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43 articles, 2016-06-14 00:08 1 What to Watch For at Art Basel 2016 From massive sculptures to performances and an ocean of blue chip art, here's a look at what international dealers are bringing this (1.08/2) year. 2016-06-13 10:01 5KB news.artnet.com

2 In Art, a Terminally-Ill Artist Finds Infinity Ghosts and organza silk unveil Kaylin Andres' take on her own mortality, in a new exhibition. 2016-06-13 13:00 5KB thecreatorsproject.vice.com (1.03/2)

3 Art World Responds to the Orlando Attacks The world mourns the loss of 49 innocent people killed by a lone gunman at an Orlando nightclub. Despite the tragedy, a message of (1.03/2) peace prevails. 2016-06-13 10:42 3KB news.artnet.com

4 Live Then, Live Now — Magazine — Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s—on (0.03/2) the cool side for the height of summer in Minneapolis. Diana Ross... 2016-06-13 18:26 11KB www.walkerart.org 5 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker's Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this... 2016-06-13 18:26 966Bytes blogs.walkerart.org 6 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nat... 2016-06-13 18:26 885Bytes blogs.walkerart.org 7 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Ki... 2016-06-13 18:26 972Bytes blogs.walkerart.org

16 A Music School Teaches Blind Youth to Find Their Voice From Ray Charles and Stevie Wonder, to blind youth musicians in Los Angeles County, David Pinto fosters a love for music in those without sight. 2016-06-13 13:05 5KB thecreatorsproject.vice.com 17 These Photos Will Put Your Voyeurism to the Test If 'Rear Window' was a Norwegian photography series... 2016-06-13 13:05 2KB thecreatorsproject.vice.com 18 Kylie Minogue, Nicole Scherzinger Perform at One For The Boys Ball Tinie Tempah, Robert Konjic, David Gandy and Eva Herzigova were among the guests. 2016-06-13 13:04 3KB wwd.com 19 CGI and Stone Short Film Takes You Inside an Artist's 'Head' 'Once Upon an Artist' finds Rubén Fuentes Fuertes sending a sculpture into the stratosphere. 2016-06-13 12:55 2KB thecreatorsproject.vice.com 20 Humans Battle Electricity in a Williamsburg Brownstone Exhibit For a five-night opening reception, 'Electrique' transforms a building into an electrical and mechanical light and sound art installation. 2016-06-13 12:50 11KB thecreatorsproject.vice.com 21 stelios mousarris' rocket coffee table blasts off on plumes of smoke in continuation of his creation of surreal and sculptural art objects, stelios mousarris has realized the nostalgia-inducing 'rocket coffee table'. 2016-06-13 12:45 2KB www.designboom.com 22 Art Trends: The New Nude Is porn art? Is art porn? Today’s conversation deeper consideration than simply "who’s being fucked. " 2016-06-13 12:40 3KB thecreatorsproject.vice.com 23 A Literal Ring of Light Will Hang Over the Brazilian Rainforest Perched atop a Brazilian waterfall, Mariko Mori’s brilliant installation will make its debut before the 2016 Rio Olympics. 2016-06-13 12:35 3KB thecreatorsproject.vice.com

24 Muhammad Ali's Paintings & Johnny Depp's Basquiats: Last Week in Art Also last week: Helen Mirren and Ted Cruz teamed up for the sake of art, a SFMOMA visitor damaged a Warhol, and controversial Russian performance artist Pyotr Pavlensky was released. 2016-06-13 12:30 4KB thecreatorsproject.vice.com 25 benjamin hubert + layer: wireless charge tray with a design language informed by crafted homewares, the ‘charge tray’ minimizes the visual impact of technology in the home and enables easy wireless charging of technology devices, including both mobile phones and tablets. 2016-06-13 12:12 2KB www.designboom.com 26 Aitor Throup’s Self Portrait This high concept presentation unveiled Throup’s collection of “trans-seasonal prototypes.” 2016-06-13 11:34 1KB wwd.com 27 HAO design transforms historic dwelling in taiwan conceived by HAO design as an experimental living studio, the property has been designed to host workshops, lectures, and hands-on cement work. 2016-06-13 11:00 4KB www.designboom.com 28 TEFAF Reveals Exhibitors for New York Fair Renowned Old Master and antiquities fair TEFAF has published the list of exhibitors for its inaugural New York fair, taking place in October. 2016-06-13 10:56 4KB news.artnet.com 29 In Basel, Liste Gets Older, But the Artists Stay the Same Age Liz Craft, Me Princess, 2008–13. NATE FREEMAN/ARTNEWS Liste, the satellite fair that had its VIP opening this morning in Basel, Switzerland, calls itself 2016-06-13 10:48 4KB www.artnews.com 30 British Council Launches "2017 UK-India Year of Culture" Campaign “2017 UK-India Year of Culture” Campaign Launched by British Council 2016-06-13 10:14 4KB www.blouinartinfo.com 31 mazzanti evantra millecavalli inside mazzanti evantra millecavalli, italian engineers combined a specifically developed six-speed sequential gearbox push the car from zero to 100 km/h in only 2.7 seconds followed by a top speed of 402 km/h. 2016-06-13 10:00 2KB www.designboom.com 32 The Index: Top 100 Collectors, Part One With established collectors and newer faces like Leonardo diCaprio and Nita Ambani, this is artnet News's Index of collectors shaping the art world. 2016-06-13 09:45 39KB news.artnet.com 33 DCA studio wuzhen north silk factory renovation the design includes extensive refurbishment and reinforcement of original structures, retaining original layout and spatial features -- albeit adapted to fit its contemporary program. 2016-06-13 08:45 2KB www.designboom.com 34 Nahmad Denies His Modigliani is Nazi Loot David Nahmad had spoken out in defence of his disputed ownership of Modigliani's "Seated Man with Cane," stating he does not believe it is Nazi loot. 2016-06-13 07:49 4KB news.artnet.com 35 11 Uneasy Questions Raised by Manifesta 11 The itinerant European biennial opened its 11th edition, with joint ventures between artists and professionals around Zurich leaving many questions open. 2016-06-13 07:26 8KB news.artnet.com 36 Ai Weiwei Signs With Hollywood Talent Agency Ai Weiwei has signed a deal with the Fine Art division of Hollywood's United Talent Agency to help him with the distribution of his upcoming documentary. 2016-06-13 06:31 2KB news.artnet.com 37 Michael Dayton Hermann: Oil-Paint Photoshop Read THE DAILY PIC on Hermann's show at Frances Saint Charles, where he takes Old-Master liberties. 2016-06-13 06:00 1KB news.artnet.com 38 interview with founders joe dieter and ben willis of audio startup human inc. to help us explain the human inc's trajectory and design background, designboom spoke to co-founders joe dieter and ben willis. 2016-06-13 05:15 7KB www.designboom.com 39 The 10 Best Shows To See in Basel This Week Heading to Art Basel? Make sure to clear your schedule for some of the city's museum exhibitions, as institutions put on their best shows this time of year. 2016-06-13 04:00 9KB news.artnet.com

40 REVIEW: Beautiful, Bestial, and Bonkers: ‘Iris’ at Opera Holland Park Mascagni’s rarely-staged 1898 opera Is the most bonkers show ever put on at Opera Holland Park 2016-06-13 02:48 2KB www.blouinartinfo.com 41 sergio albiac generates typographic collage portraits from code and transcribed voice for the project 'I am', artist sergio albiac creates generative portraits from the transcribed voices of participants describing their personality. 2016-06-13 02:30 2KB www.designboom.com 42 A Little Carpool Karaoke The host of the Tonys, James Corden, picked up Lin-Manuel Miranda of “Hamilton” and other Broadway stars before heading to the ceremony, enjoying a little karaoke on the way. 2016-06-13 02:03 770Bytes www.nytimes.com 43 VIDEO: Manolo Valdés on his Latest Works at Marlborough Fine Art VIDEO: Manolo Valdés on his Latest Works at Marlborough Fine Art 2016-06-13 00:28 1KB www.blouinartinfo.com Articles

43 articles, 2016-06-14 00:08

1 What to Watch For at Art Basel 2016 (1.08/2) Coming off a spring auction season that saw a steep plunge in volume—evening sales at Christie's and Sotheby's alone plunged roughly 60 percent, from $2.3 billion in May 2015 to $924.8 million last month— the art world is now gearing up for the next major art event on the annual calendar, Art Basel in Switzerland. Is the mood in the art market more sober? We got an emphatic "yes" from virtually every dealer, expert and collector we spoke with. The good news? That's not a bad thing. Jean-Paul Engelen, Phillips worlwide head of contemporary art, insists that the overall market is "very healthy," noting the auction house's 92 percent sell through rate at the recent major evening sale in May . Looking forward to Basel, he said "clients are always keen to see what is in Basel. It's still by far the most important fair and therefore a barometer of the market. I see that a lot of clients are really interested in engaging with galleries in the primary market. " "I think it's actually going to be a great Basel for me," art advisor Lisa Schiff told artnet News. "The last time I had an exceptional Basel was in 2009 when the mood was so bad and not so many people went. There were so many artists that we had tried to get before that we couldn't get access to… I think there will be opportunities. " The fair and its packed roster of activities and special sections, including "Statements" (new solo projects by emerging artists), "Unlimited" (massive sculptures, paintings, video and live performances), and "Parcours" (site- specific sculptures and interventions throughout the city), officially opens to the public on June 16 and runs through June 19. The main anchor of the show, of course, is the galleries section that takes over the Messeplatz. We spoke to some of the top dealers exhibiting at Basel this year to find out what they're bringing and why. Schiff was particularly enthusiastic about dealer Dominique Lévy's booth for the upcoming show. Levy is dedicating the booth to"revolutionary postwar artistic practices in the US and Europe, demonstrating an international spirit of radical rebirth, innovation, and transformation. " Artists on view will include Alberto Burri, Jean Dubuffet , Yves Klein , Piero Manzoni, Robert Motherwell , Gerhard Richter , and Pierre Soulages. The vibrant selection of works at Hauser & Wirth includes an arresting untitled painting (above) by Lee Lozano, along with works by Mary Heilmann, Philip Guston , Vija Celmins, Eva Hesse, Roni Horn, Rashid Johnson, Louise Bourgeois , and Mark Bradford. Gallery artists Isa Genzken , Paul McCarthy and Dieter Roth all have presentations as part of Unlimited and Hans Josephsohn will feature in the Parcours programme, with a display of 16 bronze sculptures on the central Münsterplatz. Joseph Kosuth 's presentation in "Unlimited" is co-presented by Sean Kelly and Sprüth Magers , a recreation of his very first gallery show in LA in 1968 when he was 23. It features 10 dictionary definitions of the word “nothing. " David Zwirner Gallery, which recently began representing the estate of Josef Albers , will be showing the legendary abstractionist's iconic square paintings alongside other works by the gallery's stable of stars including Francis Alÿs. Mamma Andersson, Michaël Borremans, R. Crumb, Marlene Dumas, Marcel Dzama, Kerry James Marshall, and Lisa Yuskavage. Further, Zwirner is presenting the work of Stan Douglas (co-presented with Victoria Miro Gallery ), John McCracken, and Wolfgang Tillmans in the "Unlimited" section. Galerie Gmurzynska will curate two areas in their booth this year at Basel. At one entrance, three sculptures by Joan Miró will be on view near his paintings and collages. The opposite side of the booth will be focused on celebrating the 100th anniversary of Dadaism including works from "Kurt Schwitters: Merz" with a reproduced digital backdrop of the late Zaha Hadid's Merz Bau installation. This was an interpretation of Schwitters's Merzbau, the name given to the Hanover house he transformed with grotto- like forms in the 1920s and 1930s. Gmurzynska will also show works by Fernand Leger, Wifredo Lam , Yves Klein, and Robert Indiana. Rosemarie Schwärzwalder, of Galerie Nächt St. Stephan Rosemarie Schwärzwalder, told artnet News via email: "Our booth at Art Basel this year will have a strong focus on painting, showing different generations and styles of artists beside one another which will uniquely highlight common features between artists such as Josef Albers and Imi Knoebel and Helmut Federle's 'Cornerfield Painting'. The single gesture of Lee Ufan 's painting will be juxtaposed with Katharina Grosse's multi-layered images. Jessica Stockholder's large-scale installation and a table filled with shreds of painted paper by Adrian Schiess take our booth into the third dimension. " Los Angeles gallery Regen Projects is bringing work by a wide range of artists in its stable including Anish Kapoor , Doug Aitken, Theaster Gates, and Liz Larner. Follow artnet News on Facebook . 2016-06-13 10:01 Eileen Kinsella

2 In Art, a Terminally-Ill Artist Finds Infinity (1.03/2) Installation view of Viaticum. Courtesy of Jenn Singer Gallery On her deathbed, artist Hannah Wilke shot a series of self-portraits to document the toll cancer had taken on her body. Far removed from the girlish charm of her famous S. O S. Starification Object Series , where the artist adhered gum wads to her naked figure, these images showed the once nubile Wilke marred and bedraggled by treatment just before her death in 1993. Published posthumously as the Intra-Venus series, this body of work actualized the body artist’s claim that, “To strip oneself bare of the veils that society has imposed on humanity is to be the model of one's own ideology.” This sentiment comes to mind when processing Viaticum, Kaylin Andres ’ solo show at Jenn Singer galley, co-curated by Ricardo Kugelmas. An archaic term used for the provisions one takes on a journey, Viaticum alludes to the 31-year-old’s own terminal prognosis as well as a journey she took to see a Brazilian healer. Composed of photographs from her trip and sculptures woven from hair she lost during chemo, the exhibition forms an abstracted portraits that is more poetic and reflective than Wilke’s bleak presentation of illness. Andres’ Viaticum III, 2015-2016. Courtesy of Jenn Singer Gallery Andres’ self-portraits are printed on silk, and they flap in the wind every time the door opens. A fashion designer by trade, her sensitivity to material comes out in the purposeful juxtaposition of textures, translucent silk pinned to heavy felt frames. In the photographs, Andres plays a ghost of herself. Obscured by a veil of organza, Andres haunts the lush backdrop of the jungle-bound healer she sought out. “The thing I remember most wasn't a particular event, but the energy in the room as hundreds of pilgrims gathered to see the healer. It was a very somber, solemn atmosphere, one of grave silence and respect,” Andres explains. “I realized that every person around me, hundreds and hundreds of people, were all suffering immensely, emotionally or physically. And I was suffering, too. That was a powerful realization, and it was then that I really understood the value of seeking healing.” Andres’ Viaticum X, 2015-2016. Courtesy of Jenn Singer Gallery Joseph Beuys’ belief in the artist-as-shaman is central to understanding Andres’ vision. The felt in the show, taken from emergency blankets, is a direct nod to Beuys, who Andres credits for inspiring the show’s philosophical underpinnings. “I agree that the role of the artist in society is that of a shaman, a healer—the artist has a foot in two separate worlds,” Andres says. “To make art is to take from one's inner world and make it material, to give it life in the physical realm. and of course, there is some magic in that transition. Our thoughts and feelings are diaphanous and ephemeral, yet our creation can be sensed and shared. With this we can communicate what is otherwise unknowable and save what would otherwise be lost. And finally, through this communion we can facilitate healing, both within ourselves and others.” Her words echo Beuys’ assertion that art is “the science of freedom.” Installation view of Viaticum. Courtesy of Jenn Singer Gallery The wall-bound sculptures add another dimension. Made from hair, wax, and religious paraphernalia, these morbid sculptures immediately invoke the work of Louise Bourgeois and Robert Gober. If one is to take the show’s title literally, then these are the small personal effects that Andres has taken on her long journey. Needle-points, made from strands of Andres’ hair and post-chemo wigs, strike the balance between what is precious and what is sinister. A kind of dark joke, these handcrafted pieces reference the crafts’ ancient roots as well as its current reputation as a waiting room pastime. Andres’ Blessing, 2016 Like Bourgeois, Andres sculptures are autobiographical. They don’t shy away from’ trauma; they face it head on and implicate the viewer in the tragedy. A contemporary memento mori , these images capture the artist’s suffering but also invite self-reflection. Through her visual storytelling, one is forced to reconcile with their own body and its mortality. “Cancer's life is a recapitulation of the body's life, its existence a pathological mirror of our own,” wrote scientist Siddhartha Mukherjee in his Pulitzer prize winning book, The Emperor of All Maladies: A Biography of Cancer. At Viaticum , Andres looks directly into this dark mirror without fear. Leaving the exhibition, one feels a life-affirming jolt of courage—no doubt the legacy Andres and her work will leave behind. Viaticum is on view until June 30th at Jenn Singer Gallery at 72 Irving Place. Click here for more information. Related: 'Thanks for the Mammaries' Battles Cancer with Contemporary Art Photographer's Final Project is a Moving Reckoning with Mortality These Surreal Paintings Should Make You Worry About the Earth 2016-06-13 13:00 Kat Herriman

3 Art World Responds to the Orlando Attacks (1.03/2) The deadliest mass shooting to take place on American soil has left 50 people dead, including gunman Omar Mateen, at Pulse, a gay night club in Orlando. The world has reacted to the senseless tragedy with shock and grief, holding vigils and offering artistic tributes to the victims, many of whom were young Latinos. Landmarks around the world, from One World Trade in New York and Los Angeles City Hall to the Story Bridge in Brisbane, Australia, and City Hall in Tel Aviv have been lit up in rainbow colors to commemorate victims of the shooting, while New York's Empire State Building went dark "in sympathy for the victims of last night's attack," as announced on Twitter. The Eiffel Tower has announced plans to follow suit on June 13. In Red Hook, Brooklyn, Pioneer Works turned its regular Second Sunday event into a last-minute benefit concert for Orlando, featuring performances from the US's first LGBTQI choir, the Stonewall Chorale , which began in 1977 and now has 150 member choruses. They were followed by Alsarah and the Nubatones, who joined "out of a collective love for Nubian music and a genuine belief that Soul transcends all cultural and linguistic barriers," as they state on Second Sundays' Facebook page. At New York's Japan Society , where curator Michael Changnon was giving the final tour of " In the Wake: Japanese Photographers Respond to 3/11 ," which closed June 12, he encouraged visitors to hang a message of peace and hope on Yoko Ono's Wishing Tree . On social media, the hashtag # TwoMenKissing has sprung up, in defiance of the homophobia that led to the attack. Artists have also rallied in support of the victims and their families, with Indian sand artist Sudarsan Pattnaik taking to the beach in his native country to create a graphic sculpture with the message " OneWorld, One Message, End Terrorism. " In West Hollywood, ChadMichael Morrisette recreated the carnage in a shocking piece titled " No One Is Safe ," covering the roof of his home with 50 mannequins. Hank Willis Thomas updated his Instagram account with an image of a work in progress titled Thirteen Thousand, Four Hundred and Twentynine , created for gun violence victims who died in the US in 2015. He appended his message with the hashtag #stopthekilling. Elsewhere, many have gathered to mourn at candlelight vigils. "In the face of hate and violence, we will love one another," said President Barack Obama, addressing the country from the White House. "We will not give in to fear or turn against each other. Instead, we will stand united as Americans to protect our people and defend our nation, and to take action against those who threaten us. " See more photos of the world's response to the tragedy below. Follow artnet News on Facebook. 2016-06-13 10:42 Sarah Cascone

