, Shanghai, Singapore Landfall Press, Inc., Santa Fe Jane Lombard Gallery , New York Diana Lowenstein Gallery , Miami MACCARONE, New York, Los Angeles Matthew Marks Gallery , New York, Los Angeles Marlborough, New York Marlborough Chelsea, New York The Mayor Gallery , London McCormick Gallery , Chicago Anthony Meier Fine Arts , San Francisco moniquemeloche, Chicago nina menocal, Mexico City Laurence Miller Gallery, New York Robert Miller Gallery, New York THE MISSION, Chicago Gallery MOMO, Johannesburg, Cape Town Morgan Lehman Gallery, New York Anne Mosseri-Marlio Galerie, Basel MOT International, Brussels, London Carolina Nitsch, New York David Nolan Gallery, New York Galerie Nordenhake, Berlin, Stockholm Gallery Wendi Norris , San Francisco Richard Norton Gallery, Chicago Claire Oliver Gallery , New York ONE AND J. Gallery, Seoul P. P. O. W. , New York PACE, New York, London, Beijing, Hong Kong, Paris, Palo Alto Peres Projects , Berlin Galerie Perrotin, New York, Paris, Hong Kong, Seoul POLÍGRAFA OBRA GRÀFICA, Barcelona Galeria Joan Prats, Barcelona PROYECTOSMONCLOVA, Mexico City R & Company, New York ANDREW RAFACZ, Chicago Yancey Richardson Gallery, New York David Risley Gallery , Copenhagen ROSEGALLERY , Santa Monica rosenfeld porcini, London Diane Rosenstein Gallery, Los Angeles Salon 94, New York Galerie Thomas Schulte, Berlin Carrie Secrist Gallery, Chicago Marc Selwyn Fine Art , Beverly Hills Lisa Sette Gallery, Phoenix William Shearburn Gallery , St. Louis Jessica Silverman Gallery, San Francisco Sims Reed Gallery , London Carl Solway Gallery , Cincinnati Louis Stern Fine Arts , West Hollywood Allan Stone Projects , New York MARC STRAUS, New York Galeria Carles Taché, Barcelona Hollis Taggart Galleries , New York Tandem Press , Madison Galerie Tanit , Beirut, Munich team (gallery, inc.), New York, Los Angeles Galerie Daniel Templon , Paris, Brussels Paul Thiebaud Gallery , San Francisco Cristin Tierney Gallery , New York Vallarino Fine Art, New York Various Small Fires, Los Angeles Susanne Vielmetter Los Angeles Projects, Los Angeles Weinstein Gallery , Minneapolis Bryce Wolkowitz Gallery , New York Zolla/Lieberman Gallery, Chicago Pavel Zoubok Gallery, New York David Zwirner , New York, London 2016 EXPOSURE galleries include: 11R, New York Alden Projects™, New York ARCADE, London ASHES/ASHES, Los Angeles Piero Atchugarry, Pueblo Garzón Luis De Jesus Los Angeles , Los Angeles DITTRICH & SCHLECHTRIEM, Berlin Edel Assanti, London half gallery, New York The Hole, New York Horton Gallery, New York Charlie James Gallery, Los Angeles Kimmerich, Berlin Josh Lilley, London Efrain Lopez Gallery, Chicago LUCE GALLERY, Torino MARSO, Mexico City MIER GALLERY, Los Angeles On Stellar Rays, New York PAPILLION ART, Los Angeles ROBERTO PARADISE, San Juan Romer Young Gallery, San Francisco VAN HORN, Düsseldorf WALDEN, Buenos Aires Kate Werble Gallery, New York Yours Mine and Ours, New York Follow artnet News on Facebook. 2016-05-19 18:18 Henri Neuendorf

4 4 Rebecca Rabinow Is New Menil Collection Director (1.02/3) Houston's Menil Collection has named Rebecca Rabinow, previously a lifer at New York's Metropolitan Museum of Art, as its new director. She takes the place of Josef Helfenstein, who left to become the head of the Kunstmuseum Basel, and will take up her new post in July. Rabinow has served at the Metropolitan since 1990, and is currently the curator in charge of the Leonard A. Lauder Research Center for Modern Art. She organized the 2014-15 exhibition that marked the blockbuster collection of modern art that the cosmetics executive gave the museum that year, and oversaw the exhibitions “Matisse, In Search of True Painting" (2012-13) and “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde" (2012). Among her other accomplishments were the lauded reinstallation of the museum's galleries for European painting and sculpture from the 19th and early 20th centuries, which took place in 2007. Rabinow was raised in Houston before attending Smith College, the Sorbonne, and the Institute of Fine Arts at New York University, where she earned a PhD. “I spent the summer of 1988 volunteering in the recently opened Menil Collection, where my job was to preserve Dominique and John de Menil's correspondence by placing it in Mylar sleeves," Rabinow said in a press release. “However cut-and-dried that might sound, their letters radiated such a sense of history, mission, and creativity that I was hooked on the first day. It is abundantly clear to me that the Menil set me on my career path. " Opened in 1987, the museum was the first in the US designed by Renzo Piano, and centers on the collection of oil equipment heiress Dominique de Menil and her husband, John. The museum is known partly for the Rothko Chapel, which opened in 1971 and houses a suite of paintings by Abstract Expressionist painter Mark Rothko. The institution's 17,000-piece collection spans modern and contemporary art, African, Pacific Northwest, and Pacific Islands art and Mediterranean antiquities, among other areas. Follow artnet News on Facebook. 2016-05-19 17:36 Brian Boucher

5 Arts and Arcology Pave the Way for Desert Experiment Arcosanti (1.02/3) Jeff Stein and Doug Aitken speak during FORM Arcosanti. Credit: Jasmine Safaeian There is no sense of visiting a utopian graveyard when visiting Arcosanti. Unlike the remnants of Le Corbusier’s Ville Radieuse, or Fordlandia in the Amazon, the Arizona micro city designed by Italian architect Paolo Soleri brims with an unruffled energy, tucked away 70 miles north of Phoenix as an active, evolving experiment—an “urban laboratory,” as its creator dubbed it. An apprentice of Frank Lloyd Wright, who tried the utopian path himself with Broadacre City, Soleri pursued with Arcosanti his idea of “arcology”: architecture and ecology combined to create a viable, self-contained society. Hatched in 1970, the plan drew some 7,000 likeminded individuals out to the Arizona desert to help build Arcosanti and live in its results. Today, only some five percent of the city has been built. Giant concrete buildings curve and settle into the canyon, while around 80 year-round citizens suffuse it with plant life and personality. They also help push renovations forward and contribute to the city’s main export item, Arcosanti bells cast in silt. It’s a far cry from an ideal futuristic utopia, but seeing as Soleri avoided using the word “future” (even though he was constantly labeled a “futurist”), Arcosanti remains a stirring possibility. Photo courtesy of the author One of our first stops on-site was the former Arcosanti home of Soleri, which is now the residence of Jeff Stein , President of the Cosanti Foundation. Since Soleri’s passing in 2013, Stein—an architect, educator, and former intern for Soleri in the 70s—has helped guide the next steps of the site, many of them centered around the performing arts. One peak example has been allowing FORM Arcosanti , a music and arts festival, to utilize the grounds for a single weekend in May. Scouted and founded by Hundred Waters percussionist Zach Tetreault and former bandmate Paul Giese, and curated by the band, the festival has grown from 350 attendees into a 1,200-person happening in its third year, boasting a lineup that includes Skrillex, Thundercat, Four Tet, Saul Williams, and many more. The festival has also invited a number of visual artists to come speak about their work, including artist and Station to Station filmmaker Doug Aitken. A visitor to Arcosanti in the late-70s when he was ten, an experience he calls amazing and “disorienting,” Aitken recalled the city when filming Black Mirror , a cross-country installation piece starring Chloë Sevigny. With instant access to Arcosanti for filming, Aitken also scored an interview with Soleri himself, the results of which ended up in a short documentary shown at the festival. On the first day of FORM Arcosanti, The Creators Project sat down with Stein, Tetreault, and Aitken to discuss Soleri’s vision for Arcosanti, FORM, and much more, starting with Aitken’s memories of returning to the micro city. Photo courtesy of the author Doug Aitken (DA): For me, filming in Arcosanti was really interesting and personal, because I had these images burned into my memory. We filmed here for a few days, and the symmetry and geography of the architecture really helped enhance the psychological situation of the story we were telling. Then we started to ask, "Is Paolo around? Can we track him down? " His health was quite frail at the time, but he ended up saying he’d meet us in Cosanti. We were incredibly fortunate. I remember [Jeff] said Paolo had two to three hours of energy a day, but he said, “Keep it to an hour and he'll talk about his practice.” So we have on film a record of someone who created this city, and was so instrumental in his use of language describing his beliefs and disbeliefs. Jeff Stein (JS): [to Doug] I think the great thing you said earlier was how disorienting this was to you as a ten-year-old. It's what has made me so pleased to have a conversation with you, because your work is exactly that, too. It's disorienting. It's leaving the old reality behind. What's happening this weekend with FORM is really what this place is made for, which is movement. It's meant to be a town not for people to live their whole lives in, but for people to move through, experience the space, and connect with people who are here. Photo Credit: Jasmine Safaeian DA: When you talk about architecture, urban planning, utopian cities, you see renderings, collages. If you take it back to the 60s you see Superstudio or Archigram with their beautiful work. But they're not tactile. No one's living in those cities, no one's taking a shit over there or getting in a fight. What's so important about Arcosanti is this is reality. People built this space collectively. The Creators Project: How did you land on Arcosanti, Zach? Zach Tetreault (ZT): It’s interesting that Doug almost felt like a touring artist when he came here, because that’s exactly where I was coming from when I first discovered Arcosanti. [Hundred Waters] were touring for two years straight, not having a home, flat out living on the road in North America and Europe and beyond. We were coming to the tail end of that, and had this burning need to do something for the sake of art, and to revive the sense of excitement for why we perform for people. So we set out from Florida to Los Angeles when moving there to find that place. Photo courtesy of the author I had studied Paolo Soleri, and my good friend Paul [Giese], who was an architecture student, turned me on to Cosanti. Initially we were interested in that but then we found Arcosanti. We came here four years ago and found everything that you’re talking about, just the architecture elevating your consciousness and your presence while you're here. Both Paul and I felt every facet to living was more appreciated. Everybody's contributing. We were fascinated with the place, and serendipity led us to meeting Jeff, Kate [Bemesderfer], and other folks who were here at the time. We thought about this festival, this concept of bringing people together in a format that didn't involve traditional revenue-driven models, but rather created a community that can have this elevated appreciation of what it takes to coexist and appreciate art. JS: I wanted to show you this. [Stein takes out a small red notebook of Soleri’s] This place has a past—everything has something that comes before it. And this particular little house, it's the Villa Malaparte on the isle of Capri off Italy [built by Adalberto Libera]. In the 30s, this was understood to be the most beautiful house in the world, and Paolo Soleri liked it a lot himself. When we were designing this, he said, “Let's make it a little bit like that, let's make this a precedent.” The idea for Arcosanti wasn't a lightbulb going off. It was based on somebody's childhood in Italy, and other people’s childhoods in England and the US who came to help build the place. Photo courtesy of the author DA: Zach, you said community, and I thought about having a community of ideas, and not just people. There's a lot of music events, film festivals, art biennales, and a lot of them are very transitory. You show up, walk through, and you're leaving looking at your phone, wondering what the next place is. I don’t think that that's the goal. The goal is have something that stays with you, something that’s burned into you and changes your perception. JS: What happens this weekend alters the perception of the people who live here year-round, too. There are about 80 of us on this site. The place is too big for us, really. You can't find the urban effect among a village of 80 people, although a lot of interesting interactions happen. But when an extra several hundred of them show up, then this place is designed for that number of people. Photo courtesy of the author The American architect Louis Kahn famously said in the 1950s, "The street is the urban living room, down which a young person can walk and find out what he or she wants to do for the rest of their lives. " It was sweet of him to say—that probably hasn't happened since the Renaissance—and certainly it doesn't happen in American cities filled with cars and carbon monoxide. But here it does, and the way architecture can connect people, turns out, is just to not build a fourth wall of a building. Then you're connected. When you were organizing FORM Arcosanti, did you see the additional ingredient that the festival could bring to the surroundings? ZT: When I'm working on a project I don’t really see the finish line. There's always something to learn along the way. PS: Soleri was always about the question, and in fact we have a whole series of books in our gallery here entitled, What If? And that's what this is about: “What if this happened? What would the repercussions be?” DA: [to Zach] For you, is your attraction to Arcosanti to the landscape, or is it the attraction of the architecture? ZT: It's both, and it's also the attraction of the diversity of art that happens over the weekend. Staying all three days, you see that. A trend of the last two years has been the first night being a party. All of the heavy hitting electronic dance music happens, because everyone arrives from travelling, and it's just an opportunity to dance together almost as a release. And then [the second day] begins this sort of calming energy of musicianship and discovery, and meditation. It really does go down and then come back up. I spent a ton of time with my band staring at all these artists that go from folk country to hip hop, and dance to ambient music, figuring out the best sequence. Four Tet performs at FORM Arcosanti. Photo credit: Jacqueline Verdugo JS: And all of it works in this space. ZT: It does, and that's something that honestly from a pure festival perspective, is one of the biggest differences of this event. It's not using the formula of who sells the most tickets or who has the most followers. It's what we as a collective in FORM and with my band add to this environment here at Arcosanti and take people through during the three days. DA: When we were doing the Station to Station project, we were going from place to place and it was super aggressive. Every time the train stopped we would stage a happening. When we went to Chicago, Thurston Moore was with us in Union Station, which is just enormous. As a musician you'd say, “This is horrifying.” But Thurston came in and simply clapped. It echoed, and took like five minutes for the sound to come back. I asked, “What are you doing?” He said, “I'm listening to the space.” He didn’t want to just play his music, he want to create sound that's harmonizing with the architecture. That's something that I noticed out here. I see Dan Deacon walking around, thinking, "Where am I going to be, and what are the qualities? " That's really exciting. That empowers musicians to have a different palate of experimentation. Photo credit: Jacqueline Verdugo ZT: We've specifically programmed one of the sets this year that way. It's a concert pianist, Bing & Ruth, who last year impromptu staged his set right by the canyon, and anyone who experienced it loved it. This year we intentionally put it on the schedule as "Cliffside. " We mic'ed the piano, got a practice PA, and faced it out into the canyon. We're just going to tell people to go through the visitor's trail and listen. DA: One of the things that I can't help but feel when I look out at this mesa is, we're in a remote place right now, but this is about a collective energy. It's not about oneness, it's about mass and discussion and crossover. No one's going to walk over to the Hilton or go to a club tonight. You have this community of people who are curious. And in some ways that goes back to the original vision of this space—it's really bringing that to fruition. More information on FORM Arcosanti can be found here . Related: Body Paintings and Activist Art In the Arizona Desert I Spent Three Days in the Desert at an Experimental Music and Arts Festival Doug Aitken’s 30 Days of Art Happenings Takes Over London’s Barbican Centre 2016-05-19 17:30 Charlie Schmidlin

6 Top Things to See at Photo London 2016 (1.02/3) Related Events Photo London 2016 Venues Photo London Flowers Gallery Somerset House Artists Andy Warhol Patti Smith Robert Mapplethorpe Gerard Malanga Tod Papageorge Bernd and Hilla Becher Candida Hofer Keiichi Tahara Hiroshi Sugimoto Walker Evans Edward Burtynsky Wolfgang Tillmans Don McCullin William Ewing LONDON — After wowing a crowd of more than 20,000 photography lovers in 2015, Photo London returns to Somerset House today through May 22, kicking off its second edition with a roster of 85 exhibitors and an array of public programming in venues across the city. Already, estimates are showing attendance for the event is likely to at least double, further cementing Photo London as a mainstay, and a must-see, on the international fair circuit. Much of what sets Photo London apart from other fairs of its ilk is its unique setting in the 18th-century, Neoclassical building, located on the north bank of the river Thames. The interior architecture challenges each gallery to make creative decisions on how to utilize their designated spaces, some of which come equipped with chandeliers, painted ceilings, and fireplaces. The result is a fair that feels more on par with the sprawling Les Rencontres d’Arles festival than AIPAD’s Photography Show and its blocks of booths. Here are a few of the booths that caught our eye. Beyond the exhibitors’ presentations, there is a group of solo shows at Somerset House by artists including Sergey Chilikov, Wolfgang Tillmans , and Walter & Zoniel. London’s Hamiltons Gallery has put up a mini retrospective of work by the British photojournalist Don McCullin , who is this year’s recipient of the Photo London Master of Photography award, which last year went to Sebastião Selgado. There are many opportunities to see and hear a host of established and emerging photographers speak in a lecture and symposia series curated by the curator, writer, and former director of the Musée de l’Elysée William Ewing. Fans of the medium who find themselves in the English capital this weekend will not be disappointed, as Photo London truly is a celebration of photography, in all its diverse and evolving forms. 2016-05-19 13:06 Danielle Whalen

7 Brooklyn Museum Offers Staff Buyouts (1.02/3) Exactly one year into her tenure as director of the Brooklyn Museum , Anne Pasternak has offered staff buyouts in a cost-cutting measure as it faces a $3 million deficit. The move comes after the museum has garnered positive notices for reinstallations of the galleries devoted to its American, European and Egyptian holdings, and scored a coup by hiring longtime Guggenheim Museum chief curator and deputy director Nancy Spector to serve in the same role in Brooklyn. Pasternak calls the step represents a "course correction" in a statement sent to artnet News, saying that "the cost of running the museum has substantially grown" over the past few years. The institution has an operating budget of $38.6 million and a full-time staff of just over three hundred. That includes what Pasternak described in an interview in the Wall Street Journal as a "very small curatorial team" of nineteen, which she hopes to expand. The museum has come in for some criticism during her new tenure, especially for hosting the Brooklyn Real Estate Summit, a convention of developers aiming to raise rents amid the borough's steady gentrification, even as the museum hosts " Agitprop! ," an exhibition devoted to political art . artnet News's Ben Davis called on the institution to evict the summit . Pasternak has also staged some attention-getting gestures, such as a life drawing class organized by artist Jeremy Deller and the New York Academy of Art that involved music icon Iggy Pop posing in the nude . Other New York museums are also retrenching. The Museum of Modern Art offered buyouts to those nearing retirement age earlier this month. In April, the Metropolitan Museum of Art revealed that it would also have to downsize in response to a $10 million deficit. Follow artnet News on Facebook. 2016-05-19 09:20 Brian Boucher

8 CHROFI + mcgregor coxall: acacia remembrance sanctuary challenging the typology of cemetery design, sydney- based studio CHROFI and landscape architect mcgregor coxall have proposed their vision for the ‘bushland cemetery for a secular society’. sited in a wooded area near sydney, the ‘acacia remembrance sanctuary’ highlights an alternative way of dealing with loss, the challenges of cemetery design and how people celebrate loved ones. an elevated walkway meanders above the landscape through the tranquil native park leading to the walled garden set against an idyllic background of a 10.1 hectare of forestry, the contemporary cemetery focuses on a instilling a site-wide experience with a specific focus on natural burials without headstones. the first of its kind in australia, the memorialisation becomes the retention and protection of this unique bush ecology where GPS technology would be used to locate the resting place of loved ones. ‘as societies become more secular, our attitudes to death and dying are changing. this shift in personal beliefs and philosophies is challenging the existing funeral industry and traditional cemetery establishment.’ the proposal won the 2016 future projects commercial award at the wan architecture awards the open-air pavilion called ‘the gathering place’ will be framed by a reflective pond and surrounded by landscape gardens. the restful ambience is further emphasized by an adjoining café where visitors can enjoy a quiet landscaped courtyard with picturesque views and moments of peaceful reflection. the entrance to the scheme is marked by an elevated walkway which meanders above the landscape through the tranquil native park leading to the walled garden. the cemetery proposal will be a site-wide experience with a specific focus on natural burials without headstones the acacia site is 10.1 hectares, with the building approx. 400 sqm. 2016-05-20 04:05 Natasha Kwok

9 konstantin grcic's OSB hack table for vitra created for office environments konstantin grcic’s OSB hack table for vitra created for office environments image courtesy of vitra created as a versatile desk for office settings, the ‘hack’ unit by konstantin grcic for vitra is a table system that has been specially developed to cater to the requirements of companies and employees. stripped down from any decorative elements, the desk is made simply from OSB wood. robust and functional; the user has the option to adjust the tabletop to their desired height – whether standing or sitting – and in its lowest position can used as a sofa. the ‘hack’ unit with the ‘allstar’ chai also by grcic, displayed at the vitra stand at the stockholm furniture fair image © designboom for companies who may have changing numbers of staff or a small office space; each hack unit forms an autonomous element whose adaptability allows it to satisfy various needs. it can be folded up into a practical, flat ‘box’ in just a few simple steps, making it easy to dismantle, transport and store. produced with sustainability in mind, the tables are manufactured on site in an energy-efficient manner, with wooden parts that are locally produced and assembled by vitra using prefabricated metal hardware. the hack table was shown at the stockholm furniture and light fair 2016, see more coverage here. variable height adjustment of the table top is manually operated with a recessed grip or a crank image © designboom the solid hinges connecting the three wooden panels are tooled metal parts that facilitate the folding function image © designboom the construction of hack is defined by its robust nature and stripped down aesthetic illustration of the allstar and hack series image © konstantin grcic, courtesy of vitra 2016-05-20 03:05 Natasha Kwok