4 Live Then, Live Now — Magazine — Walker Art Center (0.03/2) August 15, 1981 was a Saturday with temperatures in the 70s—on the cool side for the height of summer in Minneapolis. Diana Ross and Lionel Richie’s Endless Love was at number one on the Billboard Hot 100, and MTV had been on the air for precisely two weeks. This was uninteresting, though, to the crowd pushing into 7th St. Entry, a one-year-old, black-box annex to Sam’s Danceteria (months later to be rechristened First Avenue), a downtown music club in the former Northland-Greyhound bus depot fast becoming one of the Twin Cities’ premier music venues for emerging talent. They were here for punk rock, and for the homecoming of three young musicians from St. Paul: Grant Hart, Bob Mould, and Greg Norton—collectively known as Hüsker Dü—returning to town at the end of a tour they named the “Childrens’ Crusade.” The tour marked Hüsker Dü’s international breakout, as it began in Calgary and Victoria. It then meandered from Seattle to Portland to San Francisco and Sacramento and back to the Midwest through Chicago and Madison. But here at the Entry (as it was called by its regulars), Hüsker Dü was a fixture, having played the venue on at least 50 occasions—sometimes several times in one week—since January 1980. The cramped Entry—capacity 250—had been hewed from the bus depot’s former cloakroom and cafe. In its corner was the low-ceilinged stage, swathed in peeling black paint and scattered with plastic beer cups. It barely accommodated Hart, Mould, Norton, and Hart’s Ludwig drum kit, inherited at age 10 from his older brother, tragically killed by a drunk driver. The crowd in the smoke-filled room was partying, restless, waiting to experience the contagious energy that by now they knew well. Touring had tightened up the material, and new songs had been written on the road, so the band knew it was a moment to capture. Short on funds for a studio album, they had cobbled together $300 to record the show with the intent of releasing it as a live LP. From the moment Hüsker Dü took the stage, the first set was unrelenting. It began with “All Tensed Up” and proceeded to compress 17 songs into less than a half hour, kept on pace by Hart’s ferocious, high-speed drumming: insistent, decisive, with clear purpose. The LP would be called Land Speed Record and was released shortly thereafter with assistance from Mike Watt of the Minutemen and his label New Alliance. The jacket, like those of many hardcore punk and ska records of the time, was requisite black and white, its DIY graphics (designed by Hart via his pseudonymous Fake Name Grafx with Xerox copier and Sharpie marker) advocating the same urgency and immediacy as the music within. While less melodic and textured than Hüsker Dü’s subsequent albums, this one was special in its unruliness: it not only revealed a band on the verge of its collective potential, but also captured the essence of the venue that had been its incubator. For 26 minutes and 35 seconds within its enveloping black walls, 7th St. Entry became a creative tinderbox, encapsulated within Land Speed Record. Eighteen years later, Hüsker Dü had disbanded, as had Hart’s subsequent band, Nova Mob. By the channels through which artists and performers often discover shared sensibilities, Grant Hart, now a solo performer, met Chris Larson. Both were from St. Paul, both had a fascination with a certain history of American culture, both understood music’s relationship to art. Their friendship through the years became a collaborative one: Hart appeared in Larson’s live performance work Shotgun Shack and his film Crush Collision (both 2006), and Larson provided album art for Hart’s independent release Good News for Modern Man (2014). A musician in addition to being a visual artist, Larson has broad interests. His roots in sculpture have led him to explore film, video, photography, performance, drawing, and painting. His most memorable projects have stemmed from architecture—from vernacular building types (coal mine tipples, shotgun shacks) to imaginary, illogical structures—which inspire sculptural or filmic environments rooted in his skilled carpentry. These structures are layered with a strong narrative armature; he often lays plans within them for some unexpected action, such as the rural shack in Deep North (2008) encrusted inside and out with ice and housing a strange, human-powered machine, or the floating house adrift on a lake in the film Crush Collision (featuring Hart among its performers), in which a rough-hewn machine, a gospel quartet, and a drummer share parallel narratives and spaces within. Larson’s works are often linked—a sculpture becomes a film set that then becomes a photograph, for example—and are also regenerative, as an element used in one piece has the potential to appear again in another. While his earlier works embraced archetypal structures and improvised apparatus, more recent endeavors have investigated specific architectural sites. For Celebration/Love/Loss (2013), he meticulously constructed a full-scale wood-and-cardboard facsimile of the only Marcel Breuer–designed modernist home in the Twin Cities, then proceeded to torch it in a grand spectacle of flame. For Larson, the process of replication is a route to new meaning. With Land Speed Record , his latest video installation, he focuses on the objects (and memories) left behind when their context and architectural enclosure have disappeared. In 2011, Hart’s childhood home in South St. Paul caught fire and partially burned. The smoke-blackened contents—furniture, appliances, antiques and collectibles, Studebaker parts, ephemera from gigs, art supplies, clothing, master tapes, guitars, and drums—had to be quickly cleared from the home, and Larson volunteered his studio as a storage space. For almost two years, the accumulation occupied the studio, itself a former warehouse for furniture in transit from factory to home. Hart would occasionally rearrange things on periodic visits, but Larson lived with and contemplated the items as they sat dormant, without framework or circumstance, unmoored from the house in which they had been collected, where Hart had learned to play the drums used at 7th St. Entry on August 15, 1981. Larson did not focus on the house. Instead, he began to build another machine, this time a motorized track for a camera that could provide new perspective and capture a slow, methodical pan across the 85-foot-long drift of Hart’s possessions. This became a pair of films—one in color, one black and white—each mirroring the 26:35-minute duration of Land Speed Record. At first the films, at once reverential and haunting, were silent. But the work wasn’t finished. Larson began a new sculptural element, this time using the less physical materials of sound, memory, and place. He bought drums from Twin Town Guitars (“Keeping your life loud & local since 1997”)—a crystal-clear Ludwig Vista- Lite kit in mint condition. He commissioned a young musician with a passion for hardcore punk to learn the drum track of Land Speed Record , in its entirety and to meet him at 7th St. Entry when he was ready. The empty venue was unlocked, lights turned on, and the transparent drum kit arranged on the stage. Quietly placed alongside it was a Ludwig snare, unearthed from the pile of burned objects. After recording equipment was set up, the musician, sticks poised, donned headphones. Seven seconds passed, during which one could faintly hear through his headset the sound of a crowd, a squeal of feedback, and the opening chords on Land Speed Record . Then he began drumming, playing with surgical precision alongside the recording of Hart. Live then and live now. This time, distilled and stripped away from band and crowd, Larson’s recording captured just two things: the crystalline syncopation and the walls of 7th St. Entry that carried its sound. In Larson’s installation within the dark gallery space, this pure and specific sound is layered with sculpture (based on the venue’s black room divider/drink rail) and with the films. The sound interrupts, then fades through the filmed images, wrapping Hart’s inert and orphaned belongings in the moving image with the liveness of August 15, 1981. Recorded by the camera and scaffolded by sound, the charred objects are no longer ruins but are emancipated—they no longer require the enclosure of the house, the studio, or specific recollections. When Land Speed Record hit stores just before Christmas 1981, a local critic admiringly called it “a repository of strength and horror” ( City Pages ). For Larson, the notion of the repository remains rich and spacious, filled with the possibility for reinvention. Likewise, the vestiges of what a space has once held, whether objects, sounds, words, or memories, can perpetually be re-embodied. In Larson’s Land Speed Record , these remnants layer to form a larger narrative. Hüsker Dü was named after a family board game that tests one’s ability to recall images: a childhood home, a music venue, a furniture warehouse. The words are Norwegian for “Do you remember?” This essay will appear in the Chris Larson: Land Speed Record exhibition catalogue. To be released in August in commemoration of the 35th anniversary of the release of Hüsker Dü’s album of the same name, the catalogue will take the form of a clear vinyl LP bearing a new drums-only recording of the entirety of Land Speed Record , accompanied by four essays that appear as liner notes. Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017. Photo: Larry Smith Photo: Gene Pittman Photo courtesy the artist Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist Photo: Jordan Rosenow Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Photo: Jordan Rosenow 2016-06-13 18:26 By Siri

5 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker’s Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this illustrated survey. Celebrating its 10th anniversary, the Sundance Institute’s New Frontier program has provided the highest level of curation in this emerging field since 2007. Virtual […] 2016-06-13 18:26 By

6 Audition Announcement! Choreographers’ Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers’ Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas’ current work disrupts Eurocentric cultural norms by creating dance […] 2016-06-13 18:26 By

7 An Opening Reception for Lee Kit’s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Kit. The instillation combines Lee’s paint-based practice and his object- based practice to explore the poetics of everyday materials and household items. Contributing Members were […] 2016-06-13 18:26 By

8 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and Buckminster Fuller; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and theFoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant co- opting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, 1976. As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed—and deemed a failure—by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed. 2016-06-13 18:26 Donghwan Kim

9 Erasing the Photographer’s Hand: Phil Collins’s Free Fotolab Phil Collins’s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27– October 9, 2016. In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he […] 2016-06-13 18:26 By

10 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman— who passed away May 9 at age 90—oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artist-centric values. Following up […] 2016-06-13 18:26 By

11 the k.o.t project inserts functional box into duplex apartment in tel aviv the k.o.t project inserts functional box into duplex apartment in tel aviv (above) the black iron entrance door leads into a small entrance hall designed by K. O. T project, the architecture of this apartment in tel aviv is home to a renowned fashion designer and his partner, a media figure. the design portrays an intersection between the rich aesthetic of the 50’s and 70’s with the cleanliness of current design. the owners requested functional and spacious spaces, as well as ample storage. the planning instigated many conversations regarding lifestyle, practical use, leisure, natural lighting, and work requirements. before the renovation, the apartment had two bedrooms, a living room, and a separate kitchen; the rooftop floor had a 10 m2 attic. the design concept for downstairs led to the creation of one unrestricted and functional space – by perceiving the structure’s enveloping walls as an outer shell for a domestic hub. the closet is constructed with natural bamboo boards, separated from both floor and ceiling by an aluminum profile custom-made carpentry and welding units added by K. O. T project structure the inner space, as each function has a unit that contains it. in addition, 40 m2 of lightweight construction (steel frame and aluminium roof) were added to the rooftop floor. the 74 m2 first floor now consists of an open space for the living room, kitchen, dining table (with a closed guest bathroom), as well as the master bedroom unit with a walk-in closet and bathroom. the 64 m2 rooftop floor holds an additional lounge, kitchen and small dining table, as well as a guest bedroom and washroom. a paved balcony of 24 m2 is annexed to the parameter. the living room is furnished with checkered missoni armchairs and a grey couch during the planning process, an emphasis was placed on natural lighting, the relationship between the outer public spaces and the inner private spaces, as well as interior. every item in the apartment was carefully selected: leather chairs on an iron frame from the 1970s, glass tables, vintage lamps found in athens, hand-woven carpets,missoni textile, andrew martin upholstery, an earthenware pot from tibet, an original oil painting from a private collection and more. the washrooms and bathroom serve as blue and turquoise focal points that break the wood and black theme– exposed to the main space once the door is opened. the main piece of carpentry arranges all different uses around it: hall, guest bathroom, living room, dining area, kitchen, bedroom and closet room the kitchen was planned as different units set side by side, each of which has its own defined purpose a black marble surface sits on a custom-made wooden unit with legs, which contains cupboards, drawers, and an oven a concealed door in the same large closet leads into the master bedroom the front of the closet leads to the dressing room and ends as a ceiling-high open storage unit for shoes the closet ends at the constructive cement pillar, from which plaster was peeled and roughly the balcony was paved with cement tiles, and is mainly used as a green terrace for growing vegetables and herbs every item in the apartment was carefully selected designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-13 16:30 Kfir Galatia

12 2016 Tony Awards Sends Message of Love, Unity The 2016 Tony Awards ceremony was a celebration, not only of Broadway’s best talent, but of the power of theater and art in the wake of tragedy. Sunday’s event took place less than a day after news of the worst mass shooting in American history, at a gay nightclub in Orlando, Fla. The Tonys awards ceremony was dedicated to the victims of the shooting, which left 50 people dead and at least 53 injured: many attendees wore a silver ribbon pin in recognition, winners spoke to the tragedy and offered words of love, and the cast of “Hamilton” left the muskets out of its live performance. “My heart goes out to the families and victims,” said Brandon Victor Dixon, nominated for best featured actor in a musical for his role in “Shuffle Along.” “At this point, we have this conversation so much you start to feel like nothing will change our intransigent bums representing us in Congress, but my hope is that in this political climate, in this election year, that we can really unite together as a community and demand that our leaders are doing their jobs.” Dixon came wearing a blue David Hart suit picked out by Anna Wintour, who has adopted the role of raising the fashion profile of the annual event. “[Hart] actually happens to be a fellow hometown boy — I’m from Maryland as is he, so I’m happy to be wearing him tonight,” Dixon remarked. Laura Benanti, nominated for best leading actress in a musical for “She Loves Me,” picked a long sleeved Oscar de la Renta gown for the ceremony. “I’m just wearing a bodysuit underneath instead of a slip to make it feel a little bit more daring and modern,” she said. “I love that it’s romantic, I love that it’s the colors of our show, and I love that it’s really comfortable.” Although clouded with sadness, this year’s ceremony was testament to the importance of art as a tool to unify and uplift. And for the winners, it was also a chance to celebrate the highest honor for working on Broadway. “The Color Purple” star Cynthia Erivo, who won best leading actress in a play, walked into the Plaza Hotel after-party clutching her hard-earned trophy. The crowd let out a prolonged celebratory cheer. 2016-06-13 14:04 Kristen Tauer

13 Short Film Combines Rock Climbing, Brazil, and Sebastião Salgado-Style Visuals Image courtesy of Nicolas Cambier The glimmering yet darkened environment of a quartz mine is the setting for a new short, AutoQuartz , by London-based French filmmaker Nicolas Cambier. The dialogue-free black-and- white film follows a miner as he clambers from the depths of the quartz mine up a cliff, his body shimmering with the quartz crystals that are his life. The audiovisual narrative relies entirely on body language, sound design, and scenography to tell the tale of the daring escape, with the miner almost like a dancer as he makes his bid for freedom. "From the very beginning, the desire was to create a character, with a story and a world as vivid as possible, with as little as possible," notes Cambier. It's a world that he describes as "stark, sun-less, where hard labor and mystique mix seamlessly. " Image courtesy of Nicolas Cambier Two of the director's previous films— Ruff , Synapse — have concentrated on biomorphic wearables created by architect Behnaz Farahi. And this piece looks to continue with the concept of the augmented human body, albeit this time with crystallized minerals. Unlike those previous films, though, which documented experimental uses of 3D-printed technology, AutoQuartz takes inspiration from Latin-American music and culture, photographer Sebastião Salgado, and rock climbing, which Cambier recently took up. "Brazil hit me as an amazing maze of sounds and body language, as if the culture was in constant motion," Cambier explains to The Creators Project. "Then I discovered the fiercely evocative work of Sebastião Salgado in an exhibition in Paris, more particularly his mine series in the 1980s Serra Pelada, with these thousands of termite-like miners climbing up and down the deep carved landscapes. Finally rock climbing, which I started about a year ago, taught by my friend Jake and who I spent hours observing from below, working his way up with (apparent) effortless grace. The idea of blending these three elements together started to grow, I imagined this young Brazilian miner who one night decides to climb his way out incognito, by covering his body with the sparkly soil of the mine he works in. I ended up mentioning the idea of the film straight to my climber friend, he seemed keen, so we went ahead. " Image courtesy of Nicolas Cambier Because of its unusual subject matter and unconventional approach Cambier has decided to crowdfund the project on Kickstarter. More traditional approaches—art grants, competitions, residencies, partnerships —would simply take too long. If the goal is reached and the film is finalized, the project might not end with just a cinematic version, either. Because of the visual nature of it, future ambitions could include a possible live version, too, But at the moment, much like that escaping miner, Cambier and his team are taking it one step at a time. Image courtesy of Nicolas Cambier Visit Nicolas Cambier's website here. Visit the Kickstarter for AutoQuartz here. Related Skiers Become Black-and-White Abstract Art in ‘PBK1' An Experimental Horror Film Marries Grotesquery and Feminist Poetry Stark Geotagged Photos Shed Light on American Poverty 2016-06-13 13:20 Kevin Holmes

14 zai shirakawa: N village in japan zai shirakawa organizes shingle-clad N village by the coast in japan ‘N village’ is a japanese architecture project shown as a collection of archetypal huts set by the ocean edge of east coast japan. designed by zai shirakawa architects & associates, the series of five varying sized structures individually host different programs including a cafe, surf shop and a meeting space, all of which located in otsuchi – a place renowned for surfing. the architecture sits on a raised platform and the uniform proposal adopts a pre-fabricated approach making the structures easily configurable to different programs. the original site was damaged from the devastating earthquake a few years ago and after winning a competition, N village was realized. the tokyo-based architects chose to wrap the buildings with a timber shingled envelope. furthermore, three of the five pavilions are organized purposely with a spacious gap in-between to encourage an outdoor terrace and socialization between neighbors. orientated to face the sea and receive maximum daylight, the larger two of the structures is connected and organised across two levels with the architectural element centrally located, thus directing light, circulation, and movement throughout. the original buildings were damaged by the earthquake each building is arranged with a space in between to encourage interaction between neighbors one side of the buildings faces the ocean the uniform and consistent design blends yet stands as a recognized scheme in the city timber construction has been used throughout with the adaptable spaces used as a cafe and surf shop seating has been placed outside 2016-06-13 13:18 Natasha Kwok

15 The ‘Body Bakery’ Gives a New Meaning to Eating Face All images courtesy of Whitespace Gallery, Bangkok This sculpture studio isn’t your average workspace: Looking at Ratchaburi, Thailand-based artist Kittiwat Un-ar-rom's work, you’d think the flesh came from either a forensics lab or a prop store. But these severed limbs, haggard faces, and fleshy lumps are actually made entirely out of dough. In his Body Bakery works, every single bun is edible—for years, the artist has kneaded and mixed his way through hundreds of flesh-like rolls that would put even the hungriest off of their lunch. He displays them as if they were in a butchery, the starchy designs all wrapped up in cling film and suspended from metal meat hooks. Each baked body part is made with meticulous detail; each feature constructed out of raisins, nuts and other edible toppings. After they are sculpted and baked, a bloodlike glaze is swept over each loaf, making for a creepy, stained lump of stodge. To add to their realistic effect, each head hasn’t got any hair, resulting in the macabre illusion that they've been decomposing for some time, not fresh from the oven as they actually are. Engaging with a long line of sculptors who eschew ordinary mediums, Unarrom first started working in 2003, winning gold prize for a piece in a competition at Bangkok’s Silpakorn. Two years since that competition, he’d crafted more than 200 unnerving faces out of his carb-y medium, and these days he's represented in Bangkok by Whitespace Gallery. His work questions material use; why choose an expensive medium, when equally impressive results can be made from mere dough? In observing these baked bodies, Unarrom asks us to be critical with our own judgements; to question if what we see is actually what we think. It also reminds us of the link between humanity and the simple bread loaf. Historically, bread has had an inextricable tie to civilizations and cultures, from religious offerings to political revolutions. Thus, with its subversion via ‘dead bread faces,’ Body Bakery bears the visage of many simple truths. Click here to visit Whitespace Gallery's website. Related: These Tasty-Looking Foods Are Actually Sculpted Paper Artist Finds Zen Through Wax Sculpting Hyperrealistic Sculptures Blur the Line Between Clay and Flesh 2016-06-13 13:15 Anna Marks

16 A Music School Teaches Blind Youth to Find Their Voice Photo courtesy of AMB David Pinto began working with blind musicians as if by fate. In 1996, he was a professor at Pierce College in Los Angeles. During his Audio Computer Recording Class, he encountered a blind music student and realized that the software required for the course was unusable for those with visual impairments. Soon after, he created an audio recording software that blind musicians could utilize, and began working with greats such as Ray Charles and Stevie Wonder, among others. Now, Pinto is the Founder of The Academy of Music for the Blind (AMB), a school just outside of LA with the mission to enhance the physical, cognitive, and social development of blind children through an education in music and the performing arts, no matter their economic or geographic circumstances. AMB strives to ensure that blind musicians are fully integrated into the music culture of modern society, both professional and personal. For over 12 years, AMB has been encouraging and promoting music and performance art for blind youth. Through one-on- one instruction, children who attend the one-year comprehensive program flourish. Unlike many traditional conservatories, AMB encourages creativity and technique, rather than forcing its students to learn traditionally through limitations and specific guidelines. Photo courtesy of AMB The benefits of music on learning in general have been thoroughly documented , and Pinto noticed similar effects when working with blind music students. "Cognitive development can be challenging for the blind," he tells The Creators Project, "because concepts tend to remain more abstract than for the sighted. But music develops cognitive skills, including math, language and memory, by making abstract concepts concrete through rhythm, harmony and melody. " He goes on to list the social benefits of musical study for the blind as well, noting that it allows students an avenue to connect with others in a world where the lack of vision often creates a barrier to everyday social interactions that sighted individuals take for granted. Photo courtesy of AMB One of the most interesting concepts at the heart of AMB has to do with the way the students process music. "Most blind music students use their ears more intensively than their sighted peers," Pinto says. "Just as children learn to speak before they learn to read, the blind almost always learn music before learning how to read Braille music. This is not true for most sighted music students. They tend to be the victim of notes [...] going at the pace dictated by their ability to read. "This allegiance to the page stunts the development of sighted musicians ability to really 'hear' music," Pinto continues. "Most sighted students cannot play by ear. Even the greatest classical musicians in the contemporary world cannot play the ‘Happy Birthday’ in any key without music. Whereas this is a cinch for any blind music student. Because of the blind students' ‘big ears,’ teaching the blind is an extraordinary pleasure to music teachers: the blind connect directly to the music, while the sighted have the intermediary of notes on a page. " Tactile Art Documentary Song from Cantor Fine Art on Vimeo. Beyond music education, AMB students travel around California performing at a variety of events, including singing the national anthem at Lakers games. AMB also collaborates with other organizations in order to broaden the creative opportunities for the students at their school. Recently, Cantor Fine Arts, a gallery in Los Angeles, commissioned AMB to write and perform the soundtrack to their new documentary about tactile art which features a sculptor who creates physical images for the blind. AMB is a place for students to learn and grow, both as musicians and as people. From the one-year program for youth, to student counseling and computer literacy, to social and living skills classes, AMB offers blind youth more than a musical education; it offers them a safe space in a world that is not always kind to those with disabilities. “Some of our multiple-impaired students were thought to not be educable,” Pinto recalls, “but through music, they learned to read Braille, to speak coherently, to perform and entertain others with their musicality, and to move with grace.” For more information about The Academy of Music for the Blind, please visit their website . Related: Please Touch the Art: 3D-Printed Masterworks for the Blind Artist Crafts Tactile Portraits the Blind Can See A Blind GIF Artist Visualizes His Lost Sight 2016-06-13 13:05 Abby Ronner

17 These Photos Will Put Your Voyeurism to the Test Behind the curtains. Images courtesy of the artist Sometimes, when I’m stuck in traffic, I’ll look over at another driver, a complete stranger, and try and guess where they might be going. I’ll ask myself things like, “What are they doing this weekend? " or, "What did they have for breakfast?” These are the sorts of itching questions Norwegian photographer, Ole Marius Joergensen , wants viewers to ask of his cinematic photography series, Behind the Curtains. It’s clear that the subjects of Joergensen’s photographs aren’t aware they're being photographed. They're caught off-guard, through open windows, engaged in something. The more we gaze, the more we interpret. But are these conclusions truths, or rather, projections? Each image is taken from the perspective of someone outside looking in, the viewer in its uneasy sense of surveillance. One can’t help but feel like they’re invading private spaces—then again, maybe that's the secret to their irresistible allure. Every tiny piece of information gives birth to another question, reminding us of the still image’s ability to tell as many stories as it does creat unanswered questions. Stormy Night Joergensen writes, “Norwegians like their privacy and yet some peoples’ curiosity can be obsessive..” This sort of fervor has been the subject of television shows and movies including Disturbia and its predecessor, Rear Window , and penetrates Behind the Curtains. Peeping Tom The letter You might think of ‘voyeurism’ is some whacko sex fetish reserved for perverts and lonely old men, but I think most of us have experienced some sort of urge to people watch, making Behind the Curtain a relatable and perhaps self-reflecting piece for all of us. Gunhild in the night The phone call Bad news Hiding… Ole Marius Joergensen has had numerous solo exhibitions in Oslo, as well as in Amsterdam and London. His work has been shown in group shows and art fairs all over the states. He’s been included in a handful of award shows and contests, and is nominated for this year's 9th Annual International Color Awards. Click here to check out more from Ole Marius Joergensen. Related: Play Voyeur Inside an Artist's 3D Selfie Archive Shadowy Nudes Give a Face to Internet Voyeurs (Meaning, YOU) Original Creators: Alfred Hitchcock 2016-06-13 13:05 Nathaniel Ainley

18 Kylie Minogue, Nicole Scherzinger Perform at One For The Boys Ball Held at the Victoria and Albert Museum, the ball was hosted by Samuel L. Jackson and Stanley Tucci, who along with the charity’s founder, Sophia Davis, assembled the likes of Bon Jovi drummer Tico Torres, Chinese actor and model Hu Bing, Eva Herzigova , Oliver Cheshire and Haley Joel Osment, who took to the catwalk after dinner and hammed it up in examples of British men’s wear. Torres was feeling confident about his catwalk turn. “Why would I feel nervous about walking [on a catwalk]? I’ve been walking my whole life,” he joked. By contrast, despite his professional modeling qualifications, Bing was squirming after his walk. “That was embarrassing,” he cringed. Performances by Kylie Minogue , Nicole Scherzinger and Tinie Tempah were also part of the night’s entertainment, alongside a tear-jerking short film by Sarah Walters aimed at encouraging men to talk about their health concerns and gain the support of loved ones when suffering from all forms of cancer. “Men think because we are men we don’t have to go to the doctor but it’s very important to get yourself checked out. If not for yourself, then for the people around you,” said actor Anthony Mackie, who recently played Martin Luther King Jr. opposite Bryan Cranston’s Lyndon B. Johnson in the HBO film, “All The Way.” “When I turned 30, I woke up one day my back hurt, my hip hurt, my head hurt and I went out partying with my friends and the next day I didn’t recover the same and I was like, ‘I’m getting old.’ I realized my mortality. After that I started going to the doctor every six months.” Scherzinger had arrived late in a white leather strapless dress by Nicholas Oakwell and a towering pair of Louboutin pumps, which she promptly removed when she was ushered behind a marble pillar and up to the dinner. After singing a mash-up of The Pussycat Dolls’ “Don’t Cha” and Maroon Five’s “Moves Like Jagger”, she dedicated a performance of “Purple Rain” to the memory of Prince, whom she had spent time with shortly before his death in April. “I didn’t want to sing this song but Mr. Jackson asked me to, so you’ll have to bear with me because I’ve never sung this song before,” she said to the audience. It had taken over a year to get Minogue to the stage. “All those emails paid off,” she joked to Davis in the audience, before she sang a moving rendition of “I Believe In You,” also requested by Jackson. The singer, who had survived her own battle with cancer, wore a green DSquared2 gown. Robert Konjic was thinking of his own musical abilities, ahead of a karaoke party set for Monday night, a second One For The Boys event in as many days. “I’m a terrible singer. I might just have to find five people and shout a song into a microphone,” he said. “I usually choose something really flat and toneless like Iggy Pop’s ‘The Passenger,’ but I can’t sing that, it’s five- minutes long, everyone will hate me if I sing a song that long.” After dinner, Tempah lifted the mood – and people off their seats – with an energetic performance of his boisterous hit, “Pass Out”. “Tinie Tempah is the most important artist of our generation,” Jack Guinness intoned gravely, adding an arch wink for effect. 2016-06-13 13:04 Julia Neel

19 CGI and Stone Short Film Takes You Inside an Artist's 'Head' Screencaps via A beautifully surreal new profile series uses breathtaking visual effects to portray the physical and mental labors of the working creator. In the first chapter of Once Upon An Artist , "Head," filmmakers Marc Guardiola and Pepe Ábalos capture the process of Spanish sculptor Rubén Fuentes Fuertes as he builds Head , a five-foot-tall work of compact quartz. Through elegant camera work and use of blockbuster-grade special effects, Guardiola and Abalos reconstruct what they see as a “visual metaphor”: an imaginative digital projection of the artist’s philosophical approach. Fuertes remarks, “For me, sculpture today is a way of communicating, a passion, and my way of life.” In one of these poetic visual illusions, Fuentes is pictured standing on a seaside cliff, looking on at a digitally rendered image of his developing sculpture. Head has been digitally pieced together by rocks and boulders from the nearby sea wall and floats in front of the artist in midair. The filmmakers write, “We use the tool of visual metaphor to redraw what our artists tell about their work. All during their work’s process.” Some things just can’t be expressed with words, though, so check out Once Upon An Artist: Chapter 1 , below: ONCE UPON AN ARTIST. Chapter 1: HEAD from Marc Guardiola [ La Mafia ] on Vimeo. Check out more of Fuertes’ abstract sculptures on his website, here. Head over to the filmmakers’ vimeo page to keep an eye on upcoming chapters in the Once Upon An Artist series, here. Related: Here's a '90s Chicago Bulls Jacket Made of Pulverized Quartz Stone Goes Soft in These Mind-Bending Sculptures Surreal Sculpture GIFs Depict Artworks from Another Dimension 2016-06-13 12:55 Nathaniel Ainley

20 Humans Battle Electricity in a Williamsburg Brownstone Exhibit Photo courtesy of The Hollows Electrical and mechanical light and sound installations span all four floors of The Hollows , a multilevel gallery housed in a brownstone in Williamsburg, for the five-night opening reception of Electrique. Beginning on June 15, the 40-piece group exhibition features works both on the front and back facades of the building, as well as on all floors within. Each artist was restricted from using anything digital in their pieces, although the prevailing theme of Electrique explores the relationship between humans and electricity. Each level of the brownstone represents a different stage in the development of that struggle, beginning with the sub-theme "Electricity As Agent," in the basement, wherein visitors are introduced to electricity as an invading force. From there, subsequent floors highlight the increasing tension between humans and electricity until the final level, "Electric+Human," where the two merge, becoming one “super-entity.” As an addition to every exhibit, The Hollows offers visitors an inside glimpse at the curatorial processes of its exhibitions in a recurring "Curator’s Room" installation, now entitled, Electra’s Remedy. It provides visitors with a behind-the-scenes experience of the making of Electrique. The Creators Project sat down with curator Pırıl Gündüz for a sneak peak at the ambitious exhibition. Photo courtesy of The Hollows The Creators Project: What inspired the concept for Electrique? Pırıl Gündüz: Electrique was inspired by nyctophobia, the fear of the dark, how to make it through the night to the morning when alone in a big empty house. Living with your demons and playing them until the dawn. Fear of the dark is regarded as an irrational fear, often only attributed to children but also valid for some adults. My father said the phobia of darkness emerged in our wiring due to the survival in the wild, at risk of the predator, and in modern living human finds some reciprocities to this impulse as the predator trigger is no longer valid. Surrounded by walls, we look into the abyss and we register the abyss, the onlooker, not through the trunks or branches but a more substantial and a vicious one. Night is easy for no one, but it can be fun. Also, Electrique as a human quality that can be achieved, obtained—attractiveness, not by default but a braided one. Maybe it is a “feminine”—better—a “girly” exhibition, more “girly,” in the sense [of] accepting being minor, hence, the big dark empty house, yet standing tall to your height. Photo courtesy of artist Dave Rittinger What is your definition of digital and why did you choose to restrict it from the artwork presented? I got to thinking more about the digital after reading Gilles Deleuze’s writings, especially his books Cinema 1: The Movement Image and Cinema 2: The Time-Image and Henri Bergson’s Matter and Memory. Deleuze brings forth the concept of the virtual and it is a fascinating concept to me, thinking in context of existence, evolution, archive and the human. Could it be claimed that the digital is the logistic of the technology and the virtual of the human and then there is the matter? I think it is important to dedicate an exhibition to pieces that have contemporary aesthetics but are of the technology of the 19th century. Contemporary art exhibitions had tended to jump from beaux-art conception to the digital, featuring novelties such as applications, interactive pieces, projections. You see, for example, in Édouard Manet’s A Bar at the Folies- Bergère (1882), light fixtures being depicted, a novelty at the time. I think having an exhibition not based on the newness of a technology or the cleverness of a custom software but on a more thoughtful consideration of visual aesthetics with saturated and matured technologies, brings together pieces that think about their aesthetics rather than the groundbreaking aspect of a certain technology and creates a less hasty tone. I think of the pieces exhibited as being less didactic and more pleasing. On the side, I was lucky to be assisting a digital art curator Christiane Paul for three years and digital pieces require a lot of cabling, hardware, and mounting accessories, and for the production team to work on turning on/off all the pieces before and after public hours. For this exhibition, we’ll just have to plug in the cords. Photo courtesy of The Hollows What facade installations can we expect? Some of the art works are installed indoors in such a way that they are visible from the street and the backyard on both facades of the building. Annesta Le’s three neon glass pieces are installed on three windows on the second floor. From the outside, it appears to be a continuous piece, a giant bolt that dominates the entire floor. On the ground floor, there are two kinetic chandelier shaped disco balls by Kiichiro Adachi attached to the ceiling. We also have a piece by Randy Polumbo installed outdoors on the porch, a telephone booth in which his signature shaped glass fixtures are blossoming, as well as a more adult piece by him that is placed on a top floor window, considerate of children’s height. It is a cast glass piece of a Hermès Birkin bag from which a bouquet of glass dildos pop out. Polumbo told me that he had to ruin the bag during the casting. Photo courtesy of The Hollows What kind of sensory experience does Electrique provide? We’re exhibiting interactive neon and xenon light pieces by Marco Guglielmino. One of his neon pieces responds to the human magnetic field. The viewer can pet the gas in the glass tube and the piece needs that touch to light fully. For this piece, we tried an installation on a mirror to amplify the visual and witnessed that the mirror blocked the flow. We’ll be exhibiting this piece with on a pedestal with mirror tiles and the visitors can grasp the interplay of different magnetic fields and the channeling that occurs among them. With his xenon gas pieces, touching the glass allows you to feel a subtle amount of heat and your touch stabilizes the moving light to an extent. There is also a gallery with the sub-theme "With and Without," where there is a light piece with timer installed in a strategic area of the house, a place where you might depend on the electricity the most. Although there will not be a complete black out, it is an inconveniency piece that will be an experience. The interruption of light will also make you notice other things. There is also a sound piece dominating the basement as well as a "Cave" sub-theme gallery with illusions, between "Schizophrenia" and "Psychedelia"-themed galleries, and also a gallery dedicated to cracks in the walls. Photo courtesy of The Hollows In your opinion, what are the highlights of the show? The pieces do not steal spotlight from each other but they all stand out at dark. Lindsay Packer is exhibiting Compact 3 , an analogue projection of a standard spiral bulb with a magnifier lens and it is a site-responsive piece. Her practice revolves around using the ingredients she finds at the space and using minimal hardware and structure, and achieving well thought-out imageries with good calculations even though the result seems like a spontaneous installation. Another piece is [from] Turkish Designer Merve Kahraman’s Revitalizer series, in which she uses wax. The wax is heated by electricity and as it melts, the wax is accumulated in a lampshade at the bottom, only to be reversed and used again. Another highlight is by Gregory Barsamian, a zoetrope piece in a barrel, an example of pre-digital animation. There is also an intervention by the curatorial team, myself, Gina Mischianti and Anna Kamensky, a circular light piece that loops through the doorways on the third floor. Photo courtesy of artist Dave Rittinger Can you give us a sneak peek of Electra’s Remedy , the "Curator’s Room" for Electrique ? "Curator’s Room" is an installation project, for me, making philosophy and creating context with objects, not dependent on technical skill but on that of the mind. Also, a project of convenience, too. There is almost always a bed placed according to the theme of the iteration, now [the] fifth. We’re a live/work/exhibit artspace, an artist residency of a particular sort. There is a concept for each iteration but it is also a time-reliant piece—there are places that are left blank for anticipated last minute souvenirs time brings and throws or props and tools such as hammers and nails and notebooks and pens… I think being a curator is something deep in-between the literary and the visual and you need to be pleasantly efficient. Space is very important, what is hidden, presented and polished. It requires [one] to have a little bit more than the bare minimum. All the objects, from notebooks to containers should be with a functionality that suits your needs and I think it is interesting to display these, different each time, suggesting methods and potential as they are used more for planning rather than display purposes. Photo courtesy of The Hollows For a philosophy seminar I took, we also talked about how philosophers, Pascal, Nietzsche, or Lichtenberg wrote. For example, when Pascal passed away, they discovered that he was writing on long sheets of paper, binding them later on and sometimes rebinding them to change the orders. For it being the "Electric+Human" theme, Electra’s Remedy is placed on the top floor. Some eerie rest is found even for a short time along the night. There is a neon chandelier by Marco Guglielmino, a feminine/masculine light piece by Dave Rittinger, and another Birkin cast glass bag with glass pieces, the “Evil” one this time by Randy Polumbo. And some things under the bed. The bed is important rather than the desk as the work space. Like Susan Sontag on the bed. It is a work space without doubt. Girl in the attic, electricity gotten under the thumb, garroted by its very cables. They will also be some clothing, music, books, reproductions and another cable piece by Dave Rittinger, Nest. Photo courtesy of The Hollows Electrique is on view at The Hollows through August 28th with a five-night opening reception June 15th through June 19th, from 9-11 PM. For more information visit The Hollows' website . Related: This Artist Crochets Sculptures from Cords and Controllers A Mini, Mechanical Metropolis Runs On Real-Time Urban Data Stunning Light Show Puts You Inside An Electrical Storm 2016-06-13 12:50 Abby Ronner