10 robotic rock installation sorts stones based on their geological age robotic rock installation sorts stones based on their geological age gif by designboom artists prokop bartoníček and benjamin maus have realized a robotic apparatus that sorts and organizes river pebbles based on their geological age. ‘jller’ comprises a 2×4 meter platform and rotating mechanical arm, which picks up individual rocks with an industrial vacuum gripper and moves them to their ‘correct’ location. without human assistance, the device autonomously analyzes the stones and sorts them based on their type and age — eventually rendering the history of the river as a visible artwork. rocks are picked up by an industrial vacuum gripper gif by designboom the machine extracts information from each stone, including color composition, and structural features such as lines, layers, patterns, grain, and surface texture. this data is used to assign predefined categories for each of the pebbles, which group the range of stones that can be found in a specific river together — thus corresponding to the age of the stone. this system is the result of a classification system that is trained by sets of manually selected and labeled stones. because there are only a limited number of types that can be found in a specific river, this system proves to be very accurate. the device continues this installation by processing the image of the stone and mapping its location on the platform, aligning them in various configurations. see a video of ‘jller’ in motion here. the suction moves rocks to their ‘correct’ location on the platform gif by designboom the device autonomously analyzes the stones and sorts them based on their type and age gif by designboom the machine extracts data and information from each stone image courtesy of expost stones were taken from the stream bed of the german river jller image courtesy of expost collected data assigns predefined categories for each of the pebbles image courtesy of expost ‘jller’ has been presented as part of a collaborative exhibition of the two artists image courtesy of expost 2016-05-20 02:15 Nina Azzarello

11 On the Gaze in the Era of Visual Salamis Looking at my.pdf library I recently came across Monte Burch's The Complete Guide to Sausage Making , a book that clearly—and perhaps morbidly—describes some key features of this ancient and mysterious practice. Throughout the reading of this document I somehow realized that I had been learning not only about sausage making as such, but also the mode of existence of some digital images, with whom I coexist. How is such a leapfrog possible? In Burch’s guide, a sausage can be made by grinding and mixing “scraps and trimmings” and, interestingly enough, by also maintaining a prudent period of “seasoning and curing.” The meat’s encounter with a systematic process of recombination and extrusion, say, configures the sausages. Moreover, it is precisely their sausageness that allows us to access them according to polarized protocols: on the one hand, sausage production is analog and continuous—the more meat we add to the grinder, the larger the sausage is. Conversely, its access is developed according to a discrete, digital-like protocol: the slice. Shaping images with our digital gaze An image is no longer a singular thing, but rather it becomes dispersed , distributing its existence along paths, iterations, periplus, and versions provided by both humans and systems. In this sense, images are trajectories through media, devices…and places. Visual characteristics (namely; colors, sizes, textures, compositions, effects, texts, icons, and typographies) are subjected to a large number of recursive and combinatory operations; a memetic modality of some images that supersedes the very notion of internet meme. The world s largest sausage in Kobasicijada Festival (Turija-Serbia) in 2012 This implies that in order to access an image’s narrative, we have to retrace some of its extruded, threadlike trajectories. Our attention is not focused on a singular image, but is distributed along the image’s path. Since the versioning of an image is the image, the increasing accumulation of similar images is nurturing distributed ways of seeing. Slicing images’ sausageness Sausage-like elongation describes the way that images accumulate, but this redundancy of content is not merely piled up, but follows an extruded trajectory that creates threads of dispersed versions. Since any given sausage is not only a sausage, but also the expression of its formal mode of production, what is the shape of our engagement with it? If either sausage and image are being distributed across a potentially endless series of elongated versions, we can only access images by slicing them. Slicing Gucci Mane Capturing the environment with our digital devices creates a discrete, framed incision in our surrounding milieu. Hence, further captures within the digital realm (for instance, by copying, tagging or storing digital files) prefigure the apparition of what I would like to denominate image-slices. These slices have also something that really interests me; an intriguing ability to create their own negative imprint in the form of memory. They remind us that their status as slices conceals the almost invisible process of how our digital gaze deprives images of their own visuality in favor of their memory. If the latter is defined here as a time-based measure of the image's shifting or fading along a trajectory, visuality presents the limits of an image; the contours and deformations produced by its elongation. The shape that a sausage acquires during its extrusion—being limited or arrested by its mold or configuration process—posits visuality as the imprint of energy. The visual cohesion of images is therefore based on modulations; the development of deformations through time. As any salami knows, its own depletion measures its extinction, but its memory increases as the salami diminishes. By day seven in the fridge, the last extant sausage piece compresses a huge amount of time within a narrow meat scrap, which indicates, as if metadata were present, its very process of dwindling. The accumulation of image-slices made by our digital gaze is not indiscriminate; it overlaps and compresses nuggets of visuality seeking an array of coagulated slices, relating images by means of mnemonic paths: spaces, affections, repetition, and desire. In doing so, digital images are increasingly becoming an ancillary verification of memory's circulation through systems and users. Accelerated emblems: when memory eats image The circulation of the digital image is propelled through versioning, elongation, and indexical techniques which optimize access to it by reducing the importance of its immediate visuality. After a certain point, memory’s circulation through systems and users becomes the image’s primary index, pointing to its internal coherence rather than an external frame of reference. Certain images can therefore intertwine themselves toward total memory, devoid of any content apart from their own possible trajectories. Undermining visuality, from Egypt to my smartphone. In an attempt to domesticate the Egyptian landscape during the Napoleonic campaign in the 18 th Century, Nicolas Jacques Conté invented an engraving machine that by virtue of its accuracy brought engineers the possibility of describing the landscape in the most objective way. The free movement of the hand was replaced by up to forty-two possible sequences of lines that guaranteed not only a higher degree of precision, but a faster rendering speed. In the monumental Description de l'Égypte it is possible to find examples of these line patterns; rectangular images that visualize nothing but the expression of their mechanical production. Back in the 21 st century, this undermined type of image reappears in the screen of my smartphone. Whenever I swipe too fast over Google Images’ search results, the accelerated flux of images surpasses by far the device’s ability to display them all. I no longer see images, but an array of plain- colored rectangles. How does this situation correlate with our subtractive digital gaze? My contention is that our digital gaze wants to subsume image within a larger structure of memory. If memory is based on delay—or hysteresis—then our digital gaze must decelerate the image's elongation in order to situate it within memory. In the era of visual salamis, we are no longer pursuing images, but image-slices that allow us to reconstruct their possible trajectories. This implies that the completion of memory is based on the limitation, almost the disappearance of image’s visuality. From a computational standpoint, I imagine that this process erases the constructed distinction between software and hardware to the extent of making both indistinguishable. An example of Core Rope Memory contained in an Olympia 15 digit calculator, circa 1971 The pursuit of memory not only undermines visuality but its interfaces as well. Perhaps digital memory artifacts will no longer need visual access interfaces such as screens…but in the meantime, let us take a look on a particular prehistory of this possibility from 1960s, where NASA's Apollo Program developed a form of ROM memory called Core Rope Memory. This was produced by literally weaving a wire skein along ferrite cores. The method of weaving wires—passing or bypassing the cores—configured the software. Therefore, memory was the outcome of an entangled, self- descriptive weaving motion: memory is what happens along the ferrite cores. Contrary to RAM memory, this Core Rope Memory was a non- volatile repository which keeps all its possible tasks in advance, indefinitely, even without energy supply. David A. Mindell's Digital Apollo: Human and Machine in Spaceflight recalls how the Apollo 12 computer easily rebooted itself after lightning struck the spacecraft. Without tapes or disk drives, Core Rope Memory visually exposes its limits and functions. We can imagine it as an artifact with the ability to keep and describe the totality of its existence, not by upgrading itself further, but through total access to its finite structure. This sheer visuality of its woven core—a kind of hardware— is the software, in absence of any other intermediate symbolic interface. The Core Rope's wire paths undermine images insofar as it constitutes its own memory. To put it simply, its finite woven code exists by itself. A distinct modality of software as the human-readable aspect of the machine is no longer necessary. In the meantime, digital plein-air I have to stress that, although sausage making is a pleasant and mouth- watering activity, is not precisely exempted of risk. Whenever a meat scrap falls off the cutting table, we are in peril of getting a contaminated, even a hairy sausage. As Burch’s guide reminds to us: “the one that eats the most sausage gets the most hair.” Nowadays we are witnessing the process of subsumption of memetic images within memory, but in the meantime, we are finding memetic images in the outdoors as well. The temple of the Seven Dolls in Dzibilchaltun, Yuc. Mexico Despite the fact that the Seven Dolls Temple in Dzibilchaltun (Mexico) perhaps was never conceived as a temporal landmark, during each vernal equinox a multitude of people congregate around the temple. When the Sun emerges, its beams traverse the temple's open door towards a plethora of smartphones, digital cameras, and tablets. The sunlight is not only framed by the door; it continues its trajectory by virtue of the devices’ capturing and the images’ further circulation. After my first visit to this temple in 2012, I became increasingly interested in the particular elongated quality of this sort of memetic images. During the last three years I have been visiting several areas of Southern Mexico, finding along my way a variety of these images: digitally printed cylinders in the shore of Bacalar lagoon, fluorescent hoses in Palenque's jungle, gradient-like car reparations in Merida, polygonal paper dinosaurs in Chicxulub, to name a few. These memetic images incorporate an array of digital textures, patterns, gradients, and even moiré effects, but somehow their physicality produces an interesting disruption in its surrounding milieu. They popped out in our vision by highlighting their obvious digitalness in absence of devices, binary code, or even electricity. How is such a thing possible? If the traits of memetic images can be sustained in spite of devices —or their closeness—we must reconsider them as entities created uniquely by devices. Images linger at a certain distance of them; sometimes closer—even “within”— sometimes too far to be extant. A memetic landscape in Bacalar, Quintana Roo, Mexico. Constituted as trajectories by means of versioning, these memetic images could have existed before the advent of the internet itself. Acknowledging this fact places us in the striking situation whereby the prehistory of digital images comes after their “official” emergence as media; as if in the very moment that we relocate these images from their alleged habitat (digital devices,) devices no longer “create” images. The context of memetic images does not lie in their materiality—for example, their pre-filmic or pre- screening origin—nor in the materiality of the places they represent. Conversely, we find context in the very action of capturing and slicing images, as well as in the device's situational location. The encounter with digital, memetic images in the outdoors and their incorporation within networks and memories denotes also the uneven degree of internet implementation over the Earth. Since bandwidth speed results are affected by geography (and geopolitics!), time is the subsidiary of space. The imbalances in a memetic image's speed of elongation describes real geographical distances between captured places and access to internet networks. This produces a particular phenomenon of historical remoteness, whereby 'antique' memetic images are still in the process of being incorporated, uploaded, elongated. As if the light of a distant sun were rising, we still are receiving and unearthing images pertaining to these memetic realms. — Javier Fresneda is a San Diego-based artist and researcher. His work can be found in www.javierfresneda.com among other places. — References Burch, Monte. The Complete Guide to Sausage Making. New York: Skyhorse, 2011. Mindell, David A. Digital Apollo: Human and Machine in Spaceflight. Cambridge: MIT Press, 2008. — Share this Article — 2016-05-20 04:29 rhizome.org

12 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-20 04:27 GDUSA Staff

13 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional contexts. The conference was held on occasion of the tenth anniversary of the Young Curators Residency Program (YCRP), which annually brings three non-Italian recent graduates of curating courses to […] 2016-05-19 22:11 By

14 Kiersey Clemons: ‘Dope’ Girl Next Door Kiersey Clemons is just 22 years old, and yet boasts a resume with range many a seasoned actor would drool over. Her Disney Channel start has parlayed into roles in some of film’s most- coveted projects, including “Dope” and “Transparent,” and she’s got a busy 2016 of film releases to keep the momentum up. She goes full-on comedy this Friday in “Neighbors 2: Sorority Rising,” the follow-up to the 2014 surprise cult hit “Neighbors,” which saw Seth Rogen, Rose Byrne and Zac Efron go toe-to-toe in frat-themed, gasp-inducing comedic fashion. Much is expected of the sequel, which features the original cast plus Chloë Grace Moretz and Selena Gomez — but Clemons seems a natural for the in-your-face brand of funny that “Neighbors” rides on. “It’s the most off the wall stuff and the s–t you’re not thinking about that makes you laugh,” she says. Clemons, 22, is the eldest of four sisters in a “musically inclined” family. “Everyone has a pretty good singing voice, that they kind of just did nothing with,” she says, over the phone while “just taking a walk” around SoHo. “But my great-grandmother actually made a trip to Hollywood to be a movie star and then she got pregnant by my grandpa — so that didn’t work out very well. But everyone is kind of living vicariously through me.” She grew up in L. A. watching “Grease” and doing karaoke with her family, favorites of which include Bob Marley’s “Red Wine,” “because my cousin would always sing it, and I would be like ‘oh man I can’t wait until I’m older and can sing that song.’” But music was never her aspiration professionally. “I grew up knowing that music was something that brought people together, and I liked that, but I don’t have the desire to be a big pop artist or sell out arenas,” she says. Her film acting debut was on the Disney Channel’s “Shake It Up,” and marked the first of many kid network projects she would do, including Disney’s “Good Luck Charlie” and “Austin & Ally” and Nickelodeon’s “Bucket & Skinner’s Epic Adventures.” “I always wanted to do film and TV, and my mom didn’t want to just throw me to the wolves,” Clemons says. “So I kind of had to beg her. I think she started to believe me when I was like 15 or 16 and everyone else was kind of looking at colleges, and I think she realized ‘OK, this is actually what she wants to do.’” The transition from Disney starlet to serious adult actor is, putting it lightly, a frequently botched road. But Clemons has seamlessly landed roles in some of film and TV’s biggest socially aware breakouts over the past couple years. She starred as Diggy, a teenage punk lesbian in the 2015 Sundance indie darling “Dope,” a role she won late in the audition process. “I guess I was a f–kin’ last resort,” she teases, adding that she initially doubted her chances of landing the part due to her looks. “I have a very sweet looking face, my features are very round, and I think our director wanted someone tougher looking,” she says. “It was exciting for me to go in and be like ‘Hey! Sweet girls are lesbians, too!’” Adding to “Dope,” her credits include “Extant” with Halle Berry and Amazon’s groundbreaking “Transparent,” a show any young actor would’ve fallen over themselves to book. “I knew that it was amazing and that it was, I guess, revolutionary, but I didn’t know how people were going to receive it,” she says. “And that’s true of any project that you do, really. Any project where you’re trying to be part of a new wave or trying to change people’s thinking process, you’re always afraid they’re not going to take it in the right way or be receptive to it.” Audiences and film critics alike have been more than receptive — the show has won two Golden Globes and five Emmys. It also served as proof for Clemons to silence her doubts over what kinds of characters she could go out for. “From ‘Dope’ I learned that instead of letting these things work against you, it’s better if you just embrace them and make them work for you,” she says. In “Neighbors 2,” which, she says, is not a sequel to the first but rather “an anthology film,” according to costar Moretz, Clemons is one of three ringleading freshmen who aren’t down with the Greek life system that seems to cater to fraternities and their lingerie-themed parties. Together with Shelby (Moretz) and Nora (a debut performance from Jonah Hill’s sister Beanie Feldstein), Clemons’ character Beth starts a spin-off sorority that clashes, especially, with Rogen and Byrne. Though it is without a doubt comedic, “Neighbors 2” does handle topics of sexism in Greek life and safety issues on college campuses, which was part of the appeal for Clemons. “I had done a PSA sort of short music video with Lady Gaga called “Til It Happens to You” and so I really wanted to continue to bring awareness to [the issues of] college campus rape and the safety of girls and boys on college campuses, because that’s a place where you should feel protected,” she says. “A comedy is easier for people to swallow — you’re laughing at it, but it’s still in your subconscious.” And though she says Greek life is not for her, she argues she might know a thing or two about it from the acting world. “I think sororities are very similar to films, in that you arrive on the first day of set not really knowing anybody, and you’re like ‘OK need to make friends with these people,’” she says. “And it was definitely like that on set — the cast was mainly female and we had a lot of girl writers, and we had a lot of fun together.” 2016-05-20 00:34 Leigh Nordstrom

15 REX unveils 2050 M street office complex for washington DC REX unveils office complex for washington DC with fluted glass façades image by luxigon new york-based architecture studio REX has revealed plans for a premium office complex to be constructed in washington, DC. the scheme, located in the city’s ‘golden triangle’ business district, will host CBS’s washington bureau among other tenants. set amid a context of heavy masonry and concrete buildings, ‘2050 M street’ employs a glazed curtain wall that offers abundant external views with minimal disruptions. the design combines the advantages of an all-glass building with the modulation of a high-relief façade image by luxigon the façade’s approximately 900 identical, insulated-glass panels are subtly curved through a heat roller tempering process. the curve yields structural efficiency, which meets the wind load requirements and enables a thinner monolithic outer lite than normal — providing greater transparency. ‘because of the curve’s inherent rigidity in compression, only the top and bottom edges of the panels are supported from the floor slabs, while the ‘mullion-less’ vertical edges are flush-glazed for a minimalist aesthetic that improves sightlines, while gaining useable floor area,’ explain the architects. a high performance, low-E coating is applied to the glass within the insulating cavity to meet thermal performance requirements. paired with the curving panels, it creates an unusual kaleidoscopic effect of repetitive transparency and reflection that simultaneously animates and dematerializes the façade. to emphasize the ethereal lightness of the skin, all perimeter columns are pulled in from the façade, while the ceiling is tapered to the depth of the structural slab as it approaches the exterior. a high performance, low-E coating is applied to the glass image by luxigon at ground floor level, the lobby has been conceived as a ‘warm oasis’ of cowhide wall panels that serve as a visual counterpoint to the crystalline façade. wooden floors and ceilings extend throughout the reception area. the vestibule has also been enlarged to accommodate a site-specific piece of art commissioned specially for the building. the curtain wall offers abundant external views with a minimal amount of disruptions image by luxigon the office building provides sweeping views across the city image by luxigon the warm lobby serves as a visual counterpoint to the crystalline façade image by luxigon wooden floors and ceilings extend throughout the reception area image by luxigon the concave side of the curved units faces outwards, resulting in an elegant fluting effect image by luxigon structural detail of the fluted façade image by front / click for larger version to emphasize the ethereal lightness of the skin, all perimeter columns are pulled in from the façade name: 2050 M Street location: washington, DC, USA client: tishman speyer program: premium office building in washington, DC’s golden triangle business district, that will host CBS’s washington bureau (including television studios), among other tenants area: approximately 41,800 sqm (450,000 sqf) cost: confidential status: commenced 2015; commenced design development 2015; completion expected 2019 design architect: REX personnel: timothy burwell, adam chizmar, maur dessauvage, kelvin ho, james kehl, elizabeth nichols, joshua prince-ramus, matthew uselman (PL), cristina webb (PL), vaidotas vaiciulis, michael volk executive architect: kendall/heaton consultants: arup, baumann, blades, cerami, ECS, front, janson tsai, LERA, LSM, richter, george sexton, walker, wiles mensch, WSP 2016-05-19 23:29 Philip Stevens

16 16 They Are Wearing: CDG x DSM Super-Market- Market Sale On Thursday afternoon at 2:53 p.m., at the unofficial first day of the Comme des Garçons x Dover Street Market Super-Market-Market event — a private preview for friends and family before it opens tomorrow to the public — a line of shoppers had formed a queue outside Skylight Clarkson Square awaiting the sample sale’s 3 p.m. opening time. Featuring deeply discounted archival and special items from Comme des Garçons and other luxury brands sold at Dover Street Market, the event drew a smartly dressed group of fashion collectors, editors, designers and stylists, as well as some VIPs, including Debbie Harry, Eddie Huang and Victoria’s Secret model Elsa Hosk. Most attendees opted for casual streetwear looks — with comfortable sneakers taking the lead on footwear — and were dressed in black. But there were also plenty of experimental fashions on display, from kooky eyewear and hats to clashing prints. In addition to looking cool, no one seemed to forget his or her main purpose: to shop. Upon entry, each person was given a huge plastic laundry bag to fill up with merch. 2016-05-19 22:49 Kristi Garced