21 21 stelios mousarris' rocket coffee table blasts off on plumes of smoke stelios mousarris' rocket coffee table blasts off on plumes of smoke stelios mousarris’ rocket coffee table blasts off on plumes of smoke all images courtesy of stelios mousarris in continuation of his creation of surreal and sculptural art objects, cyprus-based furniture designer stelios mousarris has realized the nostalgia-inducing ‘rocket coffee table’. ‘I have been collecting toys and action figures and anything nostalgic from my childhood until this day,’ mousarris remembers. ‘every time I take a look at my collectibles, I remember my childhood, when I used to play for hours on end without a care in the world. I wanted to recreate that feeling of carefreeness and nostalgia with the rocket coffee table.’ the nostalgia-inducing ‘rocket coffee table’ continues the designer’s creation of surreal and sculptural objects the piece brings fluffy, cartoon-like clouds and aerial rockets from a personal toy collection to life in the form of a functional object. in its realization, ‘rocket coffee table’ combines various techniques from lathe to 3D printing, resin casting and traditional hand carved elements. each of the individual rockets remain unattached to the glass, allowing the user to generate their own desired structure and configuration. the table is designed to tap into the playful minds of nostalgic adults and children alike. the piece brings fluffy, cartoon-like clouds and aerial rockets from a personal toy collection to life ‘rocket coffee table’ combines various manufacturing techniques from lathe to 3D printing the individual rockets remain unattached to the glass, allowing the user to generate their own desired structure 2016-06-13 12:45 Nina Azzarello

22 22 Art Trends: The New Nude This article contains adult content. Last May, notorious appropriation artist Richard Prince caused a stir during the Frieze Art Fair in New York when he revealed New Portraits , a series of photos of photos. He “stole” the images from the accounts of some Instagram- famous young women— models, musicians, and performers. The purloined content was connected by Prince’s interest and the space it occupied; each carefully curated candid sat squarely between a sext and a selfie, revealing Prince’s penchant for publishing things that are potentially pornographic, as well as a number of young artists’ own. In 1969, Betty Tompkins took a similar approach to Prince’s with her own series of paintings. Her source material—tightly cropped hardcore pornography— caused her work to be banned all over the world. But the fact that Tompkins’s Fuck Paintings reemerged and were revered in 2013 speaks to a movement toward thinking more openly about sex and art. Even Jeff Koons’s 1990 Made in Heaven , a series of snapshots with his then wife Ilona Staller , a porn actress best known by the name Cicciolina (Italian slang for “cuddly fat one”), promised to shake up the rising star’s career by unabashedly depicting graphic sex. The pictures aren’t close to being his most popular, but they set the bar for sex performed as art in a way that only a handful of artists, including Cosey Fanni Tutti , with her two- year foray into porn stardom (a performance-art project called Prostitution ), had before. In the age of the internet, however, art and porn intersect more than ever. “I’m past being frustrated with being naked on the internet,” artist, photographer, and " CamWoman " Lindsay Dye told Motherboard , after she decided to print and sell the physical copies of screenshots from her live shows that online harassers had started blackmailing her with in 2015. “Once I accepted it, my live shows and art were activated again. I want the circularity of the project [Buy Me Offline] to work in my favor, by taking back what is mine and selling what the recorders can’t: my physical artwork.” It’s a project in line with the My body is on the internet, deal with it declaration that Prince’s Instagram subjects each appear to suggest, both in theory and in praxis. It’s a declaration made daily, with aplomb, in the internet-based works of Zoë Ligon , Leah Schrager , Ann Hirsch , and countless others. OK then, what can we make? Prince asks with his series. Lindsay Dye. Via Motherboard It seems high time we put to bed the divisive “art or porn?” debate. Today’s sex-based content deserves deeper consideration than simply who’s being fucked—not least because the market will buy or take the shirt off your back either way. Porn, like art, is what you make it. This article appeared in the June issue of VICE magazine. Click HERE to subscribe. Related: Bang on a Canvas to Make Art with This Sex Paint Kit A Rare Work of Japanese Erotic Art Hits the Auction Block [NSFW] Natalie Krim's Erotic Illustrations Get Cheeky 2016-06-13 12:40 Emerson Rosenthal

23 A Literal Ring of Light Will Hang Over the Brazilian Rainforest All images courtesy of the artist and FAOU Foundation Amidst the tenuous circumstances and health concerns surrounding Rio de Janeiro’s upcoming Summer Olympics, there is a beacon shining through the darkness —literally. Japanese artist Mariko Mori is currently in the thick of installing a “ring of light” at the top of the 190 feet-tall Véu da Noiva waterfall. The suspended ring will appear to hover angelically, and its color will change from blue to gold depending on the angle of sunlight reflecting off of it. Culturally endorsed by Rio 2016 Olympic and Paralympic Games, Ring: One with Nature will finish installing at the end of July and will premiere officially on August 2nd, three days before the Olympic Opening Ceremony. But unlike the 17-day sporting event, Mori’s illuminated ring is actually intended as a permanent installation within its surrounding landscape. “I hope to create a unifying symbol of humanity and nature. Ring signifies oneness, eternity, and completeness. The installation is meant to extend our remote ancestors’ tradition of honoring nature,” Mori tells The Creators Project. The permanence of the piece aligns perfectly with this philosophy: so long as it remains hovering over the waterfall, it will continue to serve as a symbol of unity. Mori herself is no stranger to large-scale light installations. In 2011, the artist erected Sun Pillar , a bright, metallic 14-foot-tall structure of layered acrylic on Japan’s Miyako Island. Her shift from Japan to Brazil for Ring goes beyond the occasion of the Olympics: “Seven years ago I had a dream in which a heavenly ring appeared above a waterfall,” Mori recalls to The Creators Project. “I was then invited to present a survey exhibition which traveled to three cities in Brazil in 2011. I decided to look for and found the waterfall that was in my dream during my visit for the exhibition,” If you're in Rio de Janeiro for the upcoming Summer Olympics, or find yourself visiting anytime thereafter, Ring: One with Nature can be seen near the city on top of the Véu da Noiva waterfall near the city of Mangaratiba in the state of Rio de Janeiro. For more information, visit the website of Mori’s FAOU Foundation. Related: Olafur Eliasson Invades Versailles with Giant Mirrors and Waterfalls Immersive Dream Installations Ask Viewers to Slow Down Electro-Luminated Wires Light Up This Australian Gallery 2016-06-13 12:35 Andrew Nunes

24 Muhammad Ali's Paintings & Johnny Depp's Basquiats: Last Week in Art Screenshot via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky—but all of them are worth knowing about. Without further ado: + You can buy a signed work of art by the late, great Muhammad Ali for a mere $400. The auction begins June 15th at Ro Gallery in New York. [ Time ] + In apparent preparation for his impending divorce with Amber Heard, Johnny Depp is auctioning off his collection of Jean-Michel Basquiat paintings. The Pirates of the Caribbean actor has elected for Christie’s to manage the selling of the nine works. [ Hypebeast ] + Helen Mirren and Ted Cruz have formed an unlikely alliance over a bill that would expedite the return of art stolen by the Nazis to Holocaust victims and their families. [ Newsweek ] Via + Less than a month after its great reveal alongside a Nevada desert interstate, Swiss artist Ugo Rondinone’s Seven Magic Mountains installation was spray painted with a penis, “666,” and the words, “HELLA SPIDER.” [ artnet News via ArtFCity ] + The latest in museum mishaps: a visitor to SFMOMA grazed Andy Warhol’s Triple Elvis with his/her elbow, damaging the famed work (albeit minimally, conservators report). [ SF Gate ] + Police are investigating Moscow’s National Center for Contemporary Arts' former director Mikhail Mindlin for suspicion of involvement in an embezzling scheme that has already placed a deputy culture minister behind bars. [ The Art Newspaper ] + Russian performance artist Pyotr Pavlensky has been released from prison after serving seven months for setting fire to the country’s Federal Security Service building. [ ARTnews ] Via + Adding insult to the injury that was last week’s flooding, on Monday, a fire ravaged a construction site right outside the still-closed Louvre Museum. [ The Telegraph ] + The upcoming exhibition of Cuban contemporary art at The Bronx Museum of the Arts has been postponed. Reportedly, the nation of Cuba fears that the valuable works, loaned to the museum from Havana’s Museo Nacional de Bellas Artes, could be seized to satisfy part of the $7 billion in claims from former American property owners whose land was seized under the Castro regime. [ The Art Newspaper ] + Artist duo Gilbert & George are opening a nonprofit art space in Spitalfields, in London’s East End. [ The Guardian ] + The revered Brazilian artist Tunga passed away at the age of 64. [ Artsy ] Via + Finally, an Election 2016 read that won’t induce (as much) fear-induced vomiting: “The Art History of Hillary Clinton & Bernie Sanders.” [ Artspace ] + Alan Nakagawa, an artist-in-residence at the Los Angeles Department of Transportation (no, seriously), is investigating traffic deaths in L. A. through sound art and oral histories. [ Gizmodo ] + Moscow’s Garage Museum is organizing the world's first triennial dedicated to Russian art, which is scheduled to launch in March of 2017. [ Artforum ] Screenshot via + Last but certainly not least, the Met’s Director and CEO, Thomas Campbell, #keptitreal about his smelly dog on Instagram. [ Instagram ] Did we miss any pressing art world stories? Let us know in the comments below! Related: How Brexit Could Affect Britain's Artists: Last Week in Art Shia LaBeouf Wants You to Pick Him Up: Last Week in Art Fake Art Heists and Big Ceramic Dicks: Last Week in Art $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Art Fair Asses and New Radiohead: Last Week in Art NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes | Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art 2016-06-13 12:30 Sami Emory

25 benjamin hubert + layer: wireless charge tray benjamin hubert adds wireless charging technology to ceramic tray (above) ‘charge tray’ is a collaboration between experience design agency layer and italian ceramics brand bitossi all images courtesy of benjamin hubert / layer benjamin hubert of experience design agency layer has created ‘charge tray’, a collection of slip cast ceramic trays with an integrated induction charging system for renowned italian ceramics brand bitossi ceramiche. with a design language informed by crafted homewares, the ‘charge tray’ minimizes the visual impact of technology in the home and enables easy wireless charging of technology devices, including both mobile phones and tablets. the trays can also be used to display and store small items. ‘at layer we are interested in humanizing technology and harmonizing it with the interior environment,’ comments the design studio. ‘charge tray’ uses craft to softly and simply integrate smart technology withing the home and make it more desirable.’ a compression-molded silicone module on the underside of each tray houses the induction charging system designed by layer / benjamin hubert. the modular nature of the design provides the opportunity for bitossi ceramiche to update the ‘charge tray’ collection with new charging technology as it becomes available. the result is a timeless accessory for the home. originally unveiled at salone del mobile and clerkenwell design week, the multifunctional trays are available in four sizes and four glazed finishes; salt, matte, crackle, and soba. as their name implies, the ‘charge trays’ use high craft to seamlessly integrate smart technology within the home, creating a wireless charging station for your phone or tablet. the tray is able to charge both phones and tablets trays can be also used to store and display objects the multifuncional trays are available in four sizes the modular nature of the design provides the opportunity to be updated with new charging technology when available designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-13 12:12 Benjamin Hubert

26 Aitor Throup’s Self Portrait More Articles By Cue an eerie, suspenseful presentation called “The Rite of

Spring/Summer/Autumn/Winter,” held in a deconsecrated church in Marylebone. There, a steel puppet was animated by a troupe of puppeteers who were all clad in white, and wearing white masks. Modeled on a cast of Throup’s body, the puppet was brought to life, paraded, exploded, and seemingly resurrected in the course of the performance. As for the clothes? The puppet wore utility-influenced pieces, such as a lightly padded nylon jacket, a papery parka, a dip-dyed hoody, skinny combat pants, and a bright white parka worn with a tulle underskirt. Since graduating from London’s Royal College of Art with a master’s in men’s wear in 2004, the designer has directed music videos, and collaborated with Stone Island and Umbro on collections. “I knew I wasn’t interested in fashion, I knew I wasn’t interested in seasons,” Throup said after the show. “I was interested in product design, product development, and I knew I was good at telling stories. So I worked on being a storyteller.” Throup noted that the one-off pieces – complete with the puppets – would be sold as art works at London’s Dover Street Market fromTuesday, June 14 through to July 6. The designer said that his aim was to “re-imagine what men’s wear looks like.” Describing the designs in this presentation as “concept cars,” Throup said that he will manufacture a commercial collection based on the designs, to launch for January 2017. 2016-06-13 11:34 Nina Jones

27 HAO design transforms historic dwelling in taiwan HAO design transforms historic dwelling in taiwan into an experimental living studio all images by hey!cheese this residential renovation in taiwan occupies a building originally built by the japanese army during world war II. as part of huangpu village, taiwan’s first military settlement, the neighborhood quickly fell into disrepair after japan was defeated. rather than being demolished, the village was subsequently listed as a protected cultural landmark. in 2015, citizens were encouraged to apply for temporary residence within the neighborhood. a wooden sliding window that faces the garden has been remade from solid wood HAO design was asked to restore one of the site’s dwellings — retaining the original structure and keeping the historical context. conceived as an experimental living studio, the property has been designed to host workshops, lectures, and hands-on cement work. the scheme also provides an art residency, allowing members of the renovation project to practice their interior design skills. the structure of the ceiling was also preserved, but painted to echo the room’s timber tones ‘although renovating an old house was an exciting task, the house when we took over was falling apart,’ explains HAO design. ‘there was no water or electricity.’ considering the historical significance of this building and its special cultural value, the design team sought to create a space that wasn’t in conflict with the existing architecture. for instance, the roof tiles were characteristic of a japanese building, however leaks were a serious problem. the team applied a waterproof coating before restoring the tiles. ‘the red gate symbolic of a military village had already been replaced by a modern aluminum gate, so we decided to introduce the industrial feature of kaohsiung by presenting a red freight container gate which reflects the culture and landscape of kaohsiung city,’ adds HAO. the scheme has been conceived as an experimental living studio upon entering ‘J. Y. studio’ one enters an enclosed courtyard that connects to each area of the plan. the patio contains tropical plants suitable for the climate of southern taiwan: succulents, japanese ivy, small cacti, agaves and crane flowers have all been planted. the courtyard also incorporates elements of playfulness — a bright pink door and a large lego-style table. the design retains the original structure and its historical context internally, many of the original elements have been retained. a japanese- style room forms the property’s main space, hosting a preserved wardrobe that has been turned into a functional wall cabinet. the structure of the ceiling was also preserved, but painted in cocoa to echo the room’s timber tones. a wooden sliding aperture that faces the garden has been remade from solid wood, while the lower part of the window was replaced with glass — allowing natural light and views. an enclosed courtyard connects to each area of the plan an adjacent room retains its original ceiling, terrazzo flooring and brown walls. ‘we arranged track lighting here and set it out as an exhibition space,’ says HAO. ‘we decorated the space with taiwanese armchairs produced in the 50s using R-shaped wooden tenons; a classical japanese karimoku sofa popular in the 60s; taiwanese trumpet stools reminiscent of pop art from the 70s; and a yellow floor lamp symbolic of the space age.’ the patio contains tropical plants suitable for the climate of southern taiwan 2016-06-13 11:00 Philip Stevens

28 TEFAF Reveals Exhibitors for New York Fair The European Fine Art Fair (TEFAF) has announced the lineup of exhibitors at its debut New York outing, to be organized in collaboration with ArtVest Partners. Major Old Masters and antiquities dealers such as Colnaghi (London and Madrid), Dickinson (London and New York), and Talabardon & Gautier (Paris) will bring their wares. Slated to take place at Park Avenue Armory from October 21–October 26, 2016, TEFAF's first New York outing will feature 93 international dealers of art, design, furniture, and jewelry. Exhibitors will appear throughout not only the Armory's huge central hall, but also in the venue's first- and second-floor period rooms. The renowned fair announced its expansion in February, stating that it would grow not only to a new venue outside of Maastricht, the Netherlands, where it has held its annual fair for four decades, but also would deepen its emphasis on modern and contemporary art. It had been testing the contemporary-art waters with guest-curated displays in 2015 and in 2016. TEFAF has at times managed to get major contemporary-art players to sign on as exhibitors. The now-defunct Haunch of Venison showed there in 2008, as did Hauser & Wirth in 2009 and Gagosian in 2013, but the marriages were short-lived. In May, when the fair will host a second, more contemporary-focused New York edition (the former Spring Masters ), we'll see whether there was anything to speculation that TEFAF's Upper East Side location might entice major contemporary dealers away from Frieze New York, which happens at the same time on Randall's Island. See the full list of TEFAF New York exhibitors: A La Vieille Russie A. Aardewerk Antiquair Juwelier Adam Williams Fine Art Ltd. Agnews Alberto Di Castro Alessandra Di Castro Alexandre Reza Åmells Ancient Art of the New World, Inc. Antiquariaat Forum B. V. Apter-Fredereicks Ltd. Ariadne Galleries Aronson Antiquairs of Amsterdam Axel Vervoordt Ben Janssens Oriental Art Ltd. Benappi Bernard Goldberg Fine Arts, LLC Blumka Gallery Bowman Sculpture Burzio Cahn International AG Carlo Orsi Carolle Thibaut-Pomerantz Charles Ede Ltd. Christophe de Quénetain Colnaghi Daniel Crouch Rare Books Daniel Katz Ltd . De Jonckheere Dickinson Didier Aaron , Inc. Dr. Jörn Günther Rare Books EGUIGUREN Arte de Hispanoamérica Elle Shushan Eric Coatalem Erik Thomsen Gallery French & Company LLC G. Sarti Antiques Ltd. Galerie Chenel Galerie Didier Claes Galerie Jacques Germain Galerie Kevorkian Galerie Meyer – Oceanic & Eskimo Art Galerie Sanct Lucas GmbH Galleria Carlo Virgilio & Co Gallery Perrin Gregg Baker Asian Art Haboldt · Pictura Hemmerle Heribert Tenschert-Antiquariat Bibermühle AG Hirschl & Adler Galleries, Inc. Jack Kilgore & Co., Inc. Jaime Eguiguren- Arte y Antigüedades Jean-Luc Baroni Ltd Joan Wijermars Jorge Welsh Works of Art, Ltd. Julius Böhler Kunsthandlung GmbH Koopman Rare Art Kunstgalerij Albricht Kunsthandel S. Mehringer OHG Kunstkammer Georg Laue Les Enluminures Lillian Nassau LLC Littleton & Hennessy Asian Art Lowell Libson Ltd MacConnal-Mason Gallery Menconi + Schoelkopf Michele Beiny Inc. Mireille Mosler, Ltd. Moretti Fine Art Ltd. Otto Jakob Otto Naumann, Ltd. Peter Finer Phoenix Ancient Art Primavera Gallery Richard Green Richard L. Feigen & Co. Rob Smeets Old Master Paintings Röbbig München Robilant+Voena Ronald Phillips Ltd Rupert Wace Ancient Art Ltd. S. J. Shrubsole, Corp. Safani Gallery Inc. Sam Fogg Ltd. Shapero Rare Books Siegelson Taylor | Graham Tomasso Brothers Fine Art Vanderven Oriental Art Véronique Bamps Wallace Chan Wartski Follow artnet News on Facebook. 2016-06-13 10:56 Brian Boucher

29 In Basel, Liste Gets Older, But the Artists Stay the Same Age Liz Craft, Me Princess , 2008–13. NATE FREEMAN/ARTNEWS Liste, the satellite fair that had its VIP opening this morning in Basel, Switzerland, calls itself “The Young Art Fair in Basel,” and it goes to great pains to legitimize this claim. For instance, not only do baby-faced dealers populate most corners of the quirky former schoolhouse near the Rhine, but the bylaws impose harsh financial penalties on any outfit trying to show somebody who happens to have a few years on them: any gallery that wants to include work by an artist over 40 has to pay CHF 16,000 (roughly $16,700) for its booth—double the price of a booth with 20- and 30-somethings. Ageism? Well, maybe, but it’s also a way to forcibly stay hip, even as the fair itself exits its teenage years—this year marks its 21st edition. (Its founding dealers, including Eva Presenhuber and David Zwirner, have long since moved on to the decidedly less indie pastures of Art Basel, which opens tomorrow here in Basel on the Messeplatz.)Perhaps due to a fear of high booth fees, this year’s edition of Liste indeed retained its youthful spirit, spurred on by the constant reminders of the kinderhof who were once educated here. The Geneva- based gallery Truth & Consequences once again took over a strange basement near the entrance accessible only via a rickety spiral staircase that certainly cannot fit more than one person at a time.“This is an… interesting exercise,” said Simon de Pury, who nearly fell off when he got squeezed next to a reporter coming down the stairs. Eventually, he made it down accompanied by his wife, Michaela, to see Liz Craft’s painted iron nude portrait, Me Princess (2008–13), which was on sale for $4,500. Anke Weyer, the German artist who is part of the group show “Make Painting Great Again” currently on view at Canada in New York, had a series of color-splashed works at the booth of Brussels’s Office Baroque, while directly across, at New York’s David Lewis Gallery, were some Dawn Kasper sculptures—drum kit hi-hats outfitted with bells that periodically clanged over the standard whisperings of collectors. Darja Bajagić, I’m Just Glad Satan Loves Me , 2016. NATE FREEMAN/ARTNEWS But the fair’s main selling point is that its star artists are often very young, with work at price points much lower than what you will find on the Messeplatz Tuesday morning. (Though many of the same collectors typically go to both—in addition to the cliques of German and Swiss bigwigs who stalked the small child-size hallways, American collector Beth Rudin DeWoody was walking around, looking to buy). Darja Bajagić, who is in her mid 20s, had work at the booth for London gallery Carlos / Ishikawa, including a striking work entitled I’m Just Glad Satan Loves Me (2016), which declares as such on the canvas. “She genuinely makes me feel a little uncomfortable,” gallery owner Vanessa Carlos said to a potential collector —though it might not have mattered at that point, as the work was on reserve, for $14,500. Elsewhere, Sebastien Black (late 20s) had a solo booth at Clearing (of Bushwick and Brussels), Tobias Kaspar (early 30) had a canvas of woven reflective fabric that’s perfect for flash-on Instagrams at Berlin’s Silberkuppe, and Alex Rathbone (late 20s) had a solo booth at the London gallery the Sunday Painter. Nathan Zeidman, who was born in the 1990s, carpeted the High Art booth (a Paris outfit) with paintings that touched upon tarot cards. The paintings were priced as high as €9,000 (about $10,200), and they were almost all sold out an hour into the VIP opening, a gallery representative said. Also born in the 1990s is an artist who goes by Stella, the recipient of the 2016 Helvetia Art Prize, earning her inclusion in the fair. Her booth is called “No Money No Original” and features a bunch of woven faux-Chanel purses, videos of the artist holding the faux- Chanel bags, and intricately made lamps. The commentary on art and commerce is certainly well-mined territory, but Stella upped the ante by selling the wares herself, sitting at the booth in a jumpsuit.“It’s really selling a lot,” she said, smiling. “It’s really like a shop—I didn’t want it to look like a gallery.” 2016-06-13 10:48 Nate Freeman

30 British Council Launches "2017 UK-India Year of Culture" Campaign Related Venues British Council Division Pooja, Sir Ciaran Devane, Alan Gemmell Over bonhomie that was amply visible and a chatter that’s possible only between those very familiar with each other, members and guests of the British Council in India attended an evening in full force last week, marking two important events — the launch of the refurbished building of the British Council, marking its 68 years in India, and the launch of the “2017 UK-India Year of Culture” campaign. The honors were done by Sir Ciaran Devane, Chief Executive, British Council, on his maiden visit to India where he emphasised the need to promote cultural exchange for stronger ties between the two countries. He was joined by Alam Gemmell OBE, Director, British Council India. The UK-India Year of Culture was announced during the visit of Prime Minister Narendra Modi to London in November 2015. The aim of this campaign is to highlight the vibrant cultural history of the two countries and celebrate the best ‘cultural exports’ together. While launching the campaign and making key announcements on the various events that it will present, Sir Ciaran noted that the idea was to bring people of the two countries together, who were surprisingly, as revealed by a survey some years ago, not so well-aware about each other’s contemporary realities. He said, “I am delighted to announce the launch of the ‘2017 UK-India Year of Culture’ campaign. The great partnership between India and the UK goes beyond economic partnerships. With a rich cultural heritage and some of the most iconic cultural exports to the world, both the nations have a reason to celebrate this cultural pairing and reiterate their positions as the cultural epicentres of the world. The new initiatives will further strengthen our ties and deepen our understanding of the past as well as help us appreciate the contemporary faces of both UK and India.” The year 2017 marks the culmination of four years of “Re-Imagine: A programme in the Arts,” designed to build new creative connections in new ways between the people and institutions of the UK and India. This will be achieved through events and projects, both live and digital, that will reach audiences beyond the metropolitan cities. The program is designed to demonstrate the quality of contemporary British arts and culture. “Mix the Play,” a special edition of the popular “Mix the City” platform (www.mixthecity.com), which will launch later this month to promote the Shakespeare Lives, was launched by the Director, British Council India. This project is being commissioned with The Old Vic theatre, London, and it will offer digital audiences the chance to play director of one of Shakespeare’s most famous plays — “A Midsummer Night’s Dream.” The objective is to engage audiences with Shakespeare and educate them about theatre direction in a fun way. An Indian commission of “Mix the Play” with a different Shakespeare play will be launched in October. The evening also saw the launch of the exhibition featuring works by some of the greatest British artists. These works are from the British Council Art Collection and present names such as Mark Wallinger, Damien Hirst, Sir Howard Hodgkin, Marc Quinn, Timothy Hyman, Fay Godwin, and Patrick Caulfield among others. A special new commission, between the British Council and 14-18 NOW, and world-renowned dancer/ choreographer Akram Khan was also announced. 14-18 NOW is the UK’s arts programme for the First World War centenary, and the latest commission is in a series that reflects stories of the Indian experience of the WW-I. Further artistic commissions are planned, which will be announced later. Follow@ARTINFOIndia 2016-06-13 10:14 Archana Khare

31 mazzanti evantra millecavalli mazzanti raises the bar in italy with powerful 1000 HP evantra millecavalli mazzanti raises the bar in italy with powerful 1000 HP evantra millecavalli all images courtesy of mazzanti automobili italian manufacturer of custom supercars, mazzanti automobili created an exclusive update called the ‘evantra millecavalli’ – one the most powerful street-legal cars made in italy. luca mazzanti, founder and owner of the company presented his latest creation at the salone auto torino. the ‘evantra millecavalli’ is equipped with a 7.2 L V8 bi-turbo engine, capable of 1000 HP directly to the rear wheels. the engineers combined a specifically developed six-speed sequential gearbox push the car from zero to 100 km/h in only 2.7 seconds followed by a top speed of 402 km/h. these performances are controlled by carbon ceramic brakes that can stop the ‘evantra millecavalli’ from 300 km/h to zero in only seven seconds. ‘I strongly believe that a car manufacturer shouldn’t be completely satisfied by the results just achieved, always aiming at perfecting them all the time,’ explains founder luca mazzanti. ‘our atelier had to work really hard to develop such an important project, after only two years since the debut of the supercar evantra. nevertheless, the passion, the enthusiasm and the excellent competences of my team and mine, permitted us to complete this goal partly paid-off by the first three ‘millecavalli-clients’ which commissioned their hypercars already during the pure planning phase.’evantra millecavalli’ wants to be a hypercar for few passionate owners, built in a limited number of 25 exemplars that will be made contextually with the five annual units of evantra. both versions share the same DNA of pure craftsmanship and total focus on each client’s wishes that take shape in every mazzanti exemplar, creating unique and exclusive models. my tailor-made automobiles reflects my idea of supercars entirely; in fact, I have been dreaming of my own car, different from all others, since I was a child. my way of interpreting the automobile, has always been by considering it a protagonist, leaving plenty of room for the direct sensations of the driver that has to live an intense and thrilling experience in first person.’ the ‘evantra millecavalli’ goes from zero to 100 km/h in only 2.7 seconds the final design at the studio luca mazzanti, founder and owner of the company at the salone auto torino 2016-06-13 10:00 Piotr Boruslawski