17 Circuits of Saudade: Wind Grove Mind Alone , Night One 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, Jesse Leaneagh shares his perspective on Friday night’s performance of Devendra Banhart […] 2016-05-20 01:46 By

18 Park Chan-kyong’s First US Solo Show at Tina Kim Related Venues Tina Kim Gallery Park Chan-kyong is currently holding his first ever US solo exhibition at Tina Kim Gallery through July 1, 2016. One of Korea’s most acclaimed interdisciplinary and multimedia artists, Park has had solo presentations at Atelier Hermes (2012, 2008), the Gwangju Biennale (2006), and Ssamzie Art Space (2005), and shown his work at a number of major international galleries and museums including the National Art School Gallery, Sydney (2011), RedCat Gallery in Los Angeles (2010), Kunstverein in Frankfurt (2005), and De Appel in Amsterdam (2003). Drawing from the past decade of his output, this exhibition delves deep into the knotty complexities of Korea’s North-South relations, as well as the shamanic rituals and indigenous traditions of his native country. While often perceived as a hyper-capitalist, technocratic state symbolized by the gleaming skyscrapers of Seoul, South Korea has a particularly conflicted modern history, shaped by successive waves of foreign colonization, civil war, communist incursions, and religious displacement. Cyberpunk themes with a tinge of political exigency can also be found in “Power Passage” (2004-7), a two-channel video piece set in the year 1975 that freely blends fact and fiction, telling a plausible tale of Pyongyang’s attempt to dig a secret tunnel in order to send clandestine spies to Seoul, set against an ongoing cold war and technological arms race between the United States and the Soviet Union. Equally emblematic of many of Park’s longstanding concerns is his sound and photo installation “Three Cemeteries” (2009), whose title refers to three collective burial sites near the DMZ that are reserved for entombing people with a certain outsider status in mainstream Korean society — unrepatriated citizens of North Koreans, anonymous sex workers who plied their trade near US military bases, and so on. “Night Fishing” (2011), which won Park the Golden Bear at the Berlin International Film Festival in 2011, evokes what the artist has called an “Asian Gothic.” Drawing freely from the clichés and tropes of the global horror film imaginary, Park crafts a tale about a shaman who summons forth a man who has been unjustly killed, all while defying the linear temporal logic of narrative film in a virtuosic way. 2016-05-19 22:11 Darryl Wee

19 marc thorpe translates the architecture of a corn husk into seating for moroso marc thorpe translates the architecture of a corn husk into seating for moroso marc thorpe extends his ‘husk’ collection for moroso with upholstered versions. originally constructed from a painted steel structure, the seating designs were completed by woven yarn typically used for making fishing nets—each one hand-made by skilled craftsmen—resulting in outdoor furniture characterized by the colorful strands of polyethylene employed to form its shell. the upholstered version of ‘husk’ draws aesthetic influences from the shell of maize while still retaining a similar wrap around shape as its predecessor, thorpe’s upholstered armchairs find their aesthetic influences from the architecture of a corn husk. drawn to the fields of crop that punctuate the landscape of udine in northern where moroso’s headquarters is, thorpe has pulled the textures and lines found on the shell of maize, translating them into a fabric used to render a globally recognizable object for everyday use. the ‘husk’ upholstered collection for moroso is offered in various sizes, including dining and armchair versions. the textile employed was conceived by thorpe, and produced by febrik exclusively for this series of chairs for moroso. the ‘husk’ collection by marc thorpe was on show during new york design week 2016. the textile employed has been specially designed by marc thorpe and produced by febrik ‘husk’ armchair waiting to be upholstered cutting the fabric to size for upholstering the ‘husk’ armchair craftsman at the moroso headquarters upholstering the ‘husk’ armchair upholstering the ‘husk’ armchair the fabric used for the ‘husk’ collection has been designed by marc thorpe and produced by febrik welding the steel frame of the ‘husk’ chair at atelier m’afrique finished frame welded designer marc thorpe with the ‘husk’ high-back steel chair frame thorpe measuring the polyethylene fishing net thread used weave the seats of the original ‘husk’ collection the ‘husk’ outdoor seating collection by marc thorpe for moroso detail of the woven seat backs designer marc thorpe with his ‘husk’ outdoor furniture collection for moroso 2016-05-19 21:05 Andrea Chin

20 Bae Bien-U Revisits a Sacred Space at Axel Vervoordt Related Venues Axel Vervoordt Gallery Artists Bien-U Bae Korean photographer Bae Bien-U returns to his roots at Axel Vervoordt Gallery Hong Kong from May 19 to July 16 in “PART:MEET,” a show devoted to photographs of the artist’s beloved pine trees. “PART:MEET” features haunting black-and-white images shot at a pine forest near Gyeongju, South Korea, that Bae has been photographing for three decades. Bae has called this forest his “sacred wood,” a phrase chosen for the title of a 2009 book collection of his work. A press release from Axel Vervoordt describes Bae’s photographs as “openings” that invite the viewer “to step into them, wander through the forest and encounter the equilibrium of nature in boundless transformation.” Like Bae’s early pine forest photographs, the images on display at Axel Vervoordt were shot on six-inch square-format film. The use of this type of film represents a return for Bae, who had moved away from square format and toward panoramic film. The gallery explains the artist’s choice to use square-format film as inspired by the deeper meaning of its dimensions, which are in a ratio of 1:1. This ratio “symbolizes a mystic experience, an opening in life to holiness,” the gallery says. “In many different cultures this ratio is a symbol of (en)light(ment).” Bae has twice shown at Axel Vervoordt’s branch in Antwerp. “PART:MEET” is his first show at the gallery’s Hong Kong space. 2016-05-19 20:57 Samuel Spencer

21 Wu Jian’an Shows ‘Ten Thousand Things’ at Chambers Fine Art Beijing Related Venues Chambers Fine Art Beijing Chambers Fine Art Artists Wu Jian'an A skeleton made of shells and an army of terracotta bricks are among the works on display in the latest exhibition of new works from Wu Jian’an titled “Ten Thousand Things” on exhibit at Chambers Fine Art in Beijing through July 3. This exhibition is the fifth the Chinese artist has had with Chambers. While previous shows there were reactions to current events (such as his post- SARS show “Daydreams” in 2006) or inspired by arcane texts such as “Journey to the West” (as in 2014’s “Transformation”), this exhibition takes its title from a book by German art historian Lothar Ledderose, writing at the dawn of the 21st century. This book, an investigation into the mass production techniques used to create such masterpieces of ancient Asia as the Terracotta Warriors in the mausoleum of the first Qin emperor, has led Wu to create works in which many individual works join together to make a collective work. Most strikingly, this approach can be seen in the works “Shallow Mountain,” 2016 and “Big Skeleton,” 2016. The former in particular carries associations of the 8,000 terracotta figures in Lintong District. However, in this piece, the clay comes in the form of 1,184 bricks, which have been hand-carved and engraved and arranged in rows. In the latter, Wu uses many conch shells to build a skeleton sitting cross-legged over 8-meter across and nearly 6-meter tall. In another major work featuring alongside smaller animal bone sculptures and collages featuring the artist’s first attempt at ink painting, Wu returns to making small figures from paper dipped in wax, this time joined together to create psychedelic abstract works. 2016-05-19 20:41 Samuel Spencer

22 Second Thoughts: Fred Sandback and the Virtual Line How does an exhibition accrete meaning, gain relevance, or shift shape over time? In the “Second Thoughts” series, Walker curators reconsider earlier presentations of art, articulating new or refined conclusions. Here, Jordan Carter writes about how the discovery of a 1977 book of line drawings by American artist Fred Sandback (1943– 2003) prompts new thinking about the artist’s sculptures made using yarn or elastic cord. […] 2016-05-19 22:26 By

23 23 Ralph Lauren, Leonardo DiCaprio Honored at Riverkeeper Ball More Articles By For the Riverkeeper’s 50th annual Fisherman’s Ball, the organization hooked itself some Big Fish. Ralph Lauren and Leonardo DiCaprio were the marquis honorees at the event held at Pier Sixty in New York, while Robert De Niro was the evening’s Hudson Hero, and Dr. Howard A. Rubin was the Big Fish Emeritus. Andy Cohen hosted and Sting practically left his fellow stars in his wake after his show-stopping acoustic performance of two hits (“Message in a Bottle” and “Every Breath You Take”) and “The River,” which he chose because he was asked to keep it relevant. Dedicated to keeping the Hudson River’s water safe, swimmable and drinkable, Riverkeeper’s cause, as well as the clout and fervent advocacy of a Kennedy — Robert F. Kennedy Jr. is the organization’s chief prosecuting attorney — has baited Big Fish in the past. Bill Clinton, a former Big Fish, filmed a video segment for Wednesday’s festivities; Jeff Koons, last year’s recipient, was also in the house, along with John McEnroe and Mark Ruffalo. But 50 years called for something splashy. Lauren had flown in earlier in the day from London, where he opened The Ralph Lauren Centre for Breast Cancer Research on Tuesday. If he was tired, it didn’t show. “My inspiration, my excitement is Bobby,” said Lauren, acknowledging Kennedy’s spirit and dedication to Riverkeeper. He can also appreciate how remarkable a 50th anniversary is, particularly in New York. “I’m a New Yorker. I was born here. I was married here. I raised my children here,” said Lauren, whose wife Ricky, son David and daughter-in-law Lauren Bush Lauren also attended, along with Ralph Lauren chief executive officer Stefan Larsson and Valérie Hermann. “And almost 50 years ago I started my company here. The Hudson is my river. It’s our river. And like many of us who grew up with it, I often take if for granted…. Everything I’ve done in my life was inspired by people like [the Riverkeeper]. People like Bobby and the Waterkeeper, bold, unselfish and with an extraordinary vision. Next year our company, like Riverkeeper, celebrates its 50th anniversary. We have accomplished much to make our workplace and the products we create environmentally sound. We recognize that we have much more to do in our future and we’re committed to this endeavor.” Who saw the Oscars? Kennedy did. “I’m so happy that you won that Oscar and gave that speech,” he said to DiCaprio. “I hope you win one every year.” “I met Leo probably the first time 20 years ago, and I immediately fell in love with him — not for the reason most people do,” Kennedy said. “He understands that celebrity is currency. You can spend it down…saying good things. He can do it in places that none of the rest of us can go. He can go to Davos and talk about this. The oil companies are always welcome, but environmentalists aren’t. But Leonardo DiCaprio is.” “Listening to Bobby speak for the first time, you quite literally feel as if you’re witnessing a war cry from ‘Braveheart’ as he propels in to the battlefield for Mother Earth,” DiCaprio said. “Indeed, he has inspired me to grow my own environmental foundation and join that crusade. And maybe some day I’ll be honored being thrown in jail as often as he has been.” Since Big Fish are best served with big checkbooks, Lauren pledged $100,000 to Riverkeeper. Then DiCaprio promised to match it through a grant from his Leonardo DiCaprio Foundation. “I’m basically just following in your footsteps,” he said to Lauren from the stage. 2016-05-19 19:47 Jessica Iredale

24 Uniforms in the Spotlight in New Exhibition at The Museum at FIT Seventy items from the museum’s permanent collection are classified in four groups — military, work, school and sports. Mainbocher’s World War II design for the U. S. Naval Reserve’s Women Accepted for Volunteer Emergency Services helps to illustrate how modern dress uniforms evolved over time. The gallery also houses gold button-studded blue wool designs from Chanel , Yves Saint Laurent and Perry Ellis. The long-lasting influence of naval uniforms can be seen in Breton-striped looks from Jean Paul Gaultier and Sacai. Historians will learn such asides as how heavy braided threads were used for preventive measures from hand-to-hand combat in the 18th and 19th centuries. They will also find a Black Watch uniform from 1900 and a fireman’s uniform from the Fifties. Pop culturalists will be more eager to see such throwbacks as Stan Herman’s polyester uniform for McDonald’s workers that debuted in 1975. Another signature look from that time are the designer’s synthetic blend creations for TWA flight attendants. Herman, who now designs uniforms for JetBlue and UPS, is still fan of the now-closed Eero Saarinen-designed TWA terminal at John F. Kennedy International Airport. The school uniform section of “Uniformity” opens with an Eaton suit circa 1930 and includes such designers as Rudi Gernreich’s 1967 “Japanese Schoolgirl” ensemble and a Thom Browne 2006 gray flannel suit. On view through November 19, the exhibition also has an array of athletic looks including Geoffrey Beene ’s sequined 1967 football jersey dress, as well as ones from Gucci and Stella Jean. The show is being staged at a time when a few designer companies are designing new uniforms. Zac Posen is busy creating new ones for Delta’s 30,000 staffers. American Airlines recruited Cole Haan to create an exclusive line of accessories for its employees this fall. In September, American Airline staffers will wear new uniforms from Twin Hill that build off a Kaufman Franco design. And Seattle-based designer Luly Yang is redesigning uniforms for Alaska Airlines’ 12,500 employees. 2016-05-19 19:36 Rosemary Feitelberg

25 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood as a kind of technology unto itself. The 3rd Istanbul Design Biennial proposes that the ultimate aim of design is a redesign of the […] 2016-05-19 22:26 By

26 26 Think Tank Columns Offer Latest Market Insights More Articles By From the impact of consumer-facing fashion shows and how experience supersedes buying stuff to the importance of authenticity and how Millennials can reinvigorate sales, WWD’s Think Tank columns offer industry insights on a variety of business, fashion and retail trends. Our guest columnists include well-known authors, scholars and industry experts from every corner of the fashion apparel and retail world. To see a list of recently published Think Tank columns, click here . 2016-05-19 19:16 Arthur Zaczkiewicz

27 Meet the Soft-Sculpture Artist Making Beaded Paintings | City of the Seekers Windhorse, 2015, beaded painting, 2015, 20"x20" In the late 19th century, Southern California attracted misfits, idealists, and entrepreneurs with few ties to anyone or anything. Swamis, spiritualists, and other self- proclaimed religious authorities quickly made their way out West to forge new faiths. Independent book publishers, motivational speakers, and metaphysical-minded artists and writers then became part of the Los Angeles landscape. From yogis, to psychics, to witches, City of the Seekers examines how creative freedom enables LA-based artists to make spiritual work as part of their practices. When artist Elena Stonaker was living in New York, she looked in the mirror one cold February day and saw that she was turning gray, realizing at the same time, her feet were constantly freezing. Three years ago, she decided to pack up her station wagon and drive out west for some much-needed sun. By all accounts, it seems to have been the right decision for an artist who describes her work as a series of "primal and whimsical explorations of the ladders and portals that link the physical and spiritual realms. " Not identifying with any specific style of art, Stonaker says her practice is constantly evolving as she explores new mediums, from watercolor and acrylic paint, to performance art, to both hard and soft sculpture, to animation and video. Ojai Eye, 2014, beaded tapestry, 20"x24" "It's amazing how you can think you have really created a certain visual voice, and then you try to express it in a new medium, and a completely new and foreign language emerges. It's a great challenge, sometimes frustrating, but mostly exciting—a great opportunity to evolve," she observes. "Sometimes the work is based on whatever medium I feel like exploring. Sometimes I choose a medium that I feel will best express what wants to be said. I try to remain agile, to avoid expectations of how any piece will turn out. In the end, I'm the vessel for whatever wants to be given form. " Stonaker claims that some of her pieces take months, while others take as few as 15 minutes, but however long the process, it's almost always organic. She often feels particularly compelled to take completed pieces and alter them through deconstruction, reconstruction, addition, and subtraction—sometimes for years at a time. "There is a constant balancing act of being precious, and total release of preciousness," she declares. "I like to play in the cycle of creation and destruction. " Domi's Dream (detail), 2014, beaded painting, 40"x72" The artist is also particularly interested in the cultural practice of storytelling and the inheritance of old customs, as well as the reproduction by natural processes of new myths in the modern world. Old or new, she believes our narratives ultimately inform the way we view the world. "As artists, we generally have the capacity to see possibilities that may seem impossible or invisible to others," she explains. "By expressing the possibility of limitlessness, we can physically manifest it. It is our job to fuse timeless symbols with new stories and weave them into the living myth that will carry us through to the world we dream of. " Prayer Bird, 2014, beaded soft sculpture, 20"x21"x18" Likewise, Stonaker is curious about investigating and producing her own set of myths in order to more easily traverse the complexities of living, while also developing a more profound way of life. "[My] work explores being a spirit in a physical body, the paradoxes of existence, relationships to nature and to spirit. It is a celebration of femininity in relationship to masculinity, of unearthing layers of shadow and sexuality. I build homes and bodies for spirits to live in. " In terms of her own creative and spiritual philosophies, Stonaker believes in the infinite nature of experience, which yields the notion of living in the "now" and trusting that whatever the present holds, each moment is fated to be. "I celebrate paradox and natural cycles: a bee getting off in the pollen of a fleshy peach blossom, a buzzard gutting the corpse of a deer by the side of the road," she expresses. "I love engaging in ritual and ceremony, but try to avoid the boxes of dogma, which are dangerous agents for creating separation and fear. I pick and choose from universal teachings. I like to examine the interception and parallels between living out personal and universal truths. " Gus's Armor, 2014, beaded and embroidered denim Levi's jacket Since arriving to Los Angeles, Stonaker admits that she finds its host of contradictions equally bewildering and inspiring. "There is a disorienting paradox of shallowness and depth, but there is a mysterious magnetism that has pulled in an incredible community of artists and visionaries whom I feel inspired [by] and intertwined with. What's most obvious to me is how miraculously the natural world coexists with the concrete urban sprawl: the hummingbird that flies in and out of my window, the coyote running down Sunset Boulevard, the pomegranate and orange trees littering the rough and grimy sidewalk with perfect fruits. The saturation of spiritual practice and acceptance here certainly crosses into strange territories as it is monetized and marketed, but below the surface there are deep pockets of authenticity and real magic. Because people are generally very open here, it provides a safe haven to explore and create work that may be trivialized in other places. " Speaking of nature, Stonaker asserts that her relationship to it is an especially potent inspiration for her own life and work. "I am so fascinated and turned on by plants," she reveals. "They are so, so sensual: the shapes, colors, smells, and textures. They are so delicate yet so hardy, so ingeniously evolved. We have so much to learn from plants. I often wonder if it is even worth it to make art work when I feel like nothing I could possibly make is as incredible as any flower or tree. " Upside Down, 2016, acrylic painting, 30"x40" Beast Dress, 2012-2014, dismantled fabric sculpture repurposed as a garment; india ink, beads, appliqué on cotton Carly in the Bird Hat, 2014, sculpture as embroidered hat Photograph by Anna Elledge, 2015, from Artist as Muse performance series Photograph by Domino Farris, 2015, from Artist as Muse performance series Visit Elena Stonaker's website and Instagram. Related: Worship the Ceramic Booty | City of the Seekers Gold-on-Black Art by LA's White Witch | City of the Seekers Painted Bodies and Canvases Elevate the Art of Magic 2016-05-19 19:15 Tanja M

28 Stephen Webster Opens New Mount Street Salon More Articles By The new space is discreetly located on the second floor of 130 Mount Street , and there is no front door or obvious presence on the street. The aim is to create a private shopping experience for clients, and a space for one-on-one consultations. “We know that this type of estate is a bit more private, without a front door, and I think that suits the future of our brand. We are doing so well on places like Net-a-porter, and we launched our own e-commerce, but general shopping has changed. People will come in if they want to have a consultation with me or one of my team because they feel really comfortable,” Webster told WWD. “Global groups no longer open boutiques, they are more like places of seduction. That’s why we created this beautiful space, with such a great view.” The salon overlooks Mount Street and Berkeley Square. Webster was one of the earliest residents of the sought-after Mayfair shopping destination, which is now home to boutiques by Christian Dior, Balenciaga, Céline, Christopher Kane, Simone Rocha and, most recently, Sophia Webster. “We were very early, the Grosvenor Estate were picking on people like me to come. We opened at the same time as Marc Jacobs, eight years ago. It was us and also Christian Louboutin. Then everybody wanted to be here, we were the pillars, and we had a great time,” added the designer. The new salon was designed by Guy Holloway, the architect who also worked with Webster on the latter’s holiday house in Kent. Holloway said the two wanted to create an intimate feeling for clients, as if they were in the designer’s home. “With Stephen everything is about a story, and this space is about trying to bring his personality to the space, so that you come in and you feel like you’re in his apartment. It’s completely relaxing here, it’s like being in Stephen’s world,” Holloway said. “His house in Kent is so interesting. He’s got a massive rug with a bear head on it, stuffed birds, a lot of Tracey Emin pieces. I think over time he’s going to fill this up with more and more. That’s the lovely thing, that every time you come back you’ll see something new.” The salon consists of two rooms. The first showcases the men’s and women’s seasonal collections, while the second houses couture pieces and is also designed for entertaining. Among the works currently on display is a taxidermy swan by David WildArt; a graphic gold chandelier by Mark Brazier-Jones; and a cabinet of curiosities containing a selection of the designer’s favorite books and memorabilia. Six artworks by Emin will also be installed. Webster collaborated with Emin on a collection of jewelry earlier this year and plans to continue the partnership with a new collection in the near future, he said. 2016-05-19 19:09 Natalie Theodosi

29 Every Street Dog Knows These Feels Images courtesy of Ilan Cohen 90s kids will hate this: Homeward Bound sucks. The fact that three subpar pets have to spend 85 whole minutes traveling cross-country to reunite with owners who could obviously care less about them just reinforces kids' resolves for holding onto toxic relationships. If you disagree, you're probably suffocating in one of said emotional plastic bags yourself, and willfully ignorant (or weak). Cut it out and be more like the canine star of Rone 's new music video for "Vood(oo)," a gutter punk's mutt who knows it's wise to get out when the getting ain't bad —yet. Directed by Ilan Cohen , who previously wowed us with a super- psychedelic world of bad sushi for Rone's "Acid Reflux," the video features the titular Voodoo making a break for it and forging his own fate down the storied streets of Kreuzberg and Tempelhof in pursuit of a four-legged former friend. Inspired by the narrative nature of the track itself, Cohen sought to "base a story with precise and honest stakes," and thus settled on a canine POV to give it "humor and emotion, providing a balance that is both heartbreaking (at the dog’s scale) and original (at our scale). " Continues Cohen , "My idea was to aim for a kind of embarrassed laugh: we wonder whether this story should be taken literally, before reaching a gap between substance and form even more pronounced, which clearly indicates the wink without never abandoning a sort of honesty in the look from a dog’s perspective. " Basically, save for the tactless dude in the headdress (our guess is that it's lost in translation), it's a perfect music video that will hit you in all the right places and make you bring an extra dog treat home for Fido. He really loves you and is glad you're single again, too. Watch "Vood(oo)" below: According to Rone's label, Infiné. "'Vood(oo)' is the extended live version of the opening track of Rone`s last album, Creatures , and the A-side of his latest EP , released in March 2016. " Click here to visit Ilan Cohen on Vimeo. Related: Trip Through Tokyo in Rone's Super-Psychedelic Music Video for "Acid Reflux" This Is How Mykki Blanco Does 'Romeo & Juliet' [Behind the Scenes] Colorful Octopus Eyes Open in Stop-Motion [Music Video] 2016-05-19 18:55 Emerson Rosenthal

30 30 qin feng unfolds experimental ink brush paintings across three sites in venice qin feng unfolds experimental ink brush paintings across three sites in venice venice architectural biennale waiting for qin feng installation views of paintings in the courtyard of the monastery of san giorgio maggiore in venice, italy all images by francesco allegretto a solo exhibition of work by chinese ink artist qin feng unfolds across three locations in venice from now until june 19, 2016. ‘waiting for qin feng’ is installed at the former monastery of san giorgio maggiore — now home to the fondazione giorgio cini; the armenian catholic monastery on san lazzaro island; and venice international university on san servolo island. presented in collaboration with the fondazione giorgio cini, the exhibition is curated by achille bonito oliva and ambassador umberto vattani, and coincides with the venice architectural biennale 2016. this edition’s theme ‘reporting from the front’ calls on architects to consider their role in improving living conditions — an idea echoed in qin feng’s exhibition, as it promotes cultural interaction and a greater understanding of our contemporary civilization through open dialogue. the solo exhibition of work unfolds across three locations in venice qin feng’s experimental ink brush paintings result in emotional and explosive images that seamlessly blend ancient chinese calligraphy with western abstract expressionism. with roots in two parts of the world — having lived and worked in germany and the united states — qin feng’s compositions and dramatic installations prove the continued relevance of traditional brush and ink as mediums, through an artistic language that remains respectful of ancient models. one of three sites of the exhibition is the former monastery of san giorgio maggiore the exhibition across venice is expressed as a dialogue between european renaissance and contemporary chinese art, manifested through performance, installation and digital media. these aspects include an on- site painting experience in front of paolo veronese’s ‘the wedding at cana'; an installation of traditional chinese jingdezhen porcelain and other objects at the armenian catholic monastery and venice international university; and a looped video depicting images of ancient hieroglyphic writings that slowly fade to abstract symbols. the exhibition is presented in collaboration with the fondazione giorgio cini qin feng hopes that the exhibition becomes a ‘silk road’ for promoting economic and cultural understanding. the northwestern vhinese city of xinjiang — qin feng’s home — was one of the stops on the ancient trail, and his keen awareness of the route’s role in connecting disparate cultures has had a significant influence on his creative work. the exhibition is expressed as a dialogue between renaissance and contemporary chinese art 2016-05-19 18:45 Nina Azzarello

31 Wolfgang Tillmans at Galerie Buchholz, Berlin Installation view of “Wolfgang Tillmans: Studio,” 2016. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “ Wolfgang Tillmans: Studio ” is on view at Galerie Buchholz in Berlin through Saturday, June 18. The solo exhibition, the artist’s 12th with the gallery, presents his views of his studio in the form of an inventory. Wolfgang Tillmans, Wet Room (Barnaby) , 2010. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE Wolfgang Tillmans, Wet Room, Gloves , 2010. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE Wolfgang Tillmans, Studio , 2012. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE Installation view of “Wolfgang Tillmans: Studio,” 2016. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE Installation view of “Wolfgang Tillmans: Studio,” 2016. COURTESY GALERIE BUCHHOLZ, BERLIN AND COLOGNE 2016-05-19 18:45 The Editors

32 Leslie Hewitt Trains Her Lens on Photography’s Charged History The questions posed by Hewitt’s artistic practice, which moves freely from still photography to sculpture and installation, cut any tie between linear narrative and photography to the quick. “I want to make the act of viewing less passive, to engage and question, to challenge and deconstruct our desire for a whole,” she explains. “My engagement with the photograph is one of antagonism and obsession.” Hewitt does not seek to “correct” the historical account, nor to provide a single counter-narrative. For viewers of Untitled (Structures) today, the allusion to each vignette’s historical counterpoint is nearly impossible to detect. Hewitt’s final image is far removed from any signifiers of time or place; clothing, when included, deliberately avoids trends, and buildings are so decrepit as to be stand-ins for postcard-like ruins. “In photojournalism, the photograph’s function as document, as evidence and testament, is crucial,” Hewitt clarifies. “I wish to put pressure here, to push back against nostalgia, to contend with a more complex system of fragmentation and intertextuality.” The images in Untitled (Structures) are not pedagogical puzzle pieces to be illuminated and fit together; as in all her work, she insists upon myriad perspectives. 2016-05-19 18:17 Sara Christoph

33 Dealer’s Notebook: Anke Kempkes Related Venues Broadway 1602 Artists Alina Szapocznikow George Segal Evelyne Axell Rosemarie Castoro Robert Whitman Age: 48 Hails from: Cologne Specialty: Avant-garde female artists from the 1960s and ‘70s First gallery show: “Exile: ‘New York Is a Good Hotel…,’” September 2005 2016-05-19 18:13 Art+Auction

34 CFDA and Swarovski Host Carnival Cocktail The CFDA awards may no longer be televised , but that doesn’t mean the awards show is without hype. Leading up to the ceremony, which will take place June 6, this time at Hammerstein Ballroom, the nominees for the Swarovski prize for emerging talent gathered Wednesday evening for libations in the lobby hallway of 100 Barclay in Manhattan to unveil their pennants created with the famed crystals. The nominees for the prizes are Brandon Maxwell, Ryan Roche and Monse’s Laura Kim and Fernando Garcia for women’s wear; John Elliott, Gypsy Sport’s Rio Uribe and Orley’s Alex, Matthew and Samantha Orley for men’s wear, and Gigi Burris, Paul Andrew and Brother Vellies’ Aurora James for accessories. The cocktail had a carnival theme, meaning the pennants were displayed spinning around a pinwheel at the end of the hall. “They’re varsity pennants, which led me to think about ‘Dazed and Confused,’ just sort of a trippy Seventies vibes,” James said of her pennant design. While some tried to downplay the crystal factor, James felt right at home working them into her pennant. “I wanted crystals and flowers,” she said. “I also have a lot of crystals in my house for energy. I have a lot from Africa. My mom is super into crystals, so I grew up with that. She always gives me a lot of crystals.” “In thinking about my brand and about creating a moment that felt really intuitively ‘Ryan Roche,’ I just immediately thought of texture,” Roche said. “I had this beautiful bundle of horse hair that my mom had bought me in New Mexico, and it’s been sitting in my office for two years, and it was just the perfect color [for the pennant]. It was just this really organic process.” “It has a flap that unveils the silver side — we had a pant in our collection for fall that had a silver sequin embroidered lining, so it’s an homage to that,” Garcia said. “And it has our logo inscribed on it in black, so it’s very subtle — as subtle as Swarovski can provide.” Burris was not only behind one of the pennants, but also created the headdresses worn by the likes of DJ May Kwok. “They both incorporate crystals and feathers, which is something that is very on brand for us,” she said. As for the upcoming awards showdown, the competitiveness seemed to be tame. “We’re all such a close-knit group of people, that I know it sounds so crazy but literally I’m going to be happy for anyone who wins,” James said. “Getting to know my fellow nominees, those moments are so amazing.” Roche echoed, “We all support each other so much.” 2016-05-19 18:04 Leigh Nordstrom

35 In the Studio: Dorothea Rockburne Related Venues Dominique Levy Artists Dorothea Rockburne John Cage John Chamberlain Cy Twombly Merce Cunningham Robert Rauschenberg Brice Marden Chuck Close Carroll Dunham Mel Kendrick Dorothea Rockburne, "Three Point Manifold," 2008 / Courtesy Dorothea Rockburne Studio People understand what I’m doing aesthetically, but the spatial concepts and inventions I’m working with are generally not recognized or therefore understood,” says Dorothea Rockburne as she shows me around the sprawling second-floor SoHo loft where she has lived and worked for the past four decades. “The imagined space, which we now understand in our souls, has radically changed since man walked on the moon and nasa began to record planets and cosmic phenomena. “We no longer experience Renaissance perspective in our everyday lives, yet much of the art being made today still uses either a grid or Cubist space as the underlying structure,” she says, holding up works on paper one by one in order to present them vertically, as she insists they must be viewed. “I’m interested in conceiving a new visual space—one that coordinates in a better way with our present understanding of the cosmos.” On a table next to the works is a blue notebook filled with mathematical equations completed in pencil. “I practice topological geometry in my painting and drawing,” she says. Rockburne, 83, is petite, but her presence is commanding. Energetic and cheerful with luminous blue eyes, she has a sense of urgency about her— and a fierce determination that has spurred her intellectual and creative life. Despite being a central figure in the New York art world since arriving in the city in 1955, Rockburne—described by her gallerist, Dorsey Waxter, as “an artist’s artist”—has never been a joiner or a follower. “She’s walked a line between being a very minimal artist and a very maximal artist,” Waxter says. Ever since her 1966 participation in an Experiments in Art and Technology outing at Leo Castelli, critics and curators have recognized the significance of her work—which includes everything from postcard-size pieces on paper to frescoes in materials ranging from crude oil to gold leaf. After Castelli came a spate of gallery shows in the early 1970s, culminating in her inclusion in “Eight Contemporary Artists” at the Museum of Modern Art in 1974. She has had two New York–area retrospectives this decade. Yet Rockburne’s presence among the great artists—and she has been surrounded by many since her early years—has been marked by an individuality and an uncompromising commitment to pursuing her practice on her own terms. She is unafraid to seek out greater understanding and representation of the cosmos, and her world is as much one of mathematics and distant art history as it is of such common postwar concerns as the investigation of materials, color, and abstract form. On a frigid winter day, Rockburne welcomes me into her space, immediately offering me a brandy to warm up. In the back area are her extensive archives, desks for her assistants, and the studio where she paints. Her sun-drenched drawing studio is in the front part of the loft, which includes a kitchen, an office, a sitting area, and large, lush plants. Following the guidance of her art teachers, Rockburne, who describes standard education for women at the time she was planning for her studies as “dreadful” and “sexist,” set off for Black Mountain College in North Carolina in 1950. “My escape from Montreal was very cloak-and-dagger,” she says, recalling the bank account her sister secretly helped her set up to save money, knowing their parents wouldn’t approve of her decision. On the train ride to Asheville, the 18-year-old artist spent a night in New York. It was enough time for her to decide she would live there one day. Within a year of arriving in New York from North Carolina, Rockburne divorced her husband, who had moved with other former students from the school to Rockland County, New York. “Going to live in the country sounded to me like a way to shelf the wife while you go screw around,” she says of her decision to stay in the city, becoming the sole caregiver of her daughter. Rockburne describes her early years in New York, living on Chambers Street: “There were no school buses, so I took my daughter on the subway up to the Dalton School every day, at 89th and Lexington. I went to a job waitressing and then picked her up, and I did things with her, like homework, or took her for visits and shopped and cooked—there was no food on Chambers Street, there was no Tribeca, it was a no-man’s-land— and then I read to my daughter and lay down with her to fall asleep from 9 or so until 10, and then I got up and painted all night.” Throughout the early 1960s, Rockburne experimented significantly outside the studio—dancing at the Judson Dance Theater and participating in Happenings. It wasn’t until 1970—15 years after she moved to New York— that the artist had her first solo show at the influential Bykert Gallery, which also represented Brice Marden and Chuck Close. By 1973, Rockburne had received a Guggenheim Fellowship and her work had been acquired by moma and the Guggenheim. It was also in the early ’70s that the painter Carroll Dunham came to New York and was set up by his professor to work as a studio assistant to Rockburne (who worked with many young artists, including Mel Kendrick and, briefly, Robert Storr). “Working with Dorothea was hugely formative for me. It was my introduction to what the life of an artist is like on a day-to-day basis both socially and intellectually,” Dunham recalls. “She taught me how to work. She taught me what it’s like to organize a room and have your act together when you’re by yourself, which is hard.” Because Rockburne was working alongside the Minimalists and employed a similarly experimental approach to material—and she has the ability to see varying depths of color where others see only black or white—she is often grouped among these artists. Yet her work is distinct in several ways. “Dorothea’s work really speaks to the interest in drawing, process, and nontraditional materials that the artists from her generation were working with, but it has a real element of her hand,” explains Esther Adler, co-curator of “Drawing Which Makes Itself,” Rockburne’s 2013 moma exhibition. “She came from a very traditional arts upbringing and she considers herself a painter, and that touch of the hand and an incredible commitment to craft really comes through.” Further distinguishing Rockburne from both the Expressionists and the Minimalists is the convergence, within her practice, of astronomy, mathematics, and painting. Her employment of set theory and the Golden Mean, combined with her studies of topology and the cosmos, make her more akin to ancient Greek or Renaissance artists than to her peers. Rockburne’s frames of reference are extensive, transcending the contemporary art historical context; she frequently mentions thinkers like Plato, Euclid, Isaac Newton, Blaise Pascal, and David Hilbert. While in residence at the American Academy in Rome in 1985, she made a trip to view Galileo’s papers in the Vatican. In the studio, Rockburne has looked especially to Piero della Francesca and Mannerist artists as well as to the art of ancient Egypt and to early Byzantine depictions of space. Rockburne, however, is committed to seeing the paintings preserved in perpetuity. Alicia Longwell, curator of the artist’s 2011 retrospective at the Parrish Art Museum recalls: “The impossible has never stopped Dorothea.” 2016-05-19 17:59 Sara Roffino

36 Onia Partners With We Wore What Blogger Danielle Bernstein More Articles By Nathan Romano, Onia’s cofounder, said he’s gotten to know Bernstein during summers in the Hamptons, and the idea for this collection originated a year ago. This is the first time the New York-based resort brand has designed a line with a blogger. “This is totally new,” said Romano. “I haven’t seen anybody else do something in this realm, so I’m excited to see what kind of dent we make in the market with an Instagram influencer.” According to Romano, the collection is edgier than Onia’s swimwear, but like the brand’s core line it’s made from Italian fabrics. The capsule includes a lace- up one-piece and a two- piece suit with high-waisted bottoms that also feature lace-up details. The line comes in neutral colors — black, white and beige — and ranges from $80 for tops to $195 for the one-piece. The swimwear is available at Onia.com and will be sold in Intermix stores starting in June. Bernstein, who has 1.4 million followers on Instagram, said Onia is one of her favorite swimwear brands, adding that, “The pieces I designed were a true nod to my personal style.” Onia, which launched in 2009, recently collaborated with Theory on a capsule men’s collection and launched loungewear for men. The brand introduced women’s swimwear in 2015. 2016-05-19 17:59 Aria Hughes

37 Holt Renfrew Teams With Kenzo on Capsule Range for Charity More Articles By The Canadian retailer and the label have created a metallic blue wallet and pouch, costing $130 and $195, respectively, and $25 from each sale will benefit Blue Marine Foundation (BLUE) by Holt Renfrew. The items will be available for purchase at Holt Renfrew stores and the retailer’s web site on World’s Ocean Day, June 8. Blue Marine Foundation aims to protect the ocean, and its ambassadors include sisters Poppy and Cara Delevingne. Kenzo creative directors Carol Lim and Humberto Leon have joined with the Blue Marine Foundation in the past, designing scarves, sweatshirts, jackets and an iPhone case to benefit the charity. “When we heard that Holt Renfrew wanted to partner with Kenzo on their charitable giving project for 2016, we jumped at the opportunity to introduce Canada to the work of the Blue Marine Foundation,” said Lim and Leon in a statement. “We have been working with this incredible organization for over three years and are extremely proud to sponsor such a hardworking team of people. We love the ocean, and in donating to BLUE, we are assisting global efforts to reduce overfishing and protect 72 percent of the earth’s surface. For the project we decided to create an exclusive pouch and wallet with Kenzo’s flying logo in a specially conceived Blue Marine blue. In buying this product, we hope our Canadian friends will join our cause to help the plight currently affecting our oceans.” 2016-05-19 17:58 Lorelei Marfil

38 Chanel Sets ‘Culture’ Exhibition in Venice More Articles By This seventh chapter of the showcase, which will run from Sept. 17 to Jan. 8, focuses on the designer’s relationships to books and reading. “From Greek authors to modern poets, Gabrielle Chanel ’s abundant library reveals the works that left an impression on her life and shaped her personality,” Chanel stated. The Culture Chanel exhibitions are conceived and curated by Jean-Louis Froment. The cycle began in Moscow’s Pushkin State Museum of Fine Arts in 2007, and subsequent editions were held in cities including Shanghai, Beijing, Guangzhou, Paris and Seoul. “The relationships Mademoiselle Chanel maintained throughout her life with some of the greatest creative minds of her time were crucial. Her friendships, conversations and exchanges went on to provide sustenance for her thoughts and her own creations,” the house continued. “Thus, each successive exhibition sheds under a new light what constitutes the foundation of a language that is universal today. It is this formal vocabulary that has forged the style of Chanel.” 2016-05-19 17:57 Jennifer Weil

39 3D-Printed Hair Can Sense and Spark Motion Images courtesy MIT Media Lab's Tangible Media Group Researchers at MIT Media Lab's Tangible Media Group have sprouted 3D prints of intricate hair patterns inspired by the natural world. "Lots of animals and plants have hair structures for functions like adhesion, locomotion, sensing, self- cleaning, camouflage, thermal regulation, etc.," lists Jifei Ou , the lead on the project. "On the other hand, new fabrication processes, such as 3D printing, allow us to create structures that we couldn't easily make before. So I wanted to explore how 3D printing can create those types of intricate structures, which enable surprising and dynamic material properties. " The project, entitled Cilllia ( cilia means eyelashes in Latin; it’s also a fuzzy-looking sensory organelle ), took about eight months to complete and was recently unveiled at the CHI conference in San Jose. A crucial step in obtaining the hair structures, which are generated at 50 micrometer resolution—which is to say 50 thousandths of a millimeter, which is to say really tiny —was bypassing the need for traditional 3D modeling in CAD software. Instead, the team created a bitmap-generating program that directly creates 3D printer readable files. “Hair structure takes an insanely long time to be processed in CAD software, due to its large quantity of surfaces, and creates a super large file that could easily crash any standard slicing program,” explains Ou. “Using the software we built for Cilllia, we directly specify hair’s geometry by arranging the voxels and directly generate bitmaps for the printer.” Which brings us to our next question: What, exactly, are voxels? Think pixels, but in 3D. Arranging and rearranging the voxels allows you to create variations in the height, thickness, and angle of each hair. These, in turn, lend the hairy objects their unique properties, whether it’s sensing touch or setting objects into motion. For example, by attaching a vibration source underneath a bed of 3D printed hair, objects can move along a path you design, or different objects can be sorted according to weight—one moves at a certain frequency and falls off the bed of hair, while another stays put. This kind of “actuation mechanism” could be used to sort tiny pieces in a factory or pills in a pharmacy, mentions Ou. The list of potential applications is seemingly endless. “For starters, this can be used for fashion design, to create synthetic fur for garments, or accessories with computationally controllable geometry,” cites the PhD student. In a short video presenting the project, a small windmill starts turning as soon as it senses the vibrations coming from a phone, two hairy objects latch on to one another like velcro, and a small bed of hair manages to sense the speed of your finger’s stroke. If this all seems a little too abstract, watch the video, below: Cilllia - 3D Printed Hair Structures for Surface Texture, Actuation and Sensing from Tangible Media Group on Vimeo. The Tangible Media Group’s vision is to marry bits and atoms—in other words, to bring digital information into the physical world. Ou’s overall vision for Cilllia is in line with this mission. “Beyond the technical invention, we hope people will be inspired by our vision of creating new materials with computationally controllable properties and behavior—and how this could change the way we design the physical world,” he concludes. Learn more about Cilllia here. For technical details, you can leaf through the academic paper. Related: MIT's Kinetic Tabletop Is A Huge Step Towards Retail Shape-Shifting Furniture MIT's Silk Pavilion Explores Digital and Biological Computing With Silkworms [Premiere] MIT Made a Chair That Builds Itself 2016-05-19 17:55 Noémie Jennifer