32 The Index: Top 100 Collectors, Part One Here it is, artnet News's roundup of the world's top 100 Collectors. Once again, we've pulled together an encyclopedic museum's worth of art trade resources to arrive at what we believe to be the world's most essential inventory of major art collectors. How is this year's review of the world's top collectors different from other lists? For one, our 2016 grouping is more compact, extensive, and better researched than previous rosters. Additionally, the list is also remarkably detailed and up to date, incorporating some of the latest movements major collectors have made around the globe—as told to artnet News—over the intervening 12 months. Today's top art collectors are an evolving lot. At once more global, wealthier, more interconnected, and politically exposed than ever, they sit atop an unequal and stagnant world economy (thanks to slow growth, falling commodity prices, currency devaluations, and general economic and political malaise) that increasingly buttons them as a privileged elite. Perhaps for this reason, today's Ultra High Net Worth (UHNW) collectors increasingly behave like startled grizzly bears. While these art world predators still throw plenty of weight around, at pivotal moments—read, this year's spring auctions—they appear unsure of whether to gorge or hibernate for the winter. Related: artnet News's Top 200 Art Collectors Worldwide for 2015, Part One Times have changed—somewhat—since the frothy highs of 2015, when Liu Yiqian, a former taxi driver turned-billionaire art collector with two private Shanghai art museums, bought Amadeo Modigliani's Nu Couché (1917– 18) at Christie's November sale for $170 million, and a second, less-public buyer shelled out $70 million for Cy Twombly 's Untitled (New York City) (1968) at Sotheby's. Last year, both auction houses jointly raked in $2.3 billion in just 10 days. Since then, auction results have slipped drastically — sales at Christie's and Sotheby's dropped roughly 60 percent in 2016— framed by a newly chastened art market that has been described by experts as "softening," "tepid," "thinning" or, more prosaically, undergoing "a correction. " Yet, despite these adjustments at the top of the food chain, covetous art collectors around the world continue to defy predictions of an art-market bust. In a less flashy repeat of last year, Japanese fashion mogul Yusaku Maezawa dropped $98 million in just two days in May for works that included a $57.3 million Jean-Michel Basquiat and a $2.6 million self- portrait by Romanian artist Adrian Ghenie. Proving, once again, that even in an economy where Wall Street bonuses have dipped and the supply of rare luxury goods has crept up, deep-pocketed buyers like Maezawa and others on the artnet News Index can make outsize impressions on the market. According to a recent survey conducted by Bank of America US Trust, " Insights On Wealth and Worth Survey ," "collectors still overwhelmingly buy art for aesthetic and lifestyle reasons, but they are increasingly interested in how their art behaves as a capital asset. " The same study states that a large number of collectors, including younger patrons and the so-called UHNW (the $10-million-plus club), are more "likely to enjoy the community of other collectors on the 'global circuit.'" Translation: Despite all the talk of art fair exhaustion, it seems the vast majority of art collectors still like an arty party. Related: artnet News's Top 200 Art Collectors Worldwide for 2015, Part Two There are several other patterns that may be drawn from making this list, but one impression above all appears especially relevant now. That is, namely, the sense that even if today's art buying may have come down to earth from previously stratospheric heights, the boldface names on our essential artnet News Index remain singularly devoted to art collecting as a passion, a financial store, a philanthropic venture, and a social activity. A few other conclusions can be drawn from the results of this year's collector Index. Firstly, the thoroughgoing globalization of art collecting continues apace, as demonstrated by the inclusion of new collectors from Africa and South Asia. Secondly, the trend toward the building of private museums is not only growing, it has exploded geographically, traveling like a viral meme from cities like Miami, Dallas, and Vienna to Jakarta, Chonquing, and Henningsvær, near the Arctic Circle. And thirdly—and perhaps most importantly—this year has seen a strengthening of renewable collector activity oriented toward stable value and away from fast profit. Here's the same idea in a soundbite: 2016 is the year of the collector, not the speculator. Without further ado, then, we present this year's artnet News Index, 2016's essential guide to global collectors encompassing the insights and analysis of the entire editorial team as well as the advice of industry experts including art dealers and advisers. Without a doubt, the individuals on this list will continue to shape the face of the international art market for the next 12 months and, in all probability, for years to come. Enjoy. 1. Roman Abramovich and Dasha Zhukova (Russia) Zhukova is a world-class "tastemaker" and the more active partner of Russia's most powerful art collecting "It" couple. In the past few years she has also become a pioneering arts institution-builder. In 2008, she launched Moscow's Garage Museum for Contemporary Art. With Abramovich, she is set to open "New Holland," a 19-acre cultural complex set on an artificial island in Saint Petersburg (coming in August). Among the exhibitions Zhukova has underwritten at Garage in the last year are shows by Taryn Simon , Rashid Johnson , and Urs Fischer. Her collection contains thousands of contemporary artworks. Her husband, the owner of England's legendary Chelsea Football Club, prefers modern and Impressionist trophies. Abramovich is said to have bought an Edgar Degas pastel for $26.5 million, a 1976 Francis Bacon triptych for $86.3 million, and a Lucian Freud painting for $33.6 million. 2. Paul Allen (United States) NEW! A new addition to the list, Allen has received a great deal of ink this past year. The Seattle-based collector and founder of Microsoft opened a new non-profit, Pivot Art + Culture , in December. The billionaire also organized a five-museum touring exhibition of his collection. Titled " Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection ," the show debuted at Oregon's Portland Museum of Art before traveling to the Phillips Collection in Washington, DC (in 2016, it will travel to the Minneapolis Museum of Art , the New Orleans Museum of Art , and the Seattle Art Museum ). Additionally, Allen's company, Vulcan, will produce the second edition of the well-received Seattle Art Fair. Allen is also looking into opening a museum of pop culture, possibly in Washington, DC. 3. Mukesh and Nita Ambani (India) NEW! India's richest couple controls a $20 billion family fortune that has lately turned to art collecting and funding art exhibitions related to their homeland. In 2015, Nita Ambani 's Reliance Foundation —named after Reliance Industries, her husband's textile and petroleum empire—sponsored a show of Hindu paintings at the Art Institute of Chicago. In March, the foundation was the biggest sponsor of the Met Breuer 's retrospective of Indian artist Nasreen Mohamedi. According to the Wall Street Journal , Nita Ambani is "planning a museum of her own in India, where large, institutional venues containing the latest climate-control technologies remain scarce. " 4. Robbie Antonio (Philippines) Among the biggest art collectors in the Philippines, this young real estate tycoon began by amassing portraits of himself by the likes of Marilyn Minter , Julian Schnabel , and the Bruce High Quality Foundation to adorn his Rem Koolhas -designed Manila home. Recently, Antonio transitioned to blue chip purchases by artists such as Francis Bacon , Willem de Kooning , Andy Warhol , and Takashi Murakami. Additionally, Antonio has also moved into prefab architecture by collaborating with design giants like the Campana Brothers and the late Zaha Hadid. Related: The 15 Most Fashionable Men in the Art World 5. Hélène and Bernard Arnault (France) Chairman and CEO of the French luxury-products conglomerate LVMH, Arnault has a net worth of $32.8 billion, making him the richest man in Europe, according to Bloomberg. In 2014, Arnault opened the Frank Gehry–designed Louis Vuitton Foundation in Paris, with commissioned works by the likes of Olafur Eliasson , Ellsworth Kelly , Sarah Morris , and Taryn Simon. His collection consists of many thousands of contemporary and modern artworks, including pieces by Agnes Martin , Pablo Picasso , and Yves Klein. 6. Bill and Maria Bell (United States) Early in their collecting career the Bells were drawn to Andy Warhol. Today, they have become best known as Jeff Koons 's biggest supporters—they bought the artist's massive Play-Doh (1994–2014) sculpture and waited two decades for delivery. Much like when they started collecting in the 1990s, this power couple is well poised to take advantage of a softening market. In May they bought a $1.5 million Ed Ruscha painting at Christie's postwar and contemporary art evening sale, substantially below it's $2 million estimate. 7. Peter Benedek (United States) Benedek, co-founder of United Talent Agency ( which now represents artists ), and his then-wife Barbara, a screenwriter ( The Big Chill ), began collecting 25 years ago when Peter bought himself a David Hockney painting as a birthday present from the now-defunct Corcoran Gallery in Santa Monica. Since then, he has amassed a first-rate store of artworks that he compulsively updates every year. In an email to artnet News, Benedek recently acknowledged adding works by the following artists to their extensive collection: William Kentridge , Jonas Wood , Lesley Vance , Ricky Swallow , Max Jansons , Tom Wesselmann , and Ella Kruglyanskaya. In his own words, his purchases over the last 12 months are “intergenerational and speak to many subjects. " 8. Lawrence Benenson (United States) NEW! The scion of a great New York real estate fortune, Benenson is an executive vice president at Benenson Capital Partners. His father was the storied art collector Charles Benenson; over a lifetime, he amassed an eccentric trove of artworks by figures such as Joan Miró and David Wojnarowicz. The tastes of Benenson fils also run to the eclectic: Lawrence collects historical documents (he owns a copy of the Emancipation Proclamation signed by Abraham Lincoln) as well as paintings and drawings by Henri Matisse , Kehinde Wiley , Gustave Doré , and Mark Lombardi. Additionally, Benenson serves on the board of New York's Museum of Modern Art and the Ad Reinhardt Foundation. 9. Debra and Leon Black (United States) Owner of Apollo Global Management, Phaidon Books, and Artspace Marketplace , Leon Black is reported to be worth $4.7 billion. His wife, Debra, is a Broadway producer. In 2012, Leon made waves when he purchased one of four existing versions of Edvard Munch 's The Scream for $120 million. Most recently, Leon was revealed to be Larry Gagosian 's secret buyer for Pablo Picasso's contested plaster sculpture Bust of a Woman (1931), for which the New York dealer paid $106 million. In 2014, the Blacks also bought a 17,000-square-foot Manhattan mansion previously occupied by the defunct Knoedler & Company for $50.25 million. Considering all their pricey treasures, it makes a swell private gallery. Related: The Top 9 Takeaways from the Knoedler Forgery Trial 10. Christian and Karen Boros (Germany) Located in a former World War II air raid shelter and S&M club, Christian and Karen Boros' concrete abode is also home to the Bunker , an 80-room exhibition space for contemporary art that includes more than 700 artworks by artists such as Danh Vo , Ai Weiwei , Elmgreen & Dragset , Sarah Lucas , Rirkrit Tiravanija , Elizabeth Peyton , and Olafur Eliasson. 11. Irma and Norman Braman (United States) Besides being instrumental in bringing Art Basel to Miami in 2002, the Bramans are among the handful of local figures who ensure that that city's private collections are among the best in the world. Much of their blue-chip collection—which includes paintings by Andy Warhol, Willem de Kooning, and Jasper Johns and the globe's largest private holding of works by Alexander Calder —is on view at their spectacular Indian Creek Island residence. Since 2014, the Bramans have also been engaged in another large project: Funding the design and construction of South Florida's newest museum , the Institute of Contemporary Art , Miami, set to open its new Design District flagship in December 2016, just in time for Art Basel in Miami Beach. 12. Peter Brant (United States) After initially shedding a number of his magazine properties in a 2015 merger , Brant's Brant Publications has reassumed full ownership of Art in America and its sister publications , while adding ARTnews to its stable. The creator of the Brant Foundation in Greenwich, Connecticut, the media mogul has single-handedly bankrolled the global phenomenon that is "dude art. " Recent shows at the Brant Foundation have included displays by Dan Colen , Dash Snow , and Jonathan Horowitz. In May, the New York Post speculated that Brant was the buyer of Maurizio Cattelan 's controversial $17.2 Hitler sculpture at Christie's May sale . 13. Eli and Edythe Broad (United States) A fixture of top collector lists for many a year, the Broads further solidified their influential position with the opening of the Broad , their new $140 million , Diller, Scofidio + Renfro -designed contemporary art museum in Los Angeles. The museum boasts Yayoi Kusama 's Infinity Room (2013), Jordan Wolfson 's creepy robot , as well as another two thousand Instagram-ready artworks. The collection showcases the couple's blue-chip tastes—Edythe started collecting some 50 years before her husband—as well as thematic shows, like the Broad's upcoming Cindy Sherman survey. "We look for quality, and for things that we think are going to be huge and historically important," Eli told Haute Living in March. "I'm interested in whether it has social commentary. " 14. Frieder Burda (Germany) Burda, who turned 80 this year, opened his eponymous Frieder Burda Museum in Baden-Baden in 2004. His collection has grown to include more than 1,000 works of mostly blue-chip art that include pieces by German Expressionists, Abstract Expressionists, and Teutonic contemporaries like Sigmar Polke and Gerhard Richter. In May, Burda made news for his deaccessioning of Mark Rothko 's No. 36 (Black Stripe) (1958) at Christie's for $40.5 million. Yet Burda's collection continues to grow. According to the German art magazine Monopol , the collector recently acquired Andreas Gursky 's photograph Rückblick (2015), which depicts Germany's four living chancellors seated before Barnett Newman 's painting Vir Heroicus Sublimis (1950–51). 15. Richard Chang (United States) Regularly touted as one of Asia's top collectors, Chang founded the Domus Collection , which is based both in New York and Beijing. Since then, the investment professional has become a key broker between the art communities of both East and West. Chang is a trustee of the Royal Academy in London and MoMA PS1 and the Whitney Museum of American Art. Additionally, he is on the executive committee of the Tate's International Council and a member of the museum's Asia Pacific Acquisition Committee. His collection focuses on "both Eastern and Western artists" and seeks "to establish a cross cultural dialogue as contemporary art is embraced by more and more people worldwide. " 16. Pierre T. M. Chen (Taiwan) Though he recently stepped down from being CEO of his electronics company, Chen has definitely not retired from collecting. In fact, the Taiwanese entrepreneur made his biggest purchase ever in at Christie's in May, when he paid $26 million for the painting Swamped (1990) by Scottish painter Peter Doig. Other works in his Western-leaning collection include pieces by Georg Baselitz , Francis Bacon , Gerhard Richter, Cy Twombly, Marc Quinn , Andreas Gursky , and Mark Rothko. Reportedly, full-time staff help Chen buy his art. In 2014–15, some 75 works from his collection toured four Japanese museums in the exhibition " Guess What? Hardcore Contemporary Art's Truly a World Treasure. " 17. Adrian Cheng (China) Heir to a property-development fortune in Asia, the Hong Kong native is the founder of the K11 Art Foundation , which has staged exhibitions by artists like Olafur Eliasson , Damien Hirst , and Yoshitomo Nara at the foundation's K11 Art Malls in Hong Kong and Shanghai. Cheng is on the board of directors of the West Kowloon Cultural District Authority , is a board member of the National Museum of China Foundation, a trustee of the Royal Academy, a member of Tate 's International Council, and a member of the Centre Pompidou 's International Circle. In March of this year, Cheng—who is among the world's youngest billionaires—announced that he joined the board of directors of the Public Art Fund. 18. Patricia Phelps de Cisneros (Venezuela and Dominican Republic) Founded in the 1970s by Cisneros and her husband, Gustavo, the New York City and Caracas-based Colección Patricia Phelps de Cisneros (CPPC) is one of the world's premiere collections of Latin American art. The collection numbers some 2,000 works that range across ethnographic objects, colonial, modern, and contemporary art from the Americas. Additionally, Cisneros sits on the board of MoMA and London's Royal Academy. 19. Steve Cohen (United States) The former hedge-fund manager has a history of using the art trade as a financial market—mainly by buying and selling high-priced artworks—but in January he went one further. He used his $1 billion store of art trophies to secure a personal loan from Morgan Stanley's Private Bank. More recently, the billionaire—who bought Alberto Giacometti 's painted-bronze sculpture Chariot (1950) for $101 million at Sotheby's in 2014— acquired 1.2 million Sotheby's shares through his new company, Point72 Asset Management, making him the auction house's fifth largest shareholder. 20. Rosa and Carlos de la Cruz (United States) Open to the public since 2009 in a 30,000 square foot space, the de la Cruz Collection Contemporary Art Space is a must stop on the growing tour of Miami's private museums. Like other Miami power players, the couple pegs their yearlong exhibitions to the December opening of Art Basel Miami Beach. This year's show, " You've Got to Know the Rules…to Break Them " was curated entirely from the de la Cruz's collection. The exhibition includes works by artists Félix González-Torres , Arturo Herrera , Jim Hodges , Alex Israel , Ana Mendieta , and Rob Pruitt , among others. 21. Theo Danjuma (Nigeria) The son of mega-wealthy Nigerian general, Danjuma got hooked on art collecting after purchasing a Julie Mehretu work on paper 2008. That single act led to a string of other notable purchases by the London-based collector: among them works by Jordan Wolfson, Cory Arcangel , Jason Rhoades , Chris Ofili , Danh Vō , Pieter Hugo , Matias Faldbakken , and Zimbabwean artist Kudzanai Chiurai. According to the website of the eponymously named Danjuma Collection , the trove strives after "a firm focus on established conceptual artists" of the collector's own generation, but "also supports emerging artists from 'new' geographies, particularly Africa," reflecting Danjuma's family ties to the African continent. 22. Dimitris Daskalopoulos (Greece) Besides running the largest food conglomerate in Greece, Daskalopoulos owns scores of artworks by the likes of Damien Hirst, Kiki Smith , Marina Abramovic , Robert Gober , David Hammons , and John Bock. But instead of looking for a location for a private museum, the Greek collector has decided to support existing cultural spaces through his personal foundation, which is aptly called NEON (it means “new" in Greek). Daskalopoulos is on multiple museum boards around the world, including the board of trustees of the Guggenheim Foundation , the Leadership Council of New York's New Museum , the Museum of Contemporary Art Chicago 's Vision Council, and the Tate International Council. In 2014, he was awarded the Independent Curators International Leo Award for his "visionary" approach to collecting. 23. Leonard DiCaprio (United States) NEW! In the last few years the Oscar-winning actor has crossed the threshold from portrait subject (of Elizabeth Peyton's) to high-profile power player and collector. Besides being spotted regularly at art fairs in Miami, New York, and Hong Kong, DiCaprio has also put some of his money where his mouth is, purchasing work by Frank Stella and Takashi Murikami while orchestrating high-end art auctions to benefit his environmental foundation featuring artists like Mark Grotjahn and Andreas Gursky. As with all mega- celebrities, DiCaprio fame amplifies his every move. Related: Take a Look Inside Leonardo DiCaprio's Growing Art Collection 24. Zoë and Joel Dictrow (United States) Zoë Dictrow is a former magazine advertising manager, and her husbandJoel a former Citigroup executive. The collectors are well known for their support of emerging artists. According to Bloomberg, the New York- based couple bought a number of artworks at NADA Miami in December. These include pieces by Alex Dodge , Ruby Sky Stiler , and Alice Mackler. They have also been longtime collectors of more established art heavyweights, among them Gerhard Richter, Robert Gober , Cindy Sherman , and Sarah Sze. 25. George Economou (Greece) The Greek shipping magnate started collecting 20th century European art in the 1990s and has since expanded his interests to include postwar and contemporary art. Economou's collection spans important examples of German Expressionism, New Objectivity, and German contemporary art, including works by Otto Dix , Otto Mueller , Anselm Kiefer , Georg Baselitz , Andreas Gursky, and Neo Rauch. The prolific collector acquires between 150 to 200 works a year, and usually buys through smaller auction houses and galleries based in Germany and Austria. Located in Athens, the George Economou Collection regularly presents exhibitions by blue chip contemporaries such as David Hammons , Rashid Johnson , and Paul McCarthy. 26. Alan Faena (Argentina) An Argentine hotelier and real estate developer, Faena has come north to Miami to create the eponymously named Faena Arts District. Besides outfitting Miami Beach with yet more luxury condominiums, Faena has also dotted the area known as "mid-beach" with several gargantuan art installations, including a roller rink by Assume Vivid Astro Focus and a gold- plated mammoth skeleton sculpture by Damien Hirst (who else?). Did we mention Faena dresses entirely in white? 27. Harald Falckenberg (Germany) The German lawyer and collector is known both for his discriminating eye as well as his extensive collection of avant-garde art. The collection numbers some 2,000 pieces and is exhibited inside a 65,000-square-foot former factory building in Hamburg (in collaboration with that city's Deichtorhallen). Falckenberg was an early collector of works by artists like Martin Kippenberger , Richard Prince , and Jonathan Meese. An exhibition of Falckenberg's store of works by Raymond Pettibon opened in February at the Sammlung Falckenberg , and will remain on view until September 2016. 28. Howard and Patricia Farber (United States) In 2010, the Farbers made an important commitment to Cuban art and culture through the creation of the Farber Foundation and the launch of the website Cuban Art News. In 2015, the collectors founded the first Cuban Art Awards in association with the Havana Biennial , which presented a $10,000 prize to the "Artist of the year" (the ex- Carpintero Alex Arrechea ) and $3,000 to the "Young Artist of the Year" ( Celia & Yunior )—six months before President Obama initiated the normalization of relations between the US and the island nation. 29. Désiré Feuerle (Germany) NEW! A former art dealer and collector of international contemporary and Southeast Asian art and imperial Chinese design, Feuerle is among Germany's more eclectic collectors. His collection spans 7th–13th century Khmer sculpture and imperial Chinese furniture dating from the Han and Qing dynasties, as well as contemporary works by the likes of Cristina Iglesias , Anish Kapoor , Zeng Fanzhi , and James Lee Byars. He recently opened a private museum in a former telecommunications bunker in Berlin that was renovated by the British architect John Pawson. The space has been designated as an official venue for the Berlin Biennale in June. Related: The 9th Berlin Biennale Revels in Doomsday Scenarios and Secret Spaces 30. Larry and Marilyn Fields (United States) One of Chicago's most prominent collecting couples, the Fields have long focused on politically-charged art, with a special emphasis on African- American creators such as Kara Walker , Glenn Ligon , Mark Bradford , Theaster Gates , and David Hammons. Both husband and wife are intensely involved with Chicago's Museum of Contemporary Art. Marilyn joined the women's board of the museum in 1998; Larry, a former floor trader in the commodities market, is a trustee. 31. Amanda and Glenn Fuhrman (United States) A co-managing partner of the hedge fund MSD Capital, Glenn Fuhrman is easily one of Wall Street's most prolific collectors. He is on the board of trustees of the MoMA, the Tate Americas Foundation, and the Institute of Contemporary Art in Philadelphia. With his wife Amanda, Glenn is also known as a big collector of Jeff Koons and regularly loans his Koons holdings to institutions, including his own Manhattan outpost: The Flag ART Foundation. 32. David and Danielle Ganek (United States) Financier David Ganek and his novelist wife, Danielle, keep it brash and Pop-inspired with a sprawling collection that includes work by Richard Prince, Jeff Koons, Cindy Sherman , John Currin , Ed Ruscha, and Mike Kelley. David told artnet News about a recent acquisition highlight that reinforces the couple's love of text-based paintings: a large-scale 1966 "Love" diptych by Robert Indiana. The couple also loaned Marilyn Minter 's painting Pop Rocks (2009) to the artist's exhibition currently touring the US (presently on view at the Orange County Museum of Art ). The Ganeks say they have thoroughly enjoyed watching the painting become a viral social media phenomenon. 33. Ingvild Goetz (Germany) A former art dealer, the formidable Goetz began collecting in the 1990s. Soon after, she founded the Goetz Collection in Munich, a private museum said to contain around 5,000 contemporary artworks. Recent art world developments have led the collector to do some serious stock-taking. Among her decisions: To move away from collecting as an investment and reconsider the art of the 1960s and '70s. Goetz recently enlarged her collection of Italian Arte Povera artists ( Mario Schifano , Dadamaino , Carla Accardi and Luigi Ghirri ) and has acquired works by the Japanese Group Gutai ( Chiyu Uemae , Kumiko Imanaka , Toshio Yoshida , Masatoshi Masanobu , and others). Additionally, she has purchased works by contemporaries such as Mark Bradford and Julian Rosefeldt. 34. Ken Griffin (United States) Head of the $20 billion investment firm Citadel, Griffin made big headlines this year, but not just because of his hedge fund. Last fall, the Chicago- based investor paid $500 million to David Geffen 's private foundation for two paintings— Willem de Kooning 's Interchange (1955) and Jackson Pollock 's Number 17A (1948)—in one of the largest private art deals ever. Both paintings went on display at the Art Institute of Chicago in September. Additionally, the selective Griffin gave MoMA a $40 million donation in December. 35. Agnes Gund (United States) Perhaps the most beloved collector in America, Gund has poured boundless time, money, and effort into countless institutions, among them MoMA, where she currently serves as president emerita and chairwoman of MoMA's International Council, as well as chairwoman of MoMA PS1. Her collection is extensive and includes more than 2,000 artworks by artists such as Jasper Johns, Ellsworth Kelly , Teresita Fernandez , and Kara Walker. Among the works she told artnet News that she acquired this year are works by Stanley Whitney and Paula Crown. She also donated works by Mark di Suvero and Sarah Sze to MoMA and the Cleveland Museum of Art , respectively. 36. Steve and Kathy Guttman (United States) A real-estate magnate and the owner of the art-storage business UOVO , Steve Guttman serves as the chairman of the Centre Pompidou Foundation. As such, he has overseen a record-breaking number of acquisitions and donations by the foundation over the last year, including 12 works of art valued at over $7.4 million. Additionally, he and his wife, Kathy, have added to their already impressive art collection, acquiring works by a number of global artists, among them Jeppe Hein , Wyatt Kahn , R. H. Quaytman , Oscar Tuazon , Lisa Oppenheim , Pieter Schoolwerth , and Olafur Eliasson. Guttman was awarded France's Légion d'Honneur in recognition for his work with the Pompidou. 37. Andrew and Christine Hall (United States) The British-born Andrew Hall and his wife, Christine founded the Hall Art Foundation in 2007 to make available their collection of postwar and contemporary art works "for the enjoyment and education of the public. " Sited on a former dairy farm in Vermont, the foundation—which is made up of some 5,000 works by several hundred artists—has established partnerships with Massachusetts Museum of Contemporary Art and, more recently, with the Ashmolean Museum of Art in Oxford, England, with " Andy Warhol: Works from the Hall Collection, " a show of more than 100 paintings , sculptures, screen prints, and drawings held earlier this year. In Vermont, the foundation is currently presenting an exhibition curated by American photographer Joel Sternfeld (May 14–November 27, 2016). 38. Marieluise Hessel Artzt (United States) Born in Germany, Hessel Artzt lived for many years in Mexico before moving to the United States where, in 1992, she cofounded the Center for Curatorial Studies at Bard College (CCS Bard). Her wide-ranging collection of contemporary art, which continues to grow, is international in scope, and consists of over 2,000 works. It is housed at Bard, which offers a unique graduate program in curatorial practice, the study of museum activities, exhibitions, art criticism, and the interpretation of art. Hessel Artzt also established the school's 25,000 volume library and archives, and recently received ArtTable 's 2016 Distinguished Service to the Visual Arts Award. 39. Henk and Victoria de Heus-Zomer (Holland) Among the biggest collectors of contemporary art in the Netherlands, the de Heus-Zomers made their fortune in the food industry. The couple specializes in Chinese contemporary art but has also acquired works by important Western artists such as Marlene Dumas , Neo Rauch , Anselm Kiefer , and Thomas Struth. Three full-dress museum shows in the Netherlands have been culled from their collection since 2010: at the Singer Laren Museum , the Museum Belvédère , and Museum Boijmans Van Beuningen. The Heus-Zomers tell artnet News that in the past year they've purchased “important works" by, among other artists, Zhang Xiaogang , Wang Guangle , Liang Yuanwei , Hu Xiaoyuan , and Huang Rui. 40. Janine and J. Tomilson Hill III (United States) According to several publications, including Business Insider , James Tomilson Hill is this decade's Gordon Gekko. In 2014, the Blackstone Group's vice chairman, whose collection of Renaissance and Baroque bronzes was on view at New York's Frick Collection that year, was deemed to be a billionaire—thanks in no small part to his art. His collection, with his wife Janine, includes paintings by Peter Paul Rubens , Francis Bacon, and Andy Warhol, and is thought to be worth around $500 million, according to Bloomberg. Tomilson Hill is also a trustee of New York's Metropolitan Museum of Art and a member of the board of directors of the Council on Foreign Relations. 41. Maja Hoffmann (Switzerland) A powerful force in the art world, Hoffman was recently elected as the new chairwoman of the Swiss Institute, a position she will assume on June 26. A visionary philanthropist, she is the founder of the LUMA Foundation, a non- profit that supports contemporary artists working in various fields. Last year, artnet News named her one of the 100 Most Powerful Women in Art , and included her on the list of the Most Influential Women in the European Art World. LUMA Arles , the foundation's headquarters in that French city, is set to open its first building in 2018. 42. Michael and Susan Hort (United States) For the past 13 years, the Horts have opened their Tribeca home to a select crowd of VIPs and art aficionados during Armory Week for a peek at an art collection that numbers more than 3,700 pieces. Curated by their daughter- in-law Jamie Cohen Hort (she is married to their son, the lawyer and collector Peter Hort), the events are a yearly highlight that point up family acquisitions both old and new. Among the Hort's newer acquisitions, as relayed to artnet News, are works by Alex Olson , Benjamin Senior , Nicole Eisenman , and Martin Eder. 43. Guillaume Houzé (France) The heir to the Galeries Lafayette department stores, Houzé has been putting on exhibitions at the family store in a space aptly called La Galerie des Galeries ; this in anticipation of a new five-story, Rem Koolhaas - designed art space in Paris's Marais district. Set to open later in 2016, the foundation will exhibit artists in Houzé's own collection, which includes works by Cyprien Gaillard , Wade Guyton , Tatiana Trouvé , Ugo Rondinone , and David Noonan. 44. Hikonobu Ise (Japan) NEW! Considered to be one of Asia's " most powerful collectors " by Christie's, Ise is the founder of the Ise Cultural Foundation , a non-profit organization that mostly supports emerging and under-represented artists and curators. The Japanese entrepreneur collects widely across areas like Japanese decorative arts, Chinese ceramics as well as impressionist, modern, and contemporary art. His advice to new collectors as recorded in a Christie's interview should be hung above the auction house door: "Buy art with passion and follow your instincts—and don't think about the price! " 45. Wang Jianlin (China) Asia's richest man ($28.7 billion) and the first Chinese billionaire to make it into the top 20 of a Forbes richest list, Wang is active on both the entertainment industry and art-collecting fronts (one of his American companies nabbed an Oscar for the movie Spotlight ). In the last few years, the collector picked up the Pablo Picasso painting Claude and Paloma (1950) for $28.2 million and Claude Monet 's Bassin aux nymphéas, les rosiers (1913) at auction. Guo Qingxiang, who oversees Wang's art collection, told Forbes : "Since the purchase of Picasso's Claude et Paloma in 2013, we have been devoted to collecting original and important works representative of key developments in art history. " 46. Dakis Joannou (Greece) A civil engineer and architect by training, Joannou heads J&P, a group of privately held international building, civil engineering, and energy companies with activities from the Middle East, Africa, and Southeastern Europe. He is also the founder of the DESTE Foundation for Contemporary Art , which houses his enormous art holdings across disciplines and historical periods. When not tending to DESTE, according to a spokesperson who spoke to artnet News, Joannou has been keeping tabs on artists like Kaari Upson , Andra Ursuta , and Jakub Julian Ziolkowski. Joannou also serves on several museum boards worldwide, among them the New Museum, MoMA, the Guggenheim, and the Tate International Council. 47. Elisabeth and Panos Karpidas (United States) NEW! A former rally car driver, Panos Karpidas and his wife Elisabeth have become the Dallas-based stewards of the collection of Panos's mother, the English art collector Pauline Karpidas. Housed in a 6,000 square foot building, the Karpidas Collection is the newest addition to an arts scene that now rivals Miami for appointment-only private museums. The institution's first show includes 41 objects drawn from the Karpidas' collection of more than 1,000 pieces, among them works by Tracey Emin , Sarah Lucas , Nan Goldin , Andy Warhol, Glenn Ligon , Christopher Wool , Laura Owens , Marlene Dumas , Urs Fischer , Chris Ofili , George Condo , Mark Grotjahn , Rosemarie Trockel , Nicola Tyson , John Currin , Glenn Brown , and David Salle. 48. Kim Chang-il (Korea) A South Korean entrepreneur, dealer, and artist, Kim opened his Arario Museum in 2014 to show off more than 3,700 pieces he has acquired over some 40 years. His growing art stash includes works by artists such as Andy Warhol, Damien Hirst, Gerhard Richter, Cindy Sherman, and Nam June Paik. Currently, the Arario museum boasts branches in Seoul and on Jeju Island. Despite his many successes as a patron, the iconoclastic collector still aims to be recognized as an artist. In 2015 he told the Korea Times , "if an artist runs a business, he is an artist. However, when a businessman creates art, he is still a businessman. " 49. Alan Lau (China) Art collector and senior partner at McKinsey & Company, Lau is one of Asia's most influential collectors. He recently donated the work Guards Kissing (2002) by Tino Sehgal to the M+ Museum of Hong Kong's West Kowloon Cultural District—making him one of the first Hong Kong collectors to donate a major artwork to the museum. Lau is also a member of the Tate's Asia-Pacific Acquisition Committee and is the co-chair of Para/Site , one of the most active independent contemporary art spaces in Hong Kong. 50. Joseph Lau (China) A real estate mogul who is also a fugitive from justice (he was convicted of bribery in Macau in 2014), Lau came to the attention of the art world when he snapped up an Andy Warhol Mao portrait for $17.4 million at Christie's in 2006 and Paul Gauguin's Te Poipoi (The Morning) (1892) at Sotheby's for $39.2 million in 2007. He once again garnered headlines last year when he bought a $48 million diamond for his seven-year-old daughter. Additional reporting by Christian Viveros-Fauné. Follow artnet News on Facebook. 2016-06-13 09:45 artnet News