40 Comme des Garçons, Dover Street Market Elevate the Sample Sale More Articles By Sample sales. For savvy shoppers, they’re hot tickets. Those in-the-know — and even those not — have probably been to a few, especially if they live in New York City. These highly anticipated events, which labels conduct semiannually to unload the previous season’s samples and excess stock, are routinely held in industrial warehouses. And though the deep discounts off retail can be rewarding, the experience can leave much to be desired. Hours- long lines around the block to gain entrance are not uncommon. Shoppers might try on clothes in makeshift changing areas — or often, in plain sight — elbowing each other for that last blouse or the only remaining pair of size 7 heels. It’s not exactly sexy — or fun. Not so in the hands of Comme des Garçons and Dover Street Market , who’ve teamed up to create, in the words of a flier sent to press, “an epic sale of mammoth proportions” opening this Friday to the public. Dubbed Super-Market-Market, the four-day event, themed like a luxurious supermarket sweep, will take place at SoHo’s Skylight Clarkson Square, which fashion insiders will recognize as one of the newer venues of New York Fashion Week. And while Comme des Garçons’ rare sample sales have always been the stuff of legend — about 4,000 shoppers turned out for the second one, held in May of 2013 at 127 West 30th Street, according to James Gilchrist, general manager of Comme des Garçons USA and Dover Street Market New York — the third and latest installment will be much different. It will be bigger than ever, covering all 23,000 square feet of Skylight Clarkson Square, and Comme des Garçons merchandise will be offered alongside other designer labels from Dover Street Market for the first time. “This is the first time ever that Dover Street Market and Comme des Garçons have joined forces on a Market-Market sale, so it was natural for the scale of it to be bigger, and as a result the whole thing became a slightly bigger project,” Gilchrist said. And then there are the visuals. A far cry from your run-of-the-mill presentation with a few racks and mirrors, the Super-Market-Market is more akin to an epic gallery opening, featuring art installations throughout, from black monster sculptures to prints by photographer Roger Ballen. Two giant gold cherubs — or kewpie dolls — greet shoppers at the entrance. Further inside, near the men’s wear, an artful stack of shopping carts filled with Pharrell Williams’ unisex Girl fragrance serves as the centerpiece of the room. “It’s a mix of repurposed DSMNY and CDGNY installations, props and displays along with some newly created ones, made specifically for Super-Market-Market by our visuals team,” Gilchrist said. Artist Baron Von Fancy created the sale’s signage. The atmospheric event will feature playlists by Calx Vive as well as live DJ sets from Minimal Wave, Slava, Katie Sullivan and Mike Q. Aaron Bondaroff’s Know-Wave Radio will broadcast live from the event on Sunday from 2 to 6 p.m., and coffee, cold drinks and cookies from Rose Bakery should serve to energize the eager crowds. All of it certainly elevates experiential retail to new heights. “We always strive to give our customers a special shopping experience,” Gilchrist said. “It is our goal to give them a reason to make the journey to one of our stores or events. And we apply this same thinking to the sample sale…I think our clients totally expect this and the more we do, the greater the expectation becomes.” Production on the project was led by Comme des Garçons’ New York- based visual and operations teams. “Like our biannual New Beginning, this is one of the special moments that our entire team comes together. All staff from the CDGNY and DSMNY offices and stores pitched in and collaborated to make Market-Market happen; without this huge team effort it would not be possible,” Gilchrist said. Rei Kawakubo was also involved in the event from its conception. “She approved the venue and the theme and then gave feedback on the space design that was presented by our visual team,” he said. The Super-Market-Market sale will run from Friday, May 20, from 10 a.m. to 7 p.m.; Saturday, May 21, from 10 a.m. to 8 p.m.; Sunday, May 22, from 12 p.m. to 7 p.m., and Monday, May 23, from 10 a.m. to 3 p.m. at 550 Washington Street. Diehard collectors will likely turn up for it in droves; Gilchrist noted that shoppers from all over the U. S. flew out to New York for Comme des Garçons’ past two sales. 2016-05-19 17:54 Kristi Garced

41 The Best Pins in the World: #16 As the founder of Strike Gently Co , I deal in pins and patches on a daily basis. The Creators Project asked me to pull together a weekly roundup of the best newly-released pins. Most of these will probably sell out. If you like them, smash that “add to cart” button. Every Wednesday, you can head to the bottom of this article for an exclusive discount code so you can keep your pin game sharp. It was another great week, with plenty of excellent releases, as you’ll soon see. On top of that, Pin Trill opened their flagship store in New York. I visited it, expecting a dinky hole-in-the-wall fashioned after a trashy Bushwick art gallery. What I found was the opposite; a giant space that looked like a legit Chelsea gallery filled with both Pin Trill’s signature collection and a vast collection of pins from every era. We should all be grateful for what they’re doing; opening a storefront like that legitimizes what I initially perceived was a weird internet trend. Pins are here to stay. Find a special 20% discount code to my shop, Strike Gently Co , at the end of this post. Buying products from a company called Kawaii Kollective is somewhat out of my element, but look at this Japanese soda pin. This one has sentimental relevance for me. Every year, my Jewish parents would bring us to Hibachi on Christmas Eve and my sister and I would get these sodas. I will gladly wear this one around. Thank you, Kawaii Kollective. $10 here . While we’re on the topic of childhood nostalgia, check out this Cosmic Brownie pin from Brace Legs Collective. Besides the fact that they are willing to heroically brave a possible cease and desist from Little Debbie herself, this pin just looks fresh down to the sprinkles. Maybe you’re on a diet, but you can still rep the crown jewel of lunchbox desserts— here’s your opportunity. $10 here . Pin Museum consistently churns out pins representing all of the most popular works of contemporary art. While I would, out of principle, never wear the Damien Hirst shark pin around, I’ll gladly rock this Warhol Double Elvis. You could buy a real Double Elvis at auction for a cool $81.9 million (pocket change for you city slickers!!!) or buy this pin for the price of a Williamsburg sandwich. If anyone has any ideas for how to make $81.9 million that don’t involve hedge funds or war profiteering, slide on into my DMs. $10 here . I particularly like one of the comments on this one: “Literally every pin has something to do with the Simpsons.” It’s true. I abhor the weird underground comic culture that’s obsessed with things like cheeseburgers, the Simpsons, obscure 80s horror movies, mom’s basement, etc. This is probably one of three Simpsons pins I actually like. The ol’ Ball and Chain. It’s also technically elaborate as far as pin creations go, so you’re getting more bang for your buck. Stuff like this costs a fortune to manufacture. £6.00 here . This might be my favorite pin—ever. It combines the nuanced pop cultural sensibilities of 90’s teen-hood (something we can all get down with) with simple wordplay, good colors, chemistry, and general coolness. Suspect LTD is a fixture in the pin game. They don’t release a ton of designs but whenever they do, they make me wish I had come up with the idea first. Check out the rest of the products in their shop; a lot of them are individually fantastic works of art. $8.99 here . Thanks for reading. Use the code SPRING this week on my site, Strike Gently Co , for 20% off your order. Related: The Best Pins in the World: #15 Pins of the Week: #14 Pins of the Week: Lucky #13 2016-05-19 16:45 Charlie Ambler

42 zemi aria featuring ron arad design founded by francesco pellisari, zemi audio combines italian themes and artisan construction with acoustic and technical prowness. the company’s debut product is the spherical-shaped zemi ’aria’ speaker. featuring apple’s ‘airplay’ connectivity and bluetooth technology for a wireless experience, it gives music lovers high quality sound in a distinctively formed design. francesco pellisari under the tutelage of hi-fi engineer roy allison, devoted his life to creating the speaker, focusing on high-gloss finishes and premium audio components. ron arad’s grille adds a finishing touch that covers two silk dome tweeters, a single bass and three powerful 125W amplifiers. produced in a neutral color palette, the zemi ‘aira’ speaker reproduces the listening experience that musicians and recording studios intended. 2016-05-19 16:35 Piotr Boruslawski

43 Meet the Faces Behind Street Art's Tropical Getaway Mural by Edwin Ursho, courtesy Jasper Wong Dozens of artists from all over the world flock to the gorgeous destination of Hawaii annually, for a street art festival called POW! WOW! Hawaii. Massive, fantastical murals, flashy writing, and miniature sculptures have sprouted all over Honolulu over the past six years, thanks to POW! WOW! founder Jasper Wong. He does all sorts of financial jiu jitsu to make POW! WOW! a place where artists can paint what they want, without fear of meddling brands or money problems. "I would hate to go into a festival where they say, ‘We’re sponsored by McDonalds, so you’ve got to put some McDonald’s-themed stuff in your mural,’” he tells The Creators Project. “That would be horrible. We never want that to happen ever. " The festival has grown exponentially since its inception in 2011, which consisted of 12 artists painting canvases in the back of a cafe. Now over 60 artists, including Slinkachu, 1010, and HULA, participate in POW! WOW! festivals in four different countries. We covered the festival in-depth, dissecting the gentrification problem facing Honolulu's street art community and showcasing the major artworks left behind in POW! WOW!'s wake, but now you can meet the artist behind the paint. In the official POW! WOW! video below, you'll hear from master of miniatures, Slinkachu; LA artist Christina Angelina; local legend Kaplan Bunce; and fearless leader Jasper Wong himself. Plus, you'll enjoy a medly of murals and sculptures being made on one of the most beautiful urban canvases on the planet. Learn more about POW! WOW! on the official website . Related: Interdimensional Portals and Miniature Murals Invade Honolulu Honolulu's 'Graffitification' Problem Can't Stop the POW! WOW! Art Festival Street Murals Conquer Austin at SXSW [Photos] 2016-05-19 16:05 Beckett Mufson

44 Philipp Kaiser Will Curate First Show at Marciano Foundation’s L. A. Museum, Opening Date Uncertain [Updated] The Scottish Rite Masonic Temple, which will be home to the museum. LARRY UNDERHILL/LOS ANGELES CONSERVANCY Yesterday, curator Philipp Kaiser and a source close to the Maurice and Paul Marciano Art Foundation said that the organization would open its hotly anticipated private museum in Los Angeles in mid-November. Kaiser, a former senior curator at the Museum of Contemporary Art L. A. and curator of the 2017 Swiss Pavilion at the Venice Biennale, has been chosen to curate the museum’s inaugural exhibition of works from the Marciano collection. This afternoon, Dan Tanzilli, an independent publicist working with the museum, said that Kaiser did not have the correct information, and said, definitively, that the museum will not open until sometime after November. By telephone, the foundation’s press rep, Jamie Goldblatt, said, “We haven’t made a decision. We don’t feel comfortable doing that.” From conversations with the spokespeople, it sounds like late 2016 or early 2017 is likely. The museum will open in a 100,000-square-foot former Scottish Rite Masonic temple on Wilshire Boulevard, which the brothers purchased for $8 million in 2013. The building, currently undergoing renovations by Venice, California-based architects wHY, is slated for completion ahead of the inaugural exhibition, according to a representative of the firm, and from conversations with the publicists, it sounds like that is on track for September.“The place is huge,” said Kaiser, “like twice as big as MOCA.” Update, 5:30 p.m.: Information provided by publicists for the museum was added. Andrew Russeth contributed reporting. 2016-05-19 15:40 Janelle Zara

45 Anime, NeoWave, and Adventure Meet in the Art of Oska A lone figure stares down a mega-structure in “Reality Check”. All photos and artwork by and courtesy of Oska/Gabriel Levesque A faceless giant stares down at a small figure, a hooded shade hovers in the forest, and a thousand pathways peel off into space. Conjuring images reminiscent of everything from Dalí to Tron to Blade Runner to Myst , the work of Gabriel Levesque (better known as Oska ) combines surrealism and neo- futurism with a dash of anime. Making original creative works and album art commissions for musicians, Oska pushes clean design and simplicity into the sometimes “maxed-out” world of neon sci-fi NeoWave. The Instagram darling gave The Creators Project a window into his influences, the creative process, inspiration, and creating small scenarios to help motivate the work. Geometric structures dominate this artcover for Haywyre’s 'Endlessly' Oska attempts to create “worlds in which I'd personally love to go and explore. That is also why in most cases I will include a contemplative silhouette; like putting myself (or the viewer) inside the landscapes.” He uses a multi-medium approach to making art, starting, “by making a very rough sketch of the composition, and depending on the project, I might jump in Cinema4D [3D rendering program] to create a base for my illustrations. But most of the time I work directly in Photoshop, where I'll start by drawing the main shapes and gradually add details to them.” “... I will include a contemplative silhouette; like putting myself (or the viewer) inside the landscapes,” says Oska, as exemplified in this piece, Discovery Though viewers can trace all sorts of visual references, Oska’s most inspired by the work of Kilian Eng. “I'm a huge fan of his work, and the ‘atmosphere’ he sets in his artworks is just sublime and enchanting. I feel like what really influences my ideas the most is space and our mind/consciousness. We know so little about them, I think that's why I'm naturally drawn towards those themes in my work; I want to find my own answers to the questions they offer us, such as ‘who are we?’ and ‘why are we here?’ for example. I find those questions to be incredibly inspiring.” A figure seems lost in this artcover for UZUAZO’s “You Should Know This” There’s also a narrative quality to the pieces Oska produces. From characters standing at the precipice of a sprawling mega-city to a journeyman in a molten landscape , the pieces seem to ooze story. “I create small scenarios in my mind every time I work on a piece,” the artist explains. “Nothing too extreme, but it helps me come up with ideas. I also really hope that my work can evoke stories in the viewer’s mind, I personally love those pieces that can pull that off and take you on an adventure.” Follow along with Oska’s adventure via Instagram. Find your next favorite artist on The Creators Project's Instagram feed. Related: NeoWave Posters Resurrect Psychedelic Space Art Trip to 'Epsilon,' a Sci-Fi Base Station on an Alien Planet Futuristic 3D Love and the Museum of Virtual Art 2016-05-19 15:30 Giaco Furino

46 Damien Hirst Defends Money's Place in Art Damien Hirst equated money to "love and death" insisting that it is "something you need to respect," and that "you can't make art without somehow taking it on board. " Speaking to the BBC in a joint interview with Jeff Koons ahead of the American artist's exhibition at Hirst's Newport Street Gallery , in Vauxhall, south London, the bad boy of British art addressed a question on whether money obscured artistic creation. “I think a lot of people think that artists need to be poor, or that you can't have a focus on money," he said. “When I did my auction, when I made all that money, it changed everything for me and it was made in such a short period of time. " He added “I think money is a huge part of our lives. I've always thought it's as important as love, or death, or something to come to terms with, something to understand. It's a key and it's something you need to respect. " As Hirst spoke, the camera showed Koons looking on understandingly. Hirst insisted, “I definitely don't think it [money] should be considered a dirty word. And I think Andy Warhol made it okay for artists to deal with money. I think once that happen that you can't make art without somehow taking it on board. " One of the first artists to cut out the gallery—the traditional middleman— Hirst consigned 223 of his own works to Sotheby's in 2008. According to the New York Times , the two day auction grossed $200.7 million, setting a new record for a single-artist auction, surpassing Pablo Picasso 's 88 work sale in 1993, which netted $20 million. With his considerable wealth, Hirst is currently building massive underground expansion to his $61 million north London mansion that will include a subterranean swimming pool . Meanwhile, Koons has a somewhat duplicitous relationship to cash. Describing his "Luxury and Degradation" series (1986) in an interview ahead of his 2015 exhibition at Vienna's Natural History museum, he said "I tried to show people they should learn to preserve their political and economic power rather than strive for luxury. " However, in the same interview he added "Sometimes I take a helicopter to travel to my farm, but I don't live a luxurious lifestyle. " "Jeff Koons: Now" is on view at Newport Street Gallery, London From May 18 – October 16. Follow artnet News on Facebook. 2016-05-19 15:26 Henri Neuendorf

47 Dan Fox’s Pretentiousness: Why It Matters Nobody likes a pretentious ass, you might think. But in his new book Pretentiousness: Why It Matters , published by Coffee House Press and Fitzcarraldo Editions, Dan Fox argues that pomposity and conceit grease the wheels of innovation in music and art, and give us a tool with which to imagine ourselves differently. Pretentiousness: Why It Matters Fox starts from a comparison between the etymology of the word “pretentiousness” — from the Latin prae , meaning “before,” and tendere , “to extend” — and ancient Greek actors, who would hold a mask before their face, playing someone else. Pretending is a useful thing to do; when we’re young that’s how we learn. It is also valuable as we get older and find ourselves in situations in which we might need to try and “fit in.” Sometimes, however, “faking it” doesn’t work or backfires — think of the ire felt when we learn we’ve been had by a con artist, or when someone turns out to be an impostor. Telling someone they are or are not behaving, dressing or talking like they should is a way to monitor and control that behavior, dress and so on. Fox argues that calling someone out for pretending is an “informal tool for class surveillance,” but part of the reason we react so strongly to false pretense is because so much can be gained from it. If you get away with a con or an act, no one will care how you obtained your reward. This is also why it is so important in music and art; if the audience likes what they see or hear then it doesn’t matter whether you’re just putting it on for show. If it works, the act is vindicated. Pretentiousness is, then, a way for artists to push boundaries, to break free from standard institutional molds. So despite the possible artificiality or ploy inherent in pretentiousness, it is important because it is “permission for the imagination.” It allows us to “find out what it would be like to be otherwise.” More than being part of an “acceptable creative act,” for Fox pretentiousness is integral as an engine of self-creation — and we should all be more forgiving of it, at least sometimes. by Aaron Bogart 2016-05-19 15:23 www.flashartonline

48 When Morley Safer Visited Art Basel Legendary journalist Morley Safer, a longtime “60 Minutes" correspondent, has died at 84. He had announced his retirement just last week, said his employer, CBS, in an obituary , pointing out that his was the longest run of anyone on prime-time television in the US. He became known in 1966, when he broadcast footage on CBS News of American soldiers burning the homes of Vietnamese villagers. But in 2012, he branded “Yes … But is it Art? " , a segment from nearly twenty years before, one of the program's most controversial because of its dismissive view of contemporary art. It highlighted works by heavyweights such as Robert Gober , Jeff Koons , and Christopher Wool. Safer points out in the 2012 episode that many viewers branded him a philistine after the original show aired. The segment would inspire Dave Hickey's essay “Frivolity and Unctuousness," included in his Air Guitar: Essays on Art & Democracy. Since “But … is it Art? " aired, Safer pointed out in 2012, “Contemporary art has become a global commodity, just like oil or soybeans or pork bellies, and there seems to be no shortage of people wanting to speculate in it. " To illustrate that, Safer, undaunted by past criticism, goes to Art Basel Miami Beach to point out the profligate spending and partying, and to epater le bourgeois. “You can't tell the exhibitionists from the exhibitions," quips Morley as art-fair fixtures Eva and Adele stroll by. “The art market sizzles while the stock market fizzles," he adds, saying that the art can be characterized as “kitsch, cute, clumsy, and incomprehensible. " Looking at a work by Do Ho Suh that replicates a bathroom fixture from his apartment in cloth, Safer rhetorically asks, “Does that toilet seat raise our spirits, or is it directing us to the men's room? " He then wonders, “Is this the biggest scam since Hans Christian Anderson trotted out the emperor's new clothes? " Along with a few key graphs from from artnet's Auction Price Database , many art worlders make cameos. Eli Broad exults in his purchase of a drawing by Kara Walker , whom even Safer describes as “a truly gifted young American artist. " Collectors like Maria Baibakova stroll the aisles cheek by jowl with the likes of Guggenheim Museum curator Alexandra Munroe. Safer isn't seduced by all the spending, pointing out, after listening to Munroe talk about art, that “Artspeak can seem as opaque as spilled alphabet soup. " Jeffrey Deitch, then director of the Los Angeles Museum of Contemporary Art, takes Safer to task for his old video, suggesting that that the art market has proven him wrong. Conceding the point, Safer points out that in any event, the collectors can enjoy the works they buy, which are “easier to look at than pork bellies. " “Or," he quips as Nick Cave 's Soundsuits appear on screen, “maybe not. " Follow artnet News on Facebook. 2016-05-19 15:01 Brian Boucher