33 DCA studio wuzhen north silk factory renovation after more than 10 years of abandonment, the ‘wuzhen north silk factory’ was renovated by DCA studio to serve as the 2016 venue for the wuzhen international contemporary art exhibition. the design includes extensive refurbishment and reinforcement of original structures, retaining original layout and spatial features — albeit adapted to fit its contemporary program. invasiveness was kept to a minimum throughout the compound. excessive windows were blocked to provide proper gallery lighting conditions, and suspended ceilings were removed to expose a slim roof structure. but, only the tallest building was changed aesthetically. a dark grey, stretched aluminum meshing creates a unique identity for the venue that blends modern and traditional notions. existing trees were left alone, with special attention paid to instilling a harmonious dialogue between them and the surrounding built environment. three new buildings are inserted amongst original structures to cater to event requirements. building A serves as an entrance point and small gallery space. its position along a new road is accentuated via light bars that highlight the building’s floating position above a pool of water. it also works in tandem with original workshops to enclose the outdoor exhibition center. view to the gallery and café building B is situated between two buildings. the ground floor contains a gift shop and café — for venue and community use — with stairs that lead to a rooftop platform. connection to the upper floors of structures on either side enable its use as recreation and communication hub. the third structure, C, links to original spaces on-site. a transparent hall connects eastern and western zones, with a second floor exhibition space located to the east. the ‘wuzhen north silk factory’, designed by DCA studio, currently serves as the venue for the 2016 international contemporary art exhibition — open until june 26th, 2016. designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-06-13 08:45 Jade Zheng

34 Nahmad Denies His Modigliani is Nazi Loot Art world supremo David Nahmad has spoken out about the scandal surrounding his Amedeo Modigliani painting Seated Man with Cane (1918), denying claims that the work is Nazi loot. Nahmad, in an uncharacteristically public move, spoke to several reporters last week in an effort to put his side of the story across, after the Panama Papers revealed that he was the true owner of the disputed painting and much negative publicity ensued. “People say, ‘Oh, David stole it; he should give it back immediately,'" Nahmad told the New York Times in Paris. “Looted art, hidden art—they made me look like a crook instead of doing real battle in the court," he said.“If it's proven that this painting is looted by the Nazis, I will give it back," he added later in the interview. Related: Newly-Revealed Documents Show Sotheby's Contacted Helly Nahmad About Modigliani Claim Mondex Company, a firm that specializes in retrieving disputed works, has for some time been trying to prove that Seated Man with Cane —a portrait of a wealthy chocolate merchant, currently worth an estimated $25 million according to AFP —was stolen by the Nazi's from the British art dealer Oscar Stettiner, who fled Germany and came to the UK during the Second World War. Stettiner's grandson Philippe Maestracci, with the help of Mondex, has been trying to prove that the painting in fact rightfully belongs to him for over five years, through repeated court actions in New York. Their campaign received a boost when the company that owns the painting, International Art Center, was revealed in the Panama Papers to be owned by David Nahmad, a fact he had earlier denied. “The International Art Center is me personally," David Nahmad told the New York Times , “It's David Nahmad," adding that he had concealed this information for security reasons. The Jewish dealer—whose family collection contains around 4,500 works, 300 of which are by Pablo Picasso and is worth at least $1 billion, according to Forbes —says he would never deal in art he knew to be looted by the Nazis. Related: Dealer's Estate Sues Nahmad Gallery Seeking Return of Modigliani Portrait A painting by Modigliani, which Mondex claims was in fact Seated Man with Cane , changed hands in Paris in July 1944, listed as a self-portrait of the artist. The work was sold at the French auction house Drouot, along with other works that belonged to Stettiner. The so-called self-portrait was also listed as belonging to Stettiner at the 1930 Venice Biennale. According to Nahmad, the price fetched for the painting in 1944—16,000 francs or $3,375—was too low for a Modigliani such as this one, even in an anonymous sale during wartime. Yet, when Art Center International tried to sell the painting in 2008, the provenance was listed as perhaps having belonged to Stettiner, the NYT reports. Related: Helly Nahmad Accused of Hiding $20 Million Nazi-Looted Modigliani Nahmad cites a document he feels exonerates him, stating that Stettiner tried to recover the Modigliani belonging to him after the war had ended in 1947, and referred to it as a self-portrait of the artist, in a notation taken by a court bailiff. He believes that this proves that the work in question is in fact a different painting. However, James Palmer of Mondex feels that the two paintings are indeed the same. “I think the evidence is overwhelming," he told the NTY. He has whipped up support to the extent that, when the painting was revealed to belong to Nahmad, it was briefly seized by the Swiss authorities. Nahmad has lent the disputed work to many institutions since buying it in 1996, including the Jewish Museum in 2004, a fact he cites in his defence. “If you had any doubt about looted art, would you really lend it to a Jewish museum? " he told the NYT . Follow artnet News on Facebook. 2016-06-13 07:49 Amah-Rose

35 11 Uneasy Questions Raised by Manifesta 11 For its 11th edition, Europe's nomadic biennial finds itself in Zürich as the city celebrates the centenary of Dada. Under the direction of artist Christian Jankowski, "What People Do For Money" is a dense, complex, and ambitious venture that seeps deep into the fabric of its host city. With a commissioning and exhibiting system based on joint enterprise, and a theme exploring labor and remuneration, it is also a biennial mesmerised by its own processes. Manifesta 11 is less an exhibition of individual star turns than a dense mesh of related gestures that together generate questions and complications surrounding the relationship between art and the world it occupies. 1. Where does life stop and art begin? Manifesta 11 matched 30 artists to Zürich professionals of their choice, from pastor to prostitute, policewoman to Paralympian. Artworks were, theoretically, the product of interaction between artist and host, and exhibited both at the main biennial sites and at a satellite venue. While some of these joint ventures resulted in a clearly delineated "work"—such as Santiago Sierra's Protected Building, for which a security specialist helped the artist barricade the biennial's Helmhaus venue as if it were under threat—in many cases it is unclear where the interaction with the host ends and the work begins. Evgeny Antufiev's Eternal Garden entailed extensive correspondence with the pastor of the Wasserkirche. The result is a sprawl of artifacts, exchanged ideas and made objects: a work without boundaries that becomes an archive of its own avid production. 2. Who is the art for? As in Antufiev's case, intense encounters between artist and host can result in works that feel excluding rather than involving. Jiří Thýn's collaboration with a clinical pathologist resulted in a series of cut-up magazine photographs exchanged by the pair during correspondence, photographs by Thýn of her working spaces, and a series of text works applied to the windows of her hospital's atrium in coloured vinyl. The text is in English, suggesting that it is directed neither at the hospital's workers, nor its Swiss visitors, but is in fact an extension of the relationship between artist and host. 3. How does it feel to have your work shown next to 80,000 kilos of poo? For The Zürich Load Mike Bouchet collaborated with the city's sewage works, and by extension, with its entire population, forming a single day's load of human waste into a room full of vast dried dung blocks. Shown at the Löwenbräukunst, in a gallery with a heavy, well-sealed door, the work is rounded off with a turdy fragrance so emetic that few visitors last longer than they can hold their breath. That, however, is just long enough to notice that there are other works on show in the same gallery. Which unfortunate artist(s) had their work stationed next to The Zürich Load? We have yet to encounter anyone who got close enough to find out. 4. What's the deal with satellite venues? Expected to show work both at a satellite venue and in Manifesta's group exhibitions, some artists presented two editions of the same work, some sibling works, and others—notably John Kessler—research materials at one venue (the Helmhaus) and the work itself at the other (a cuckoo clock- inspired automaton displayed in a watchmaker's shop). Context had a transformative effect. Jon Rafman's Open Heart Warrior read as mere sinister play amid the sensory overload of the group show. Generic virtual landscapes played on three screens, while grotesque and disturbing images from violent computer games bled in and out of the picture, often in the viewer's peripheral vision. Mood music and voice-overs played on a surround sound system, twisting the language of meditation tapes to negative vibe. Viewed in small cage at a floatation centre, Open Heart Warrior became a disquieting suggestion of the psychic impact of omnipresent violent imagery and belligerent narrative in film and gaming culture. 5. Can artists and civilians ever just be friends or does someone always end up getting screwed? Some hosts seemed to enjoy their encounter with the art world—the police amateur dramatics in Marco Schmitt's voodoo police fantasia Xterminating Badges in particular looked fun—though it was less easy to see what the artist got out of the process. In other cases, the relationship between artist and public provoked moral queasiness. In perhaps the most uneasy and lingering work of the biennial, Leigh Ledare filmed 21 Zürichers engaged in an intense three-day group therapy process. Over dozens of hours of footage, participants confess, confront, argue, bully, and weep while Ledare sits at the side of the room taking notes responding to his own position as observer. 6. Who forgot to check their privilege? Over the opening weekend, Pablo Helguera delivered a performance lectures on inequity in the art world at which participants played the "Dictator Game" and Helguera sung ballads of labor and protest by Woody Guthrie, Joe Hill, and Óscar Chávez. His rousing speech questioned the relevance of art to most people's lives, and how the rituals and structures of the art world serve to isolate it still further. Helguera's words led one to ponder how the prosperity of Zürich as a locale had perhaps skewered the participating artist's sense of relative privilege when dealing with their professional hosts. 7. Is there such a thing as too many pictures of women masturbating? Andrea Éva Györi's energetic watercolour paintings of women masturbating, their fantasies while doing so, and the details of their arousal or lack thereof were optimistic and charming when discreetly displayed at an upmarket lingerie store. At the Löwenbräukunst they fill almost an entire wall of the building, ceiling to floor, leading some visitors to quail at such a quantity of flesh and fingering. Now that we're dealing with a generation facing sexting, increased instances of coercion, and the side-effects of omnipresent online porn, the spectacle of women understanding and taking control of their own sexuality seems every bit as urgent as it was when Tee Corine published The Cunt Colouring Book (1975). Too many? No way. 8. What do Swiss curators do at 6.30am? Move over Hans Ulrich Obrist and the Brutally Early Club: throughout Manifesta, Adrian Notz the director of Cabaret Voltaire is opening each day with a Dada officium. On a rainy morning in June, he recited an essay by Man Ray in which Dada and its adherents were peddled in the language of a soap powder advertisement. 9. What does the job of "artist" entail? As per Man Ray, the artist's role has long entailed a degree of self- promotion. Georgia Sagri questioned what could and should be expected of her in her role as "artist" when approached by Manifesta to participate in their documentary project. First she proposed billing the biennial by the hour as an actress for the filming. Then, that if she were not being hired as a performer, but filmed as an artist, she be afforded complete creative control of the process. Sagri presented this correspondence and a related film as part of the parallel program, and in a performance lecture alongside her work Documentary of Behavioural Currencies. 10. What do people do for no money? Sagri also questioned the idea that a profession had primacy in bestowing identity over the aspects of life that are done for no money. Such as, for example: mothering, caring, making art, or volunteering to work at a biennial. The question of remuneration is a pointed topic for all of us working in the creative arts (or, as we are now known, "content providers") though not one widely explored in the commissions. 11. How many Matadors are there in Zürich? A professions-themed film program offers special tickets to each screening according to the job portrayed in the movie. At a guess, I was a Swiss Banker (2007), Taxi Driver (1976), and The Station Agent (2003) will all be well subscribed. The Great Dictator (1940) and Matador (1986)? Perhaps less so. Follow artnet News on Facebook. 2016-06-13 07:26 Hettie Judah

36 Ai Weiwei Signs With Hollywood Talent Agency The Chinese artist Ai Weiwei has signed a contract with the Fine Arts division of Hollywood's United Talent Agency (UTA). The agency also represents superstars such as Angelina Jolie and Johnny Depp. The Fine Arts division of UTA was founded last year and is headed by Los Angeles lawyer Joshua Roth. The agency doesn't seek to replace galleries in terms of selling art, but to manage the non-art related aspects of the careers of their represented artists, such as helping them find financing, sign corporate sponsorships, and get involved in the movie business. Indeed, it seems the Ai will benefit most from the latter. The artist is currently filming a documentary about the European refugee crisis called The Human Flow, which will be released next year. According to Page Six , the artist is keen on using UTA's expertise and know- how in the movie business. The showbiz site reported that the talent agency is in the process of using its Hollywood connections to set up distribution for Ai's film. UTA already facilitated the distribution and promotion of a documentary about Maurizio Cattelan , by filmmaker Maura Axelrod. According to Roth, artists are “vital to a larger community," adding that their careers are “so much bigger than showing in the rarefied world of the gallery. " Last year, Roth announced that UTA has the ambition to work with “the best names in the industry" and, with Ai Weiwei , he has certainly succeeded in landing a major client. Still, the concept of artists working with talent agencies sits uneasily with the art world, especially gallerists. Marc Glimcher of PACE gallery told the Wall Street Journal in February 2015 that there's a risk of artists selling out. “Do to much, and you're just not cool anymore," he said. Follow artnet News on Facebook. 2016-06-13 06:31 Henri Neuendorf

37 Michael Dayton Hermann: Oil-Paint Photoshop THE DAILY PIC (#1569): I'm hardly the first person to notice that digital technology is bringing about a convergence of photography and painting, but that truth was brought home to me when I visited an exhibition of works by the New York artist Michael Dayton Hermann , now showing at Frances Saint Charles gallery on the Lower East Side of Manhattan. Hermann has taken digital enlargements of found photos, digitally printed them onto canvas and then added fantastical elements to them in oil paint, often in riffs on the Old Masters. Looking at Hermann's works – especially today's Daily Pic, titled Flowers for Atticus – I suddenly got new insight into what the Old Masters themselves had been up to. They weren't so much inventing from whole cloth, out of the imagination, as conveying the reality of the world to viewers via their era's latest imaging technology, which allowed them to embellish and alter as they saw fit. The ideal of the unmanipulated, truthful photographic image only held sway in our culture for a brief, parenthetical moment. (Courtesy Michael Dayton Hermann) For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-06-13 06:00 Blake Gopnik

38 interview with founders joe dieter and ben willis of audio startup human inc. interview with founders joe dieter and ben willis of audio startup human inc. interview with founders joe dieter and ben willis of audio startup human inc. all images courtesy of human inc. startup company human inc. is look to disrupt the audio industry with a pair of uniquely designed headphones that simply encapsulates the ear. their ’sound’ program is a central goal to create an audio and communication solution that is a purposeful extension of the human body — rather than a continuation of the bulky obtrusiveness that is currently the tech and audio industry. human inc. is pairing the headphones with a truly wireless design with ‘simple-sync’ – an instantaneous wireless connectivity solution free from wires or headbands. together with detailed connectivity, the ‘sound’ program will be able to amplify volume of the surroundings to optimize the listening experience with ambient noise control. ’sound’ will be able to connect to multiple pairs of the same audio source as well as have tactile technology to input requests like take a call, adjust volume and navigate tracks. to help us explain the company’s trajectory and design background, designboom spoke to co-founders joe dieter and ben willis. designboom: what originally made you want to start human inc.? ben willis: human was founded in 2014, after joe and I created, built and sold a previous company that focused on culinary technology. joe and I have known each other and worked together for years, and we had always talked about the obvious pain points and lack of conviction within the consumer technology landscape. with the exit of the previous venture, it was time to concentrate on a brand that would deeply impact the consumer technology space and connect with a current generation who starves for a more natural user experience and design. joe dieter: we founded our company with the near term goal of bringing about a clear advancement in the audio-communication technology, and a longer term of vision of creating forthcoming market-bending technologies that bridge the gap between humanity and technology. moreover, we want to build a brand that dares to take the path less travelled. joe dieter and ben willis reviewing models at their office DB: what particular aspects of your background and upbringing have shaped the principles and philosophies at human inc.? BW: this idea of “purpose-driven technology” at its highest apex seeks to honor the natural, evolutionary perfection of the human body. we believe that the evolution of the human being and human body is one of the greatest miracles to ever exist. being “human” is something to be celebrated. as technologists, moreover, this grand notion translates into a profound responsibility to create technology that seamlessly adds value to one’s daily life. technology was not meant to be an escape from one’s current existence, it was meant to streamline and empower one’s life. we have an extremely rigorous design process that is rooted in ‘purpose driven technology.’ a principle to which we filter all of our design decisions at human is whether the technology will empower and advance a human being’s daily life. there are 10 “no’s” for every 1 “yes” during this process. the future of technology is reserved for those technologies that advance rather, rather than distract from – our realities. JD: both Ben and I were raised to have a deep respect for the one life you’ve been given. the current state of technology does not create technology that exemplifies this value… there are more apps than there are people on planet earth and the majority do not meaningfully add to the human experience; the most “social” generation is ironically, statistically the most isolated; virtual reality is founded on the notion of escaping from one’s current reality – limiting that which is right in front of us. in short, we believe in “purpose-driven technology.” this is the idea that technology should be useful and additive to one’s daily life, rather than isolating, dysfunctional, or aiding in escaping from it. DB: overall, what would you say is your company’s strongest asset and how will you develop it over time? BW: in an era when many tech giants seem to be struggling with real innovation, I believe our conviction in our vision for the future of technology as being purposeful is a key strength. we are very committed to bringing about a clear advancement in audio communication technology, rather than an iteration of what’s currently on the market. we’re aware this may be considered polarizing to some; in order to create change or develop new products, one must be willing to accept criticism. JD: ben has already laid out a vision for human’s next 5 technology programs that will spread human’s reach into larger segments within the tech industry. these next programs are expected to be introduced after the sound program has fully entered the market. what my cofounder won’t say but I’ll add is that his ability to see into the future and bring out real category innovation is unmatched. DB: what has been the biggest influence on the company to date? BW: we have a few key investors in the company who were early apple and early amazon investors (fred warren and kurt beecher dammeier, respectively) and they have mentored us and instilled in us confidence to follow our gut decisions in pursing ambitious technology developments. DB: how – and to what extent – do other creative fields influence your design work? BW: anything that the 5 human senses can encounter and process inevitably holds influence. when it comes to the sound program, we are developing a piece of technology that is literally an extension of humanity – thus other products that adorn the body, including fashion and jewelry, influence our design efforts. DB: now that computer generated visualizations are so commonplace, is there still a place for physical model making or sketching designs by hand? JD: absolutely. especially in the earliest representation attempts of exploring a thought or form. a white canvas is still, in our opinion, the best place to express the creative “what if’s”. it is a safe and uninfluenced environment to quickly process ideas. DB: what are you currently interested in and how is it feeding into your designs? BW: 1- design legacy and the evolution of everything; there are so many products that could be thrown away today with no real miss by humanity – how do you build something durable, that lasts and remains timeless and relevant? 2- building something that is truly the best it can be in current human understanding and industry capabilities. 3 – being obsessed with the notion of every little detail being the best it can be, yet on an inevitable trajectory of becoming better. 2016-06-13 05:15 Piotr Boruslawski

39 The 10 Best Shows To See in Basel This Week Once again, Art Basel is upon us. Everyone is getting ready to walk miles and miles of art fair aisles perusing the best art on the market from all the world. But if you are one of those that think there's more to art than fairs, despair not: the Swiss city boasts a sensational roster of museums and art institutions and they are all putting on their best shows to coincide with the biggest contemporary art fair. Your time will surely be tight, so here we bring you the 10 shows you can't afford to miss while in the city. 1. Anne Imhof, "Angst" at Kunsthalle Basel From June 9-19, Kunsthalle Basel is offering its visitors a viewing of Anne Imhof's opening performance for her newly composed project Angst. The performance will unfold over the span of 10 days and is choreographed much like an opera, with various acts and characters that reflect Imhof's interest in the body and time. The winner of the Preis der Nationalgalerie 2015 for young artists uses recurring motifs in her work, such as dripping liquids, and incorporates live animals into her performances. In her exhibition at the Kunsthalle, she also presents painting, installations, and elements from the opera, which will remain on view until August 21. — Carol Civre 2. Roni Horn, "The Selected Gifts" at the Fondation Beyeler Another show you really shouldn't miss is Horn's " The Selected Gifts ," which will be exhibited publicly for the first time at the Fondation Beyeler, following a site-specific design. The series, which was made between 1974 to 2015, is comprised of 67 photographs of gifts that the artist has received since the beginning of her career, almost forty years ago. These include everything from books, love letters, drawings and photographs of artist friends, the ossified egg of a dinosaur, and even a stuffed swan. The wide array of objects provide a portrait of sorts of the artist, of both her personal life and her work, providing new insights into her oeuvre. And, in case that wasn't enough to convince you, the foundation is also currently hosting the fantastic exhibition " Calder & Fischli/Weiss ," a show in which works by the legendary modern artist Alexander Calder have been put in dialogue with pieces by contemporary mavericks Fischli/Weiss. Here, the works of the Swiss duo act as humorous counterpoints to Calder's geometrical playfulness. What's not to like? — Lorena Muñoz-Alonso 3. Tobias Rehberger "24 stops", A Path Between Fondation Beyeler and the Vitra Campus Visitors to the art fairs in Basel end up spending most of their time inside stuffy convention centers and rarely get to enjoy the region's bucolic landscape and fresh mountain air. This could now change thanks to Tobias Rehberger. The German artist has just finalized the "Rehberger-Weg," an approximately five-kilometer-long path that snakes through two countries, and links two cultural institutions: the Fondation Beyeler and the Vitra Campus. There are 24 way markers along the path—all created by Rehberger—to guide visitors along the route, which offers both a uniquely diverse natural landscape as well as charming, site-specific art discoveries. The path is also devised to reflect the history of the area and its rural inhabitants, providing insights to the region well beyond its financial elites encountered in Basel. Pack your hiking shoes and make sure to clear one afternoon for what will surely be the best antidote to your fair-tigue. — Hili Perlson 4. Vitra Design Museum Now that you've arrived at the Vitra Campus in Weil am Rhein, Germany, visit the Vitra Museum which has just opened its newest building, the Schaudepot, on June 3. Designed by Basel architecture firm Herzog & de Meuron, the Schaudepot houses the Vitra's permanent collection of furniture, which ranges from early bentwood pieces and icons of classical modernism to 3D printed contemporary designs. The inauguration of Schaudepot has allowed the Vitra Museum to display its collection permanently for the first time since its opening in 1989, but there are also changing exhibitions on view. Currently, "Radical Design" looks at the avant-garde design movement that reached its zenith in the late 1960s and early 1970s. A movement that propagated criticality and taste in design and architecture, rather than mere functionalism, and which paved the way for today's crossover between art and design. — Carol Civre 5. Reinhard Mucha at Kunstmuseum Basel Returning to Basel for the first time almost 30 years after his groundbreaking show "Nordausgang" at Kunsthalle Basel, Reinhard Mucha's current exhibition at the newly-refurbished Kunstmuseum opened on March 19 and extends through October 16. Mucha is known for working slowly and meticulously, often re-visiting or altering pieces years after he had begun working on them. This exhibition marks the completion of 12 exhibited works, which he created between 1981 and 2014. Many of the Mucha's pieces are dated using hyphens, commas, and brackets to indicate the artist's “work-in-progress" style, such as Wartesaal , [1997], 1979–1982 and Das Deutschlandgerät , [2002],1990. The present exhibition focuses on an expansive installation titled Frankfurter Block, [2016] 2014, 2012, which exemplifies the artist's complexity and laboriousness. — Carol Civre 6. Michael Landy, “Out of Order" at Museum Tinguely If you and your wallet get exhausted at Basel, you might want to check out the work of celebrated British installation artist Michael Landy at Museum Tinguely. "Out of Order" will be Landy's first museum survey, and will span the unpredictable artist's entire career. The survey follows Landy's controversial work over three decades, including the memorable Break Down in 2001, in which he infamously destroyed all of his possessions in a former department store on Oxford Street. Also featured will be his Credit Card Destroying Machine , which you might remember from 2011 Frieze Art Fair. The bizarre contraption offered custom-made artworks …at a price: you had to sacrifice your credit card to a wood chipper. "Out of Order" will exhibit sculptures, works on paper, and interactive artworks that can be explored in what the artist likens to a walk on an English landscape, where the spectators are invited to contemplate the impact of consumer culture on society. Then you can get back to spending. — Naomi Rea 7. Rafael Lozano-Hemmer, “Preabsence" at HeK Don't look now—but you're being watched. Mexican-Canadian artist Rafael Lozano-Hemmer will have his first solo exhibition in Switzerland this season. “Preabsence" focuses on how presence and absence can be interconnected in the footprints left behind by data, memory, and visitor interaction. The exhibition space has been overtaken in Orwellian fashion by cameras, motion sensors, and tracking systems that record every activity. But the artist uses this technology not to control, but to connect. One example of this is the installation “Pulse Room" (2006), in which hundreds of light bulbs flicker to the heartbeats of participants holding a pulse sensor. The participant's digital traces linger long after they absent themselves from the installation. — Naomi Rea 8. Natalie Czech, “One can't have it both ways and both ways is the only way I want it" at CRAC Alsace Curated by Elfi Turpin, and packed with meticulous inter-textual references, Natalie Czech's latest exhibition is not one for the unread. The exhibition brings together works from different series, among which are Critic‘s Bouquet (2015), Poems by Repetition (2013-2014), and Il pleut by Guillaume Apollinaire (2012-2014). It emphasizes issues encountered by Czech during her research on the deconstruction of relations between language and image, signifier and signified, and writing and photography. There's even a free shuttle from Art Basel to the opening garden party on June 16. It leaves Isteinerstrasse at 7 pm and returns to Basel at 10:30 pm. — Naomi Rea 9. Swiss Art Awards at Hall 4 Messe Basel While in Basel, be sure to check out the specific presentations from the 47 participants selected by the Federal Art Committee to participate in the second round of the Swiss Art Awards 2016, to discover emerging Swiss artists. Past participants include artists such as Yves Scherer, or Claudia Comte, who are now represented by important galleries. The work contestants have produced for this exhibition will be the basis for the jury decisions and selection of the winners. The laureates will be named on June 13, together with the recipients of the Prix Meret Oppenheim 2016. — Naomi Rea 10. Owen Piper and Lili Reynaud-Dewar at SALTS You might already be familiar with Piper's prolific oeuvre of paintings that take inspiration from his environment, and Reynaud-Dewar is well-known for her challenges to the conventions of art institutions by dancing around them naked. The artists' collaboration at SALTS will take the form of a retrospective, an immersive exhibition teeming with introspection and humor, as it questions the motivations and reception of the creative process. — Naomi Rea Follow artnet News on Facebook. 2016-06-13 04:00 artnet News

40 REVIEW: Beautiful, Bestial, and Bonkers: ‘Iris’ at Opera Holland Park Related Venues Holland Park Theatre The score is lavish and sumptuous, the playing gorgeous, the singing excellent. So what makes “ Iris ” the most bonkers show ever put on at Opera Holland Park? Mascagni’s rarely-staged 1898 opera tells the story of a guileless Japanese child who is abducted and then abandoned by a rich young man. She has a dream about an octopus, and stabs herself from shame. In a strange and symbolic climax, the chorus sings an ecstatic number over her mangled corpse (which is lying in a sewer) about the oneness of the universe and the beauty of life. It sounds ravishing, but what it means is anyone’s guess. Individual sorrow is meaningless? Beauty is brutality? Don’t dream about octopuses? (Mascagni was later seduced by fascism, so perhaps the first two are not far off.) Strangely, it didn’t seem to matter, as the music was so utterly seductive and conducted with late-romantic passion and verve by Stuart Stratford. The performances were top-notch too. Soprano Anne Sophie Duprels was vocally and dramatically thrilling in the title role; tenor Noah Stewart brought intensity (and an impressive six-pack) to the role of the abuser Osaka; and baritone James Cleverton (Kyoto the pimp) and bass Mikhail Svetlov (Iris’s father) rounded out a fine cast. Despite the confusion of the libretto, director Olivia Fuchs managed to achieve a surprising amount of clarity. She set the action in a dreamlike version of 1940s Japan, and created all the necessary locations using three large open cages made from bamboo. A few narrative details went awry - but with such a curious plot to deal with, it would seem ungallant to quibble. Bravo to Holland Park for taking a punt on it. There may never be another chance to catch this stunningly beautiful rarity again. Hear it. Enjoy it. And if you work out what it means – could you let me know? 2016-06-13 02:48 Warwick Thompson

41 sergio albiac generates typographic collage portraits from code and transcribed voice throughout his creative practice, artist sergio albiac has investigated the use of code as art through portraiture projects like ‘stardust‘ and ‘art is motion‘, made from hubble telescope imagery, and data collected from LEXUS drivers, respectively. with his latest project, albiac questions: in a post-selfie time where machine learning algorithms convincingly turn photos into imitated masterpieces, how can computer code be used as a medium to tell stories about human identity? ‘I am portraits’ uses cloud computing, real-time machine learning services, and custom generative computer code to creative figurative interpretations of individuals participating in the project. albiac invites people to personally engage with the artwork through his experimental platform and virtual portrait studio, ‘beyapp‘ (beyond appearance). users are asked to sit for a picture, then describe themselves and their personality to the software. using the web speech API, the voices are transcribed into text, then transformed and complemented by related literary and philosophical passages — all in near-real time. the resulting generative collage portraits contain a typographic texture interrupted by unexpected associations and random, letter-based accidents. as a first experiment on this new platform, a modified version of the ‘I am portraits’ is now free and open to everyone for a limited time. the artist investigates the use of code as art ‘I am portraits’ uses cloud computing, real-time machine learning services, and custom generative computer code figurative interpretations of individuals participating in the project are generated albiac invites people to personally engage with the artwork participants can interact via an experimental platform and virtual portrait studio called ‘beyapp’ users are asked to sit for a picture, then describe themselves and their personality to the software using the web speech API, the voices are transcribed into text 2016-06-13 02:30 Nina Azzarello

42 A Little Carpool Karaoke The host of the Tonys, James Corden, picked up Lin-Manuel Miranda of “Hamilton” and other Broadway stars before heading to the ceremony, enjoying a little karaoke on the way. 2016-06-13 02:03 CBS

43 VIDEO: Manolo Valdés on his Latest Works at Marlborough Fine Art Related Artists Manolo Valdes Manolo Valdés is presenting his first solo exhibition in the UK in over 10 years with some of his latest works across a variety of mediums (canvas, paper, sculpture), underlying the rich variety of his oeuvre. His distinct figurative paintings combine thickly applied oil paint and hessian sacking with a collage-like technique of cutting and sewing onto the canvas in relief, while his sculptures use a variety of materials such as aluminum, bronze, wood, iron, and for this exhibition, alabaster mixed with oxidized iron. Valdés’s sculptures of women’s heads adorned with butterflies or ferns have become highly recognizable. Watch as the artist talks about his interest in the female form and how an “accident” can be appropriated to create an unusual final work. Click on the slideshow to see photos of the exhibition. 2016-06-13 00:28 Sonia Kolesnikov

Total 43 articles. Created at 2016-06-14 00:08