49 Nude Dudes and Swimming Pools: Inside the David Hockney Documentary David Hockney. Images courtesy Film Movement “Why are you popular?” an interviewer asks the artist David Hockney in an old clip. “I’m not that sure, really,” Hockney sheepishly replies. “I’m interested in ways of looking, because people will respond. Everybody does look. It’s just a question of how hard.” Hockney’s knack for filtering the real world through canvas made him a titan of 20th century British art. In Los Angeles in the ‘60s and ‘70s, photos he snapped of friends lounging poolside and sunlight glistening on turquoise water inspired his most famous paintings: bold, saturated pictures that evoke a perpetually sunny and 70-degree paradise. A biographical documentary directed by Randall Wright turns the camera on Hockney himself, who is 78 and still going strong making art on iPads (amongst other mediums). Stitched from television appearances, home videos, interviews with friends, and present-day footage, the film pairs sun- drenched footage of Beverly Hills with iconic Hockney works. “We wanted to reflect some of the aesthetics in the art but not allow cinematography to take over from the pictures themselves,” Wright tells The Creators Project. Showcasing his work also demonstrates the sheer diversity of Hockney’s oeuvre, weaving a portrait of a true virtuoso. “It’s so easy to make a picture if you have that level of talent,” Wright says. “And I think David is naturally curious and questioning, and he’s interested in all sorts of ways it’s possible to depict something.” Beverly Hills Housewife, 1966 Hockney’s evolving techniques mirror a relentless exploration of his own identity. Growing up in England, his parents told him not to worry what the neighbors thought, and he never lost that spirit of unabashed self- expression. When Hockney moved to LA in the 60s, he dyed his hair platinum blonde and cultivated a reputation as an opinionated, unfiltered spokesperson for new approaches to art, life, and the emergent openness about gay life. “David was one of the very first people who made frank pictures of his identity as a gay man at a time, initially, when homosexual acts were still illegal. So he absolutely was a pioneer and a public face of gay life,” Wright says. “At the same time, he’s very rigorous about not wanting to be seen as a gay artist, because that is fraught with prejudice. An artist is an artist. An artist is a person. And a gay person is a person first. We shouldn’t always define someone by their sexuality.” Wright strives to preserve that mutability in Hockney . “Documentary often aims to pin someone down and define their achievements, and that’s sort of silly,” he says. “The thing about a person, a person’s a mystery. I tried to present all the sides of David and the various things going on in his art.” And though much of his California-centric art focuses on beautiful bodies and tranquil scenes, the documentary and Hockney’s work both touch on somber subjects, namely the AIDS epidemic that claimed the lives of two- thirds of Hockney’s friend group. Both the man and the movie are buoyant, however, and Hockney is a love letter to the artist’s indestructible spirit. “I’m fascinated by artists whose work is optimistic. I think skepticism or cynicism is actually a much easier way of commenting on the experience of life,” Wright says. “People like David are very, very rare. There are few artists who have that profound joy in the act of seeing, the act of being alive and making fresh discoveries.” A Bigger Splash, 1967 David Hockney painting Woldgate Before Kilham, 2007. Photographed by Jean-Pierre Gonçalves David Hockney Self Portrait with Red Braces, 2003 Hockney is in limited release at select movie theaters, like the Film Society of Lincoln Center in New York, and available on iTunes. For more information about the documentary, click here. Related: Our 11 Favorite Works from the Dallas Art Fair [Premiere] Watch 'Artistry/Technology' a Documentary with MIA, Frank Gehry, Miranda July, and More The Exclusive Story Behind Warhol & Basquiat's Boxing Photos 2016-05-19 14:40 Kara Weisenstein

50 Surrender to a Digital Archive of Physical Junk The Spice Girls branded Spice Cam instant film camera by Polaroid, circa 1997. Photo courtesy of Thngs. Today every tweet is archived, every Facebook selfie stashed and cached, every arts/tech/culture blog mirrored, and the idea of the permanence of data is taken for granted. But things like physical objects aren’t permanent. They break down, melt, or are tossed in the trash, and could potentially disappear from public consciousness forever, leaving behind but a foggy memory. Thngs , a digital database for the preservation of physical objects, wants to change that. Billing itself as “A place for everything,” this new system allows users to interact with objects old and new, whether they be a bust of Emperor Vitellius from the 1800s, or the Spice Girls-branded Polaroid Spice Cam from 1997. The Oliver 4 typewriter, produced in Chicago in 1900 with foreign language keys for foreign markets. Photo copyright Moscow Polytechnic Museum. Photo courtesy of Thngs. Thngs co-founder Dima Dewinn comes from a background in social design and architecture, but quickly became interested in the preservation of physical items. Calling in from Moscow, Dewinn explains, “We were learning for a long time about the philosophy of the preservation of an entity. About all the things that we are surrounding ourselves with. All the things that we adore, we don’t know much about them because there’s no such thing as a Wikipedia of things.” So Dewinn set out “to make a tool that would preserve and structurize data of the material world. And we wanted to make it sexy.” Prototype for the iPhone 4, circa 2009, featuring a touch screen taped to a motherboard. Photo courtesy of Thngs. And sexy for the data- and ephemera-minded, Thngs certainly is. “A variety of things can be structured by common characteristics, like typology, trademark, date, location, and so on,” says Dewinn. Take for example this sorting of posters. “We wanted to make a service, a place for everything. A place where museums or manufacturers can spread knowledge about things that they contain or produce. And then people can discover things, collect them in their online storage, and discuss them.” And though, in the future, Thngs users can order items they see, and download and 3D print items, Dewinn is clear that Thngs isn’t meant to be a storefront. The Kometa MG-201 M soviet tape recorder from 1968, copyright the Moscow Design Museum. Photo courtesy of Thngs “We are more interested in creating the infrastructure for communication of people and the material world. We want to be a place where people make a choice. They make a choice of which things are interesting for them. Which ones they want to get as a physical thing and own it or you just want to save this page in your Thngs collection. We don’t want to become a shop, we want to become a service.” The Titan II “LTD Pack” sneaker by Diadora, 2014. Photo courtesy of Thngs. The process for creating an entry is fairly simple, but strictly defined, “We make six to eight shots from different angles, and they are geometrically correct, if you’re talking about perspective. We make 360 views where you can rotate the object on your screen.” By creating a baseline approach to the cataloging of things, users will contribute to the process, and this massive collection of material goods will continue to grow. Learn more on the Thngs site . Related: This "Instrument" Turns Your Junk Into Dubstep Music 10000 Film Clips Now Available for Free in a Public Domain Database Find Your Lost Things In Augmented Reality—Using Brainwaves 2016-05-19 14:35 Giaco Furino

51 Pyotr Pavlensky Found Guilty, But Avoids Jail Despite being found guilty of vandalism by a Moscow court, the controversial Russian performance artist Pyotr Pavlensky has dodged a prison sentence. The charges relate to his controversial Freedom (2014) performance, during which the artist set alight tires on a Saint Petersburg Bridge in protest against Russia's occupation of Crimea. The artist will remain in custody to face vandalism charges relating to a separate anti-government performance in which he set fire to the door of the Russian intelligence service headquarters. The artist—known for his extreme and deeply political performances—was originally sentenced to one year and four months behind bars, but avoided serving the sentence because the statute of limitations for criminal responsibility relating the case had expired, according to the Moscow Times. During the trial, the artist reportedly sat in silence and refused to answer questions because the court dismissed his demand to classify his performances as acts of terrorism. Referring to his he ruling notes the artist's participation "in a group that violated ethical and moral norms. " The 32-year-old artist has previously made headlines for cutting off a part of his ear with a kitchen knife while naked , sewing his own mouth shut, nailing his scrotum to the cobblestones of Moscow's Red Square, and making his interrogator flip. Most recently, he claimed to have been assaulted by prison guards whilst being held captive ahead of his trial. Follow artnet News on Facebook. 2016-05-19 14:34 Henri Neuendorf

52 Short Film 'Hyper-Reality' Imagines an Oversaturated AR Future GIF by Keiichi Matsuda Six years ago filmmaker, designer, and artist Keiichi Matsuda made two films— Augmented (hyper)Reality: Domestic Robocop and Augmented City 3D — that each explore our technologically enhanced future. Rather than simply trying to imagine exactly what it might look like, he created exaggerated versions with virtual screens popping up everywhere—so many, in fact, that physical reality was barely visible. Now, Matsuda releases his latest film in the project, Hyper-Reality , which depicts a hyper world where technology is ubiquitous. Two years in the making, and funded mostly via Kickstarter, the six-minute short film is a satirical and provocative look at a world where the digital is no longer just on our screens but instead is all around us as a virtual overlay. Set in Medellin, Colombia and shot from the POV of the protagonist, it features a world of existential Googling, where a walk through the supermarket is fraught with manifold digital displays, bleeps, emails, chat windows, virtual adverts, singing fruit, and digital Tamagotchi. It's a bit like the sensory overload you experience when you first walk into a video arcade, that sensation of being bombarded and overwhelmed with flashing visuals and dinging sounds, but more intense. Matsuda places himself in the discipline of critical design, and the film comes across like design satire, parodying the AR interfaces of the future by amplifying them up to extreme levels, creating a super modified city where virtual screens are vying for our attention everywhere. It's not quite dystopian, but certainly not utopian, either, instead sitting somewhere in the middle. GIF by Keiichi Matsuda Another idea that runs throughout is gamification, whereby the mechanics of video games spill over into our real world interactions. Points and rewards are obtained to entice you to buy groceries... Even converting to Catholicism is a game in the film. "Games are a really good way to get people to do things," explained Matsuda in a Q&A that followed a screening of the film. "I think when you’re in this world where everything is media and you want to provoke certain behaviors for spending or whatever, it’s a natural way to be able to do it. The point system is really powerful, too. We could edge ourselves away from using a fixed currency and into a world where you use your reputation points or something. " Gamification is only part of it, though—there's lots to take in from this oversaturated media world. The video is jammed with various references, easter eggs, and details that demand a second or third viewing. Matsuda says that part of the reason the film took so long to produce was he wanted everything to mean something. He and his team spent months just designing an AR operating system, for instance, so they could understand the logic of it when applying it to the film. This isn't the end for this project, either. Matsuda plans to make two more films set in this world exploring POVs of different characters, one of whom we've met already. In Hyper-Reality the character walks past a blogger, but in this world instead of blogging on her phone she's live broadcasting to the city around her, advertising in real time the clothes she’s wearing and other products to make a living. The follow up film, which is written and partly shot, will see this world from her vastly different perspective, exploring the digital divide of the future. The other two films will form part of a bigger narrative within this hyper world, but mostly Matsuda says he wants to generate conversation around AR and the concept of ubiquitous computing. It's a future that's already being willed into existence right now by Silicon Valley and the big tech companies—think HoloLens, Magic Leap. The question is, is it something we want? "Everyone sees this as the successor to the smartphone, it’s the thing that’s going to keep Silicon Valley at the top of its game," Matsuda notes. "I don’t know, it’s got lots of amazing possibilities but all the times when I’m designing these things I’m always thinking of the price we have to pay on our privacy. As soon as you're in this world you’re in a surveillance state, a total surveillance state, all of your conversations are monitored, your social value, it compromises us in lots of different ways. The film’s trying to understand if that level of invasion is something we want. Is it something we're willing to accept or is it something to push back on, before it’s too late? " Image courtesy of Keiichi Matsuda GIF by Keiichi Matsuda Click here to visit Keiichi Matsuda's website. Related: What If Corporations Could Advertise in Our Dreams? Stunning CGI Imagines Humans with Patterned Skin 'Halo' Meets 'Akira' in an Incredible CGI Short Film 2016-05-19 14:05 Kevin Holmes

53 The Year’s Most Beautiful Skate Film Takes Place on a Frozen Beach in Norway Think you could handle the cold? These Norwegian skaters did in a scene from Northbound. Image courtesy of Lukasz Zamaro. Digital technology has brought new creative possibilities to filmmaking, and skate videos haven’t been left behind. But no matter how many computer graphics or animations are applied, when it comes to a jaw-dropping skateboarding movie, tricks aside, it's about the terrain. While there have been some inventive places put on screen, like in Red Bull Perspective – A Skateboard Film , where skaters slide and glide at a waterpark, most are done on concrete with cool backdrops, not frozen sand on a remote beach in northern Norway. Then, there's Northbound — Mot Nord in Norwegian—a film that recently received the Special Jury Mention at this year’s Tribeca Film Festival. The 10-minute short takes four of Norway’s best skaters— Karstein Kleppan , Henrik Lund , Hermann Stene and Didrick Galasso —and puts them in what’s likely the coldest environment that skateboard filmmaking has ever seen, during the coldest week of the year. Filmed in different locations throughout the Lofoten Islands, Northbound isn’t just about nailing tricks impressively, but discovering that where there's a will, there's a way to skate the harsh Arctic winter. The Creators Project caught up with the young filmmaker—occasional skateboarder—Jørn Nyseth Ranum, whose film, Northbound , deserves serious mention. Mot Nord (Northbound) Teaser from Łukasz Zamaro on Vimeo . The Creators Project: So, how’d it feel to have your film in one of the world’s most noteworthy festivals? Jørn Nyseth Ranum: We didn’t believe it when we heard it at first! It was really fun. You’re only 27, but this is your second film and an idea that came out of your debut piece North of the Sun , a story where you spent 9 cold months surfing off the coast of northern Norway. Where did the Northbound idea come from? We had been out surfing on one of the coldest winter days and I came up on the shore and felt that the sand was rock solid. It felt like concrete in a way. It was then that my idea for trying to skateboard on this beach came. I tried it a couple of times myself, made some small mini ramps, and it worked. So I made this bigger project. And you managed to get some of Norway’s best skaters involved too—was that easy? When I told skateboarders most of them were really stoked. Of course, there were some skeptical people as it was a totally new idea and people didn’t think it would work. But I think most skaters are use to going outside their comfort zone and trying new stuff. They liked the idea of doing something that no one else had done before and also the idea of combining city skateboarding with nature. A sandy beach frozen into the perfect skating terrain. Northbound. Image courtesy of Lukasz Zamaro. So it’s not your typical skate video... Well, I watched a lot of skateboarding films before I started and I’ve seen a lot from growing up, but my goal was never to make a skateboard film. I just watched for inspiration. Skateboard films try to make something new by traveling to weird locations or having cool backdrops but it’s rare to actually get something new to skate on. Skateboarding films are usually about documenting new tricks and progression but Northbound wasn’t about this. It was more about documenting a new way of skateboarding where landscape and nature was really important. So I think Northbound is a mixture between short film, documentary, and skateboard film. Surrounded by picturesque landscape Northbound brings nature and street style skating together. Image courtesy of Lukasz Zamaro. What were some of the challenges in making it? We were really stressed about when we should leave for filming because it had to be cold enough for the skating to work and that doesn’t happen so often by the coast. We had the skateboarders and crew on standby for the whole winter and had to take a chance when the forecast looked good. We were lucky and saw later that we had picked the coldest week of the year. Our project wouldn’t have been possible at any other time. Cold, Cold, Cold! Northbound. Image courtesy of Lukasz Zamaro. How cold did it get, exactly? We had -10°C at the most but -10°C feels really cold when you are at the coast with the humidity and the wind. Sometimes it would be -15°C by the sea. Pretty tough terrain. Did anyone get hurt? Ha! No one got seriously hurt but there were some small injuries during the shoot. It was cool because one of the skaters landed on his foot really bad and it swelled up a lot but he said that because he was so cold it didn’t hurt so much. The skaters had to continuously do tricks for the camera as it reset. Northbound. Image courtesy of Lukasz Zamaro. See a new type of skateboarding film in Northbound. Image courtesy of Lukasz Zamaro. You can find out more about Northbound here . Related: Minor Victories Made a Film About Skating Empty Towns in Tory Britain [Premiere] Girl And Chocolate Skateboards' Joint Skate Documentary Pretty Sweet Kicks Off Its World Tour Watch an Animated Tribute to the History of Skateboarding 2016-05-19 13:45 Catherine Chapman

54 Bruce High Quality Foundation Benefit Honors Warhol Superstar Baby Jane Holzer Related Artists Julian Schnabel Julian Schnabel’s West Village Palazzo Chupi was at capacity last night for the annual Bruce High Quality Foundation University benefit. Co-chaired by Joseph Mizzi, Zack Posen, and Vito Schnabel, the party — which brought together artists including Francesco Clemente, Rashid Johnson, and Rita Ackerman — was held in honor of erstwhile model and Warhol superstar Baby Jane Holzer. All proceeds from the evening will go to support the irreverent and entirely free school, which announced last night that they are expanding their offerings to include a year-long studio and teaching residency as an alternative to the conventional, debt-driven MFA. “The community of Bruces is an ever-expanding, phantasmagoric tapestry of love and artistic devotion,” said a mildly insincere sounding Seth Cameron, the school’s president. “It’s the dream of real artist community.” Following inspiring words by BHQFU alum James Spranger and student liaison Andrea Arrubla, auctioneer Alex Rotter wielded a dual purpose mallet/hatchet to officiate the live auction while an unidentified Bruce waved his middle finger at the room when bidding was slow. 2016-05-19 13:44 Sara Roffino

55 55 aisaka architects’ atelier organizes japanese nursery around grassy playground japan is a country noted in their unusual yet thoughtful kindergarten schemes that take pride in creating a safe and positive learning environment for children. a recent example is the ‘amanenomori nursery school’ designed by kensuke aisaka of aisaka architects’ atelier and located in funabashi city, japan. the overall concept of the 1,000 sqm scheme was to facilitate 160 children in a secure and generous space easily accessible to outdoor playing. this led to the offices, admin, staff and kitchen being arranged on the outer perimeter between the entrance and nursery to ensure convenience and security. a man- made playground has been placed in the core of the a circular ring-shaped structure that is opened to the sky. along with planted greenery, decking, tunnels, slides and bridges – the courtyard is a popular and prominent area within the kindergarten. orientated to receive the a lot of sunlight from all directions throughout the year, the semi-circle shaped garden encourages ventilation, while nurturing children’s interest to gardening. additionally, dietary education is highlighted to increase children’s appreciation and interest towards food. this is illustrated by the vegetable garden on the rooftop and glass-walled kitchen on the first floor. a climbing wall and slide are elements introduced in the core courryard each classroom offers sliding glass doors that lead onto the decking that faces onto the playground. round chamfering was used on the walls and railings to ensure safety, but also integrated into skylights and every edge of the building to create a motif of the design. inside, the children do not wear shoes the nursery has two levels and a rooftop the circular building is layered with each level sheltered by the floor above a staircase-cum-seating area rises from the mid-level to the roof a garden at the roof of the nursery encourages planting and tending greenery 2016-05-19 13:20 Natasha Kwok

56 architecture microclimat extends hôtel-de-ville residence microclimat renovates and extends hôtel- de-ville residence in montreal all images by adrien williams canadian architecture practice microclimat has completed the expansion a family home in a suburban neighborhood of montreal. the extension, which occupies the intermediate area between the property’s back yard and existing living quarters, has been articulated around a large poplar tree. the design team was tasked with creating a building that both enlivened the existing residence — named ‘hôtel-de-ville’ — and established a new dialogue with its surrounding environment. the extension occupies the intermediate area between the property’s back yard and existing living quarters two large openings were cut into the existing brick wall, creating a natural flow of light and space towards the narrow extension at the rear of the plot. a contrast is established between the original home, which dates back to 1885, and the new addition through a steel staircase that serves as a filter between internal and external space. this stairway not only connects the dwelling, but also allows a complete reorganization of its original layout. the family home is located in a suburban neighborhood of montreal two sunrooms contained within the extension offer comfortable reading spaces at both ground and first floor level, allowing occupants to enjoy the surrounding environment throughout the year. at the uppermost storey, a new volume houses the master bedroom, with direct access to a rooftop terrace. this area of the home cantilevers above the garden, thus providing additional floor space for its inhabitants. the narrow extension viewed from the rear of the plot a natural flow of light and space has been established a steel staircase serves as a filter between internal and external space a contrast is established between the original home and the new addition at the uppermost storey, a new volume houses the master bedroom this area of the dwelling cantilevers above the garden 2016-05-19 13:10 Philip Stevens

57 Must-See Art Guide: Buenos Aires Buenos Aires' local art scene is unique. Unlike Sao Paulo, the Argentinian capitol does not play host to any biennales, so its annual arteBA fair offers the city just one occasion to roll out its best and brightest in contemporary art to a wide range of international visitors. Now in its 25th year, arteBA has grown at an impressive rate and, though it features plenty of art from abroad, offers a “ distinctly local flavor " that spotlights an exciting array of young Argentinian talent. Take a break from exploring La Rural—the fair's historical convention center—and be sure to venture out into the city to explore galleries and museums while you're here. All that pavement pounding will ensure you've earned that steak you're having later. Exhibition: “ EDUARDO BASUALDO: Éter " When: May 4–June 15, 2016 Where: Ruth Benzacar Galeria de Arte, Juan Ramírez de Velasco 1287. Buenos Aires, Argentina Exhibition: “ Marcelo Brodsky​: 1968: El fuego de las ideas " When: April 1–June 1, 2016 Where: Rolf Art, Posadas 1583, Buenos Aires, Argentina Exhibition: “ Gaspar Libedinsky: Trapologia " When: April 15–May 28, 2016 Where: Praxis , Arenales 1311, Buenos Aires, Argentina Exhibition: “ Poner el cuerpo " When: May 6–July 20, 2016 Where: Henrique Faria Buenos Aires, Libertad 1628, Buenos Aires, Argentina Exhibition: “ KIRIN: Diderótica " When: April 11–May 31, 2016 Where: Jorge Mara – La Ruche, Paraná 1133, Buenos Aires, Argentina Exhibition: “ Alan Courtis ROOM 1: IN – FORMED MUSIC " When: May 13–June 1, 2016 Where: Galería Nora Fisch, Av. Córdoba 5222, Buenos Aires, Argentina Exhibition: “Marcela Sinclair: El bien común" When: Opening May 21, 2016 Where: Mite , Av. Santa Fe 2729, Buenos Aires, Argentina Exhibition: “ Jorge Macchi: Perspectiva" When: March 18–May 30, 2016 Where: Fundación Constantini, Av. Pres. Figueroa Alcorta 3415, Buenos Aires, Argentina Exhibition: “ Interferencias " When: May 11–29, 2016 Where: Museo Nacional de Bellas Artes, Av. Del Libertador 1473, Buenos Aires, Argentina Exhibition: “ Magdalena Jitrik & Leila Tschopp: Vanguardia, Caballo de Troya, América " When: March 18–June 5, 2016 Where: MACBA, Av. San Juan 328, Buenos Aires, Argentina Exhibition: “Tomás Espina" When: Opening May 21, 2016 Where: Ignacio Liprandi Arte Contemporáneo , Av. De Mayo 1480, Buenos Aires, Argentina 2016-05-19 13:02 Tatiana Berg

58 58 Artist Brings Finger Paintings to Life, Harry Potter-Style This article contains some adult content. Lauren Gregory, Swimmer, 2016. Images courtesy the artist Despite nearly two decades of Harry Potter mythos, people in our non- magical world still expect paintings to stand still. Artist Lauren Gregory defies these expectations with her new series of improvised, finger- painted GIFs. Gregory animates the traditionally static medium by capturing her artwork with a mounted camera every few strokes. "I was searching for ways to give my paintings movement and a time-based element, and I sort of began animating by accident," she tells The Creators Project. In 2009, Gregory found Aboveground Animation , a collective started by artist-comedian chimera Casey Jane Ellison. By 2013 she was making complete music videos with the technique. The first was for Toro y Moi's "Rose Quartz. " "Being surrounded by other animators like Casey and Jacolby Satterwhite who have such strong voices was inspiring," Gregory says. One of her biggest takeaways from her time there has had a huge impact on her current body of work. "Those guys aren't afraid to be irreverant or let their sense of humor shine through. Some artists are funny people in private, but when it comes to their work, they get really serious and strip it of any personality. I think I used to do that before, and Aboveground Animation made me remember that my personality is an asset, not something to polish or hide in my paintings. " You can see this lesson at work in her new GIF series, which features a waterfall, a little lady chowing down on a Popeyes drumstick for eternity like some sort of fast food Sisyphus, and one GIF we can only describe as "van Gogh via Meatspin. " "My work has been moving in a simpler direction," Gregory says, explaining the series. "The loops became shorter and shorter until I realized I was essentially making GIFs. " Several of her lovely loops were commissioned by Electric Objects , but that's just the beginning for Gregory. "The next stop on my train is to create a slew of GIFs and take over the internet! " Get an eyeful her web-conquering ammunition below. Lauren Gregory, Thu Eating Chicken, 2016 Lauren Gregory, Fire; Waterfall, 2016 Lauren Gregory, Tussle, 2016 Lauren Gregory, Dolly Parton, 2016 Lauren Gregory, Washing Dishes, 2016 Lauren Gregory, Dickmatized, 2016 See more of Lauren Gregory's work on her website . Related: Thousands of Oil Paintings Animate Vincent van Gogh's Story Graffiti Artist Gives His Tags The GIF Of Life 10 GIFs of Renaissance Paintings Doing Ridiculous Things 2016-05-19 13:00 Beckett Mufson

59 Robot Artist Weaves Stunning Web at V&A The machines may be taking over , but if the new installation at London's Victoria and Albert Museum is any indication, the public isn't complaining. A robot is currently building the stunning Elytra Filament Pavilion in the museum's John Madejski Garden, a glass and carbon fiber canopy inspired by nature. The pavilion takes its name from the flying Elytra beetle, which employs an ingenious filament structure in its shell. A team from the University of Stuttgart (architect and researcher Achim Menges , architect Moritz Dörstelmann , structural engineer Jan Knippers , and climate engineer Thomas Auer ) has artificially recreated that lightweight construction principle, using a robotic arm to weave fibers around a hexagon-shaped metal frame. That robotic arm, called KUKA, will remain on site at the V&A for the duration of the show, which is on view until November 6, continuing to add to the pavilion on an ongoing basis. Each component takes about three hours to build and resembles a larger- than-life spiderweb. Despite its delicate appearance, the canopy is waterproof, in addition to being remarkably lightweight, the BBC reports. The whole thing certainly puts painting robots to shame , and could likely even give the annual Serpentine Pavilion a run for its money. (This year's Bjarke Ingels-designed edition opens June 10 .) The Elytra Filament Pavilion is part of the V&A museum's Engineering Season , an initiative focusing on the intersection of art and engineering through installations, exhibitions, and talks. Admission to the pavilion is free. See more photos below. The Elytra Filament Pavilion is on view at the Victoria and Albert Museum, London, May 18–November 6, 2016. Follow artnet News on Facebook. 2016-05-19 12:27 Sarah Cascone

60 INTERVIEW: Soprano Sophie Bevan on Murder, Incest and Sludge Related Venues Royal Opera House, London For her latest role, soprano Sophie Bevan is covered in thick, gooey, red sludge. “It represents destiny,” she says cheerfully. “You can’t escape it. Everyone gets covered in it by the end.” It sounds like the most fun anyone could have in a tragedy about patricide and incest. Bevan sings the role of Oedipus’s daughter Antigone in a new production of George Enescu’s 1936 opera “Oedipe” at the Royal Opera. The staging, by Àlex Ollé and Valentina Carrasco of theatre company La Fura dels Baus, has already appeared in Brussels, where it quickly became known – for obvious reasons - as the “sludge” production. “On my costume the sludge is actually dry paint. And on my skin it’s just black and brown make-up. So I stay pretty dry,” she says. Ah, the magic of theatre. With her shimmering, limpid voice and uncompromising dramatic commitment to every role she’s undertaken, it’s easy to see why Bevan is a shooting star of the opera world. She’s already appeared as a superb Ilia in the Royal Opera’s “Idomeneo,” and will soon be back to sing Sophie in “Der Rosenkavalier”. She’s also just about to start work on the world premiere of Thomas Adès’s “The Exterminating Angel” in Salzburg. In “Oedipe” her role is smaller but equally vital. She accompanies her father/half-brother in his exile, and offers him comfort and hope. “I describe the landscape around Athens to him as a place of beautiful plants and nightingales and cuckoos – you can hear the birdsong in the orchestra. In this production, the landscape we actually see is dead people half-buried in red sludge. But after the horrors we’ve experienced in the previous act, when my father blinds himself and my mother commits suicide, it probably does seem quite pleasant to Antigone.” Although the opera is generally considered the composer’s masterpiece, it is rarely staged. “It’s surprising, as it’s such a magical score. It really has a way of drawing you in, and making you sit up and listen all the time. But the role of Oedipus [sung here by the superb Johan Reuter] is so exhausting and challenging, that perhaps it’s hard to find singers who can do it.” Bevan has appeared in some controversial productions in the past. She sang the main soprano role with ravishing beauty and awe-inspiring energy in an otherwise messy “Castor and Pollux” at English National Opera. Martin Kušej’s surreal production of “Idomeneo”, with its risible rubber shark, was roundly booed at Covent Garden. Does it upset her when productions don’t always hit the spot? “Lots of people say they don’t read reviews, but I really, really don’t,” she says. “But when you know everyone is talking about a staging, you can’t avoid hearing about it. And then it depends on how you feel about it yourself. I totally understood the concept behind ‘Castor and Pollux’ and I loved working with the director Barrie Kosky. I thought he captured the idea of hell perfectly. But it’s much harder for me to judge it as an audience member, because I was so closely involved in it.” Bevan’s father, a choirmaster, was one of fourteen exceptionally gifted children of a music teacher. She herself has seven very musical siblings, one of whom (Mary) also sings professionally. With such a background music was naturally a huge part of her life, but the decision to take up such a risky career must still have been a difficult one. What advice would she offer her younger self now? “The most important thing is to enjoy it in the moment, rather than dream of other things you might be doing or other roles you might be singing, or you won’t feel like you’ve achieved what you have. After all, it’s amazing to sing any role – you have to celebrate that.” With plenty of other major parts coming up, and a red-hot world premiere this summer, it doesn’t look like she needs to worry about future roles any time soon. 2016-05-19 12:06 Warwick Thompson

61 Nazis, Con Men, Forgers, and Thieves: Art Crime in Postwar Cinema Film still of Sterling Hayden in Stanley Kubrick’s The Killing , 1956. COURTESY THE CRITERION COLLECTION O n August 21, 1961, Francisco Goya’s Portrait of the Duke of Wellington (1812–14) was stolen from the National Gallery in London. The British government had purchased the painting 19 days earlier for £140,000, matching the bid of New York collector Charles Wrightsman so as to prevent the painting from leaving the U. K. It was recovered four years later, when a retired bus driver named Kempton Bunton returned the painting and confessed to the crime. Portrayed in the media as an unassuming and repentant Robin Hood, Bunton was acquitted of all charges except for the theft of the frame, for which he served three months in prison. In actuality, the painting was stolen by Bunton’s son John, who confessed upon his arrest for an unrelated offense in 1969. The Portrait of the Duke of Wellington has hung in the National Gallery ever since its return in 1965. But it was while hidden in a cupboard in Bunton’s Newcastle flat, and not in the National Gallery, that Goya’s portrait made its film debut. In Dr. No (1962), the first adaptation of Ian Fleming’s 007 novels, the painting can be seen mounted in the den of the film’s eponymous villain, subject to the raised eyebrow of Sean Connery’s James Bond. Despite the film’s suggestion otherwise, Dr. No’s Goya is not stolen, but forged: hearing the news of the recent theft of the painting, the film’s production designer, Ken Adam, who passed away earlier this year, ordered a slide of the work from the National Gallery and reproduced it himself. A clever wink typical of Bond-movie camp, the portrait symbolically inaugurates the cinema of art crime, a distinctly postwar phenomenon whose forgeries and thefts have less to say about art than they do about Hollywood conventions. Like everything in show business, art is money. The Goya helps in depicting Dr. No as a bad guy, but his possession of a hot painting pales in comparison to his plans of world domination. Art crime existed before the Second World War, but Hitler’s systematic theft and destruction of Europe’s great collections serves as a kind of year zero for its representation in popular culture. This subgenre persists to this day, evidence of the perception by Hollywood— not to mention the wider public—that the art world is largely a criminal operation, populated with white-collar crooks and shallow victims. It is estimated that as few as 5 to 10 percent of stolen artworks are ever recovered, and the grand scale of the Nazis’ crime has left a vast space for speculation about what may have happened to great paintings by Rembrandt, Vermeer, and van Gogh—an imaginative gap which Hollywood has taken upon itself to fill. As in the case of Dr. No , cinema provides stolen masterpieces a fictional afterlife, assigning them to an array of filthy rich villains: Modigliani’s Woman with a Fan (1919) and Picasso’s Le pigeon aux petits pois (1911), both unrecovered, make appearances in the collection of Bond nemesis Ernst Stavro Blofeld (Christoph Waltz) in Sam Mendes’s Spectre (2015). Cinema theorizes the lives and motives of a brand of criminals so rarely brought to justice, alternately glorifying and vilifying the forgers, thieves, and black marketeers who operate in the shadows of the art market. Sean Connery as James Bond in Dr. No , 1962, admiring a forgery of Francisco de Goya’s The Portrait of the Duke of Wellington. ©UNITED ARTISTS, EON PRODUCTIONS/VIA BONDMOVIES. COM In the 1950s film noir gave birth to the heist movie: Jules Dassin’s Rififi (1955), Stanley Kubrick’s The Killing (1956), and Lewis Milestone’s Ocean’s 11 (1960), the Rat Pack vehicle rebooted with great success by Steven Soderbergh in the early 2000s. The subgenre tends to feature actors in pairs or ensemble and relies heavily on plot twists. As such, the art-heist film—which has an antecedent in Godfrey Grayson’s The Fake (1953)—often includes both forger and thief, the narrative frequently hinging on the uncertainty of whether a stolen artwork is authentic or fake. This trope first appears in Ronald Neame’s Gambit and William Wyler’s How to Steal a Million , both released in 1966. How to Steal a Million and Gambit are remarkably similar films. Both showcase the unlikely romance that develops between a British art thief and his reluctant accomplice, in each case an exotic beauty named Nicole. In How to Steal a Million , Audrey Hepburn plays Nicole Bonnet, daughter of renowned Parisian collector Charles Bonnet (Hugh Griffith). The elder Bonnet, we learn, is also a master forger, which first becomes a problem when Nicole catches Simon Dermott (Peter O’Toole) red-handed, attempting to lift one of Bonnet’s prized van Goghs (which is actually a Bonnet), and later when Nicole’s father lends a Venus by Cellini to the Kléber-Lafayette Museum, whose director unwittingly gains Bonnet’s permission to subject the sculpture to forensic testing, a prerequisite for the million-dollar insurance policy. Fearing exposure of the inauthenticity of her family’s collection, Nicole convinces Simon to help her steal back the sculpture, carved by her paternal grandfather and modeled after her grandmother, to whom Nicole bears a striking resemblance. Recognizing this likeness, Simon gives the sculpture to his romantic rival, American businessman Davis Leland (Eli Wallach), whose lust for Nicole is only surpassed by his lust for the Venus. Ironically, the sculpture is but a mere copy of Nicole, the true work of art, who is delighted and not displeased when Simon reveals his identity: a forgery expert with degrees in art history, chemistry, and criminology, hired to investigate the authenticity of Bonnet’s collection. The Venus was Simon’s first heist, as it was Nicole’s. Criminals together, they give Bonnet a mild scolding, and with his blessing, live happily ever after. Gambit ’s Nicole Chang (Shirley MacLaine, in unfortunate yellowface) also shares her visage with a sculpture—this time, a bronze casting of Chinese Empress Li Zu’e—and she too falls in love with the man who steals that sculpture, cat burglar Harry Dean (Michael Caine). Dean and his partner, dealer and forger Emile Fournier (John Abbott), pick Nicole out of a crowd of dancers in a Hong Kong nightclub and offer her $5,000 to travel to Dammuz, a fictional Middle Eastern city, in the role of Dean’s wife. Dammuz is home to a luxurious hotel owned by the richest man in the world, Ahmed Shahbandar (Herbert Lom, in brown makeup). MacLaine’s face is even more common than Hepburn’s, it seems, as it is also identical to that of Shahbandar’s dearly departed wife, and Dean hopes that he can use Nicole as a diversion in order to steal the sculpture, worth an undisclosed but presumably very large amount of money. Dean’s hopes prove elusive, however: his Cockney accent undermines his noble pretense as Sir Harold Dean, his Arab hosts turn out to be less primitive and more cosmopolitan than he imagined, and Nicole is no China doll, either. Like her counterpart in How to Steal a Million , MacLaine’s Nicole is as apt a thief as her future husband, and while the pair fail to nab the original Li Zu’e (Shahbandar keeps an elaborately guarded decoy on display), it’s no matter: the newspaper headlines are enough to convince buyers on the black market that any of Fournier’s previously fabricated copies of the bust could be the real thing, voiding any unique value to which the authentic object might lay claim. Magali Noël in Jules Dassin’s Rififi , 1955. COURTESY RIALTO PICTURES/GAUMONT I n a romantic inversion of the film noir femme fatale, Hepburn and MacLaine’s characters propose women as the objets d’art worthiest of breaking the law for, a purer commodity than sculpture or painting, vain playthings of eccentric billionaires and mustachioed Frenchmen. In these films, art is a McGuffin, the museum just another crime scene, like Jamaica in Dr. No , or Las Vegas in Ocean’s 11. It is for this reason unsurprising that art crime is ripe territory for the Hollywood remake: there are only so many settings, after all. Michael Hoffman remade Gambit in 2012 with Colin Firth in Caine’s role, Cameron Diaz as a thankfully deorientalized update of the MacLaine character, and a screenplay by Joel and Ethan Coen. Several cinematic heists of the 1960s were reconceived as art heists decades later. In Norman Jewison’s The Thomas Crown Affair (1968) the titular character (Steve McQueen) robs banks and not the Met, as he does in John McTiernan’s 1999 remake with Pierce Brosnan, on furlough from playing 007. Soderbergh’s Ocean’s Twelve (2004) takes the action from the casino floor to the Galleria D’Arte in Rome, where Danny Ocean (George Clooney) and his entourage compete to steal the Fabergé Imperial Coronation Egg before Baron François Toulour (Vincent Cassell), a.k.a. “The Night Fox,” a French capoeira-master version of Thomas Crown, does. Each of these films is, in some way, a forgery of an earlier one, and some copies are better than the originals. But as genre films, they are all in conversation, stealing from one another all the time. Soderbergh takes Jewison’s split- screen and uses it in the Ocean’s movies; in another heist movie, Out of Sight (1998), Soderbergh restages Wyler’s famous shot of O’Toole shining a flashlight up Hepburn’s exposed knee, in a scene with Clooney and Jennifer Lopez in the trunk of a car. Picasso, in a possibly apocryphal statement, said that the best artists steal—an idea that Orson Welles runs with in his 1973 essay film, F for Fake. Welles’s pseudo-documentary about confirmed forgers Elmyr de Hory, who later committed suicide in Spain while awaiting extradition to France, and Clifford Irving, author of a hoax “autobiography” of Howard Hughes, makes the relationship between art crime and the cinema explicit. All art is fakery: it is its essential artificiality that moves us. The best films dealing in art crime are those that take on the philosophical heft of their subject matter. In Abbas Kiarostami’s Certified Copy (2010), writer James Miller (William Shimell) preaches a gospel similar to Welles’s as he tours Tuscany with an antiques dealer (Juliette Binoche) who may or may not be his wife, playing ambiguous roles in a shifting performance of identity. Ocean’s wife, Tess (Julia Roberts), aids the heist in Ocean’s Twelve by trading in on her resemblance to none other than Julia Roberts in order to gain access to the museum. Tom Ripley (Dennis Hopper) in Wim Wenders’s neo-noir The American Friend (1977) deals in forged art in Hamburg until he is pressured into murder, enlisting terminally ill framer Jonathan Zimmermann (Bruno Ganz) to pay back a debt owed to gangster Raoul Minot (Gérard Blain). By casting renowned directors— Hopper and Blain, but also Samuel Fuller, Jean Eustache, and Nicholas Ray as the forger Derwatt—Wenders solidifies the alliance between filmmaker and criminal. Wenders’s film is adapted from Patricia Highsmith’s 1974 novel Ripley’s Game , but the elements of the art world are taken from Ripley Under Ground (1970), to which Wenders did not have the rights. Wenders reports that Highsmith was initially “disturbed” by his theft, but upon a second viewing wrote him that the film “captured the essence of that Ripley character better than any of the other films,” effectively authenticating it with her signature. While these filmmakers’ interests in the theoretical implications of art crime are symptomatic of postmodern attitudes toward art (no more so than in Raúl Ruiz’s 1979 The Hypothesis of the Stolen Painting ), for others, crime is crime, inexcusable without exception. In Clooney’s A-list flop The Monuments Men (2014), onetime Ripley Matt Damon plays Lieutenant James Granger, a reproduction of former Met director James Rorimer, who rescues the Ghent Altarpiece from the Nazis and manages to avoid sleeping with Cate Blanchett’s Claire Simon, a sexy stand-in for art historian and partisan Rose Valland (Granger has a wife and kids at home). In his off-screen life, Rorimer was one of the early proponents of radiographic examination—the very technology that threatens the forgeries of Bonnet and de Hory. Clooney’s film insists that art is sacred enough to be worth risking human life. The Grand Budapest Hotel (2014), Wes Anderson’s comedy about the theft of a prized Renaissance painting called Boy with Apple , begs to differ: though Boy with Apple hangs in the lobby of the Zubrowka hotel long after the war that took the life of concierge M. Gustave (Ralph Fiennes), the painting’s rightful owner, the old Europe in which it was painted no longer remains. Boy with Apple is a McGuffin, but a significant one, the absurd painting attempting but failing to distract from the true work of art, the hotel itself, which Anderson brings alive with baroque choreography. Stripped of its occupants, their eccentric costumes and personal dramas presumably exterminated, the postwar Grand Budapest Hotel is nothing but an empty frame belonging to a nostalgic loner. Art is a reproduction of life, Anderson seems to argue, and though it may manage to preserve the aura of a people, a time, a place, it is inevitably less vibrant than the souls who inspire it. Out of place and ignored in drab Soviet surroundings, Boy with Apple is evidence of a crime—a poignant reminder that there is a world outside of cinema, and that in that world, crime doesn’t pay. Andrew Marzoni is a Marion L. Brittain Postdoctoral Fellow in the School of Literature, Media, and Communication at the Georgia Institute of Technology. A version of this story originally appeared in the Summer 2016 issue of ARTnews on page 34 under the title “Nazis & Con Men & Forgers & Thieves.” 2016-05-19 11:49 Andrew Marzoni

62 Renaissance Sculptures Found in Moscow A cache of 59 Italian Renaissance sculptures from the collection of Berlin's Bode Museum, seized by the Russian army during the Second World War, have been identified in the holdings of the National Pushkin Museum in Moscow, according to the Prussian Cultural Heritage Foundation. "Most of the sculptures were damaged," Neville Rowley, the Bode Museum's curator of Italian Renaissance art, told the Art Newspaper , adding that some are in fragments. "They can't currently be shown because of the state they are in. But there are plans to exhibit the sculptures at the Pushkin Museum after they've been restored. " The artworks, by the likes of Donatello , Luca della Robbia , Andrea del Verrocchio , and Nicola and Giovanni Pisano , were placed in protective storage by the Kaiser Friedrich Museum (now called the Bode Museum) during World War II. The safekeeping measure failed when the building caught fire not once but twice in May 1945. Such treasures as a Caravaggio painting of St. Matthew, as well as wooden and stucco sculptures, were presumed destroyed. Following the fire, the Soviet army transported what was left of the trove back to Moscow. So-called "Trophy Brigades" took as many as 2.6 million pieces of cultural property as reparations against the Nazis, according to the Art Newspaper , which adds that some 1.5 million works were returned in Germany in 1958. The Bode museum's lost collection lay forgotten until 2005, when German and Russian museums began working together to determine what, if anything, had survived the blazes. Last year, the team revealed that a badly damaged Donatello bronze could potentially be partially restored. The further discovery of the 59 sculptures, dubbed a "sensational find" by researchers, according to German magazine Focus , was announced at a symposium in Florence. Follow artnet News on Facebook. 2016-05-19 11:31 Sarah Cascone

63 Emotit for President: Building a Site for the Election’s Most Unique App We were tasked with building a website for Emotit for President , an app that helps you sift through the political static. Challenge In an election cycle filled with endless storylines and drama, Emotit for President launched to help both the casual and fanatical political observer pinpoint the moments that matter most. In tandem with the app’s debut, Real Art was asked to build a website to get Emotit for President out in the world. Solution Create a website that’s not merely an afterthought to the app itself. Work to draw prospective users in with the story of the app told through colorful and striking design meant to supplement the call-to-action for downloading the app itself. Scope Striking Design The Emotit for President site features a color scheme that evokes the spirit of American politics in vibrant red and blues. It does this without leaning towards a connotation of a singular political party thanks to muted tan tones giving a balance to the palette. Boldness in the type and headers give an effective, concise summary of each individual section, relaying the most crucial information in an eye-catching manner. A combination of responsive design, large imagery, and parallax scrolling give off a dynamic feel as the visitor navigates the page. At the very top of the page, the call-to-action is clearly presented with images of the app’s interface, a short description, and links for downloading. Telling the Story With Emotit for President’s laundry list of diverse features, it was important to show off without being overwhelming. This was accomplished by focusing on three distinct, but different, features: the curation of the best political content, the ability to skip to the best part of any political video, and a feature that allows you to compare your emotional reactions to the race to the rest of the nation. Colorful, clean graphics and to-the-point copy highlight each of these in short blurbs, with the site’s proceeding sections expanding on the features with more in-depth descriptions and photos of the app in action. Results With clear communication and a thorough understanding of the concept and app’s purpose between the client and the creative team at Real Art, the design process came together quickly. Real Art’s commitment to telling Emotit’s story made for a seamless partnership from pitch to presentation. As a piece of the first big rollout for the product, the website serves as a strong welcome mat for the future of Emotit for President. 2016-05-19 11:18 realart.com

64 Ai Weiwei's New Refugee Crisis-Inspired Art The Chinese dissident artist and activist Ai Weiwei has labelled the European Union's handling of the refugee crisis as "shameful" ahead of the opening of his new exhibition at the Museum of Cycladic Art in Athens. The artist will unveil new works—dealing extensively with the migrant crisis— created at the studio he established on the Greek island of Lesbos , where 80 percent of migrants from the Middle East and North Africa first enter Europe. Having endured exile in is childhood and prison in adulthood, Ai has experienced severe living conditions in his homeland firsthand, but he admitted to the Guardian that he "could never have imagined conditions like this. " Addressing the EU deal with Turkey—in which it was agreed that migrants landing on Greece's shores would be returned to Turkey—the artist said, "It is not legal or moral; it is shameful and it is not a solution. It will cause problems later. " Taking a swipe at Europe's political elite, he added, "People are being selfish, very greedy, short-sighted, and ridiculous. This is not a regional problem; it is a human problem. The bad guys are everywhere, but also the good guys are. We have to trust in humanity but not trust in politicians. " His sentiments echo the words of South African artist William Kentridge. Exhibition curator Michael Frahm told the Art Newspaper that Ai's first museum show in Greece aims to "give a human face to the crisis," as works such as iPhone Wallpaper (2016) a collage of 12,030 images taken on the artist's mobile phone; and Lesvos Photographs (2015–16), a series of 600 photos appropriated from the Photographic Society of Mytilene, testify. Elsewhere, the artist's Tyre (2016), consisting of rubber lifebuoys sculpted out of Chinese marble, and outside the museum, a series of gold and silver flags resembling the emergency blankets handed to new arrivals, also reflect the migrant crisis reinforce the show's theme. "The goal is to make everyone aware of the struggle for refugees," Ai said. "We need to protect humanity. The fight is endless. If we don't fight, our children have to fight. " According to the Art Newspaper, 10 percent of the exhibition's proceeds will be donated to Médecins Sans Frontières and the Greek charity METAdrasi. " Ai Weiwei at Cycladic" is on view at the Museum of Cycladic Art in Athens, May 20–October 10, 2016. Follow artnet News on Facebook. 2016-05-19 10:55 Henri Neuendorf

65 Greenpeace Forces British Museum Shutdown The British Museum closed for several hours today as Greenpeace protesters decked out in climbing gear occupied key columns on its façade, unfurling banners on climate change. The activists were calling attention to the British oil company BP's sponsorship of the museum's current "Sunken Cities" exhibition, which the museum is billing as the "first major exhibition of underwater archaeology. " The activists have rebranded it "Sinking Cities. " The London Telegraph says it's thought to be the first time the museum has taken such an action. "BP's actions around the world are climate-destroying," says a voiceover in a video on Greenpeace UK's Facebook page , including, says the videographer, the Deepwater Horizon oil spill in the Gulf of Mexico, "not to mention its continued efforts to find more fossil fuels. " Fourteen activists affixed the "Sinking Cities" signs to the columns, referring to rising seawater levels that threaten coastal cities worldwide in the era of climate change. The signs include names of threatened locales like Manila, the Maldives, and New Orleans, which was ravaged by flooding during Hurricane Katrina, in 2005. Just yesterday, activists stormed the press preview for "Sunken Cities," calling attention to environmental damaged caused by the energy company as well as BP's alliances with repressive Middle Eastern regimes. Institutions such as the Tate have lost BP sponsorship after numerous protests by arts and environmental groups. BP also ended its support of the Edinburgh International Festival in April after some 34 years. Greenpeace invites sympathizers to sign a petition calling on the institution to end its sponsorship arrangement with the oil giant. The museum has a five-year contract with the company that is now up for renewal. Follow artnet News on Facebook. 2016-05-19 10:42 Brian Boucher

66 Singapore's Shanda To Increase Sotheby's Stake - news artnet A private, Singapore-based investment group called Shanda is increasing its ownership stake in Sotheby's now that the US Federal Trade Commission granted antitrust approval in a notice dated May 17, according to a report by Katya Kazakina on Bloomberg. Shanda originated as an online gaming company and is run by co-founders Tianqiao Chen and Chrissy Qian Qian Luo, who currently own two percent of Sotheby's shares, which was valued at $31 million as of March 31. According to a Forbes post, Tianqiao Chen has a net worth of $1 billion and ranked #243 on China's rich list. The news is the latest in a string of major changes at Sotheby's as CEO Tad Smith, who came to the auction house from Madison Square Garden and has been in place for just over a year, continues to execute a turnaround that has seen the departure of major executives and a steep drop in share price and profits under pressure in recent months. Related: Exodus At Sotheby's Plunges Auction House Into Murky Waters In a May 9 earnings conference call with investors, Sotheby's CFO Michael Goss said that an investor—since confirmed as Shanda—could increase its stake in the auction house to as much as 10 percent, raising the possibility that Sotheby's could be acquired or taken private. US law requires investors to notify antitrust officials about company stock acquisition. According to Bloomberg, Shanda reported its acquisition of 594,544 shares at the end of this past December. According to its website : Hedge fund mogul and top collector Steve Cohen has also been increasing his stake through his Point72 Asset Management in recent months. At the end of March, Point72 had a 5.5 percent stake valued at $86.1 million, making it the auction house's fifth largest shareholder. Shares of Sotheby's have been trading around $28, after hitting a low of $19, this past February. Related: Sum of Tenure of 14 Recent Sotheby's Departures Exceeds Age of the House Hedge fund manager Daniel Loeb, who took the company through a bruising proxy battle that won him three board seats and resulted in the departure of longtime CEO William Ruprecht , is the largest shareholder, with an 11 percent stake. The total holding of his firm, Third Point, were worth $178 million as of the end of March. Sotheby's declined to comment on the news of Shanda's antitrust approval. Shanda has not responded for comment. Follow artnet News on Facebook . 2016-05-19 10:10 Eileen Kinsella

67 Christie's, Sotheby's, Phillips See Definitive Shift in May Sales Related Venues Christie's Sotheby's Phillips A definitive shift in the auction market was obvious in the results of the May sales season in New York that ended on Thursday night. All three major players experienced contractions in sales across categories, and aggregate sales last week, which totaled over a billion dollars, were more than 50% down from the same period last year, and closer to the numbers from 2010-2011 (unadjusted for inflation). The regular day and evening sales of Modern and contemporary art at Christie’s, Sotheby’s, and Phillips (which only added pre-contemporary 20th century to its May season this year) fell by slightly less — an average of 45% — compared to May 2015, and the most profound contrast was apparent in Christie’s special themed sales. That house’s blockbuster 2015 curated sale “Looking Forward to the Past” brought in over $700 million and was a major driver of revenue for the season and the year, whereas this year, Loic Gouzer’s “Bound to Fail” brought in only $78 million — though it was considered a success in placing challenging works by the likes of David Hammons, Bruce Nauman and Maurizio Cattelan. Even discounting recent market jitters, the numbers weren’t altogether surprising, given the generally lower quality of the consignments on offer and the resulting lower estimates. The dearth of high quality works may have something to do with the hyperactivity of the market in the last few years: With so many top artworks having recently changed hands, owners can be expected to hold on to their newfound treasures for a while. But a general unwillingness to part with such art may also reflect growing — and possibly self-fulfilling — anxiety about a market contraction, along with the increasing popularity of private sales, which protect transactions from market volatility and are accounting for an ever larger share of business for each of the three auction houses. Interestingly, this sale season seems to have minimized, at least for the moment, Christie’s considerable lead in revenue over Sotheby’s in both the Imp/Mod and Contemporary categories. That gap — which widened to a chasm in the aftermath of star auctioneer Tobias Meyer’s departure from Sotheby’s in late 2013 and subsequent management shakeups there — was all but closed in last week’s results. It may be that the corporate overhaul at Sotheby’s and its acquisition of Art Agency Partners, with its brain trust and extensive art-world connections, is starting to make a difference. 2016-05-19 10:06 Meghana Reddy

68 Public Art Fund Names Daniel S. Palmer Associate Curator Daniel S. Palmer. © CAREY DENNISTON The Public Art Fund has announced the appointment of Daniel S. Palmer as associate curator, effective May 31. Palmer currently serves as the Leon Levy assistant curator at the Jewish Museum in New York, where he has organized shows including “Unorthodox,” “Repetition and Difference,” and “Masterpieces & Curiosities: Diane Arbus’ Jewish Giant,” as well as public programs such as AM at the JM, an early-morning discussion series featuring young artists in talks with the museum’s curators. Palmer has additionally curated shows such as “Lucas Samaras Pastels” at Craig F. Starr Gallery in New York and “Decenter: An Exhibition on the Centenary of the 1913 Armory Show” at Henry Street Settlement’s Abrons Arts Center, both of which went on view in 2013. He frequently contributes to exhibition catalogues, including the Whitney Museum’s catalogue for the 2013 show “Hopper Drawing” and the Kunstmuseum Bonn’s catalogue for the 2015 show “New York Painting.” He is also a contributor to several arts publications, including ARTnews. On the academic side, Palmer is currently pursuing a doctorate in art history at the City University of New York, and was named a 2011 Holocaust Educational Foundation Fellow at Northwestern University, in Evanston, Illinois. He earned his B. A. at Rutgers University in New Brunswick, New Jersey and an M. Phil at City University of New York , and has taught art history at his alma mater’s study abroad program in Paris and at the Spitzer School of Architecture at City College in New York. 2016-05-19 10:00 Hannah Ghorashi

69 Artist List Announced for Accessible Art Fair NY "I arrived in Belgium 12 years ago as an expat, and after two years of research I came to the conclusion that artists without gallery representation need a high- end platform in order to launch their careers," said Brussels's Accessible Art Fair founder Stephanie Manasseh in an email to artnet News. The fair, which is entering its ninth year, will launch its first New York edition in November at the National Arts Club . "Brussels has been going through such hardship lately," said MvVO ART founder Maria van Vlodrop in a phone interview. Vlodrop is also the co- founder of the US edition. "This is a really happy occasion and an opportunity to get people to feel good about Brussels again. " Like 4heads ' long-running Governors Island Art Fair and new Portal art fair, the Accessible Art fair bypasses galleries and art dealers to work with artists directly, providing collectors the opportunity to discover unrepresented talent from around the world. Emerging and mid-career artists will sell work from $2,000–20,000, and the fair will not charge a commission for sales. "I think it's a very compelling mission," said van Vlodrop. "It feels good to give such talented artists a platform to show their work to an art-buying public. " The jury consists of Manasseh, Kevin Doyle (Sotheby's), Shaune Arp (Gagosian Gallery), Ann Lydecker Bunge (Christie's Collectrium), Rachel Rees (Sutton), Rozalia Jovanovic (editor-in-chief of artnet News), and art advisors Shari Brownfield and Sophie Clauwaert, who chose 60 artists, hailing from 12 different countries. Here is the full list of the participating artists: Alberto Saleh, Belgium Alessandra Expósito, US Allison Svoboda, US Amanda Scuglia, US Andrew Gershon, US Andros Efstathiou, Cyprus Angela A'Court, England Borbay-US Brian Leo, US Camomile Hixon, US Cecile Brunswick, US Charlotte Scott, Canada Christian Bernal, US Christian De Wulf, Belgium Dave Rittinger, US Dennis RedMoon Darkeem, US Ellen Burnett, US Emilie Pugh, England Erin Starr, US Fatma Alshebani, Qatar Fran Beallor, US Fiona Pattison, US Frances Muldoon, US Frank Pietras, Germany Gemma Gené, Spain Grant Collier, US Jacques Deneef, Belgium Jason McGroarty, Ireland Jason Scott Kofke, US Jennifer Ament, US Jeroen Gordijn, Netherlands Jessica Maffia, US Jiannan Wu, US Jiin Ha, US Katie Levinson, US Kim De Molenaer, Belgium Laurie Victor Kay, US Lea Shabat, Canada Liz-N- Val, US Lori Cuisinier, US Luc Vandervelde Lux, Belgium Lynn Mayocole, US Margaret Ann Withers, US María Jimena, Australia Marcel Ceuppens, Belgium/US Marko Remec, US Matti Havens, US Nemanja Ladjic, US Nina Urlichs, France Philip Smallwood, US Philippe Leblanc, Belgium Raul Martinez, US Renelio Marin, US Ruth Noam, Israel Sessa Englund, US Steven Glass, US Takamitsu Sakamoto, Japan Victoria Estacio Huckins, US Viken Kalouitian, US Werner Bargsten, US Zoé Morel, Belgium The Accessible Art Fair, New York, will be held at the National Arts Club, 15 Gramercy Park South, November 1–25, 2016. Follow artnet News on Facebook. 2016-05-19 09:55 Sarah Cascone

70 Gray Areas: Documentary Filmmaker Peter Nicks on His Oakland Trilogy In his 2012 documentary “The Waiting Room,” the independent filmmaker Peter Nicks turned his attention to a single hospital emergency room in Oakland, California. An observational polemic, the film was widely praised for the subtlety with which it told the story of the American healthcare crisis, as refracted by one underinsured community’s dependence on an emergency room for everything from primary to urgent care. The film also inaugurated a trilogy of Oakland-centered documentaries planned by Nicks, the second of which, with a working title of “The Oakland Police Project,” is currently in postproduction. ARTINFO recently had the opportunity to see a clip of the work in progress at the annual Artists Assembly conference in Miami, and we spoke to Nicks about his planned trilogy of films dealing with health care, crime, and education in Oakland. “The Oakland Police Project” — which is our working title, we don’t have a title yet — is the second in a trilogy of films that my production company is producing that is examining the relationship between community and the public institutions that serve them in Oakland, California. So the idea is that we can construct a grand narrative, and from that grand narrative look at the interlocking pieces of healthcare, education, and criminal justice. It's in some ways inspired by “The Wire,” and the way that it peels back the layers of bureaucracy and of institutions in Baltimore and sort of reframes how you saw both the institutions themselves and the individuals within those institutions. And that was the primary goal of “The Waiting Room,” which was to take an issue that had become extremely polarized and driven people apart and try to tell a story that would find a common humanity. But also with the political edge, that we are making a statement that doesn't shy away from the political realities: If you have a public hospital waiting room where people have to wait for 16 hours, and they are using that waiting room as their primary care physician — is that something that we as a society accept? Change happens in a lot of ways. It can happen in what I call the “deep fryer” method, where all of a sudden the film comes out and the laws are changed and all is well. But I think of most social impact surrounding documentaries as more of a “Crock-Pot.” It takes time. The most fundamental thing you're doing is building awareness — taking people places where they've never been, building apathy. And I think filmmaking on more of the activist side is trying to make people feel the way you feel. But I don't consider myself an activist, I consider myself an observer. I try not to place one person on a moral high ground above another. I try to go into that gray area. So with “The Oakland Police Project” the stakes are a lot higher, I think, because there is such a divisive climate right now regarding the police and its role in our society. There is deep distrust among some segments of the civilian population, and there’s a deep resentment and defensiveness on the side of law enforcement and those who support them. And so our film is stepping into that space and ultimately trying to not do an exposé on this particular police department [in Oakland], but trying to understand the role they play in the community. I think the idea of investigative journalism has been boxed into a corner, in a sense, because what I do is very investigative — I'm trying to discover the depths of the individuals who populate these systems and these institutions that we are critical of, to the point where people can reframe how they see those institutions. And an individual documentary has the potential to spark change, there's no question about that — look at “The Invisible War” (2012), for example, which changed the way the US military investigates sexual assaults. 2016-05-19 09:23 Mostafa Heddaya

Total 70 articles. Created at 2016-05-20 06:04