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30 articles, 2016-06-23 12:02 1 Modigliani Leads Christie's Tough $37 Million Impressionist and Modern Sale Colin Gleadell analyzes Christie's disappointing annual Impressionist and Modern sale in London, and sees which works managed to take (1.02/2) the spotlight. 2016-06-22 21:25 5KB news.artnet.com 2 The International Center of Photography Opens a New Space in New York The home for photography moves to the Bowery with a new show, (1.02/2) "Public, Private, Secret" 2016-06-22 17:10 4KB www.blouinartinfo.com 3 OPT designs synthetic publics city hall in tekirdag the center promotes citizen participation and turkish political transparency through increased connectivity between civilian and governmental bodies. 2016-06-23 06:15 1KB www.designboom.com 4 waarmakers R16 shipping package light waarmakers R16 shipping package light is a cardboard LED tube light fixture which serves as both packaging and a light at the same time. 2016-06-23 04:05 2KB www.designboom.com 5 KALO present flat pack multi-tier shelf at design days dubai 2016 the 'multi-tier shelf' system designed by KALO, contains three maple shelves which rest on vertical slanting legs without the use of hardware connections. 2016-06-23 02:15 1KB www.designboom.com 6 joep van lieshout envisions 'slavecity' a rational, yet highly unethical dystopian society museum de pont presents joep van lieshout's 'slavecity', comprising a series of models, objects, and works on paper that form a sinister utopian vision. 2016-06-23 00:15 2KB www.designboom.com 7 ‘De Gaulle in Trianon’ Celebrates Historic Renovation of Versailles A new exhibition explores the transformation of Versailles' Grand Trianon into a presidential palace in 1966. 2016-06-23 00:15 2KB www.blouinartinfo.com 8 Chou Yu-Cheng Toys With Perceptions at Edouard Malingue Taiwanese artist Chou Yu-Cheng invites viewers to play with words, objects and shapes by creating new meanings with disparate associations during his upcoming solo exhibition at the gallery. 2016-06-23 00:10 2KB www.blouinartinfo.com
9 Tamara Chalabi and Paolo Colombo to Curate Iraq Pavilion at 57th Venice Biennale Paolo Colombo, Art Advisor at Istanbul Museum of Modern Art, will join Ruya Foundation co-founder Tamara Chalabi for an exhibition entitled "Archaic." 2016-06-22 23:35 2KB www.blouinartinfo.com 10 Aniwar Mamat Weaves Traditional and Contemporary at OCAT Xi’an Aniwar Mamat's woolly tapestries are draped over the walls and floors of OCAT Xi’an for his solo exhibition "Felt" through September 11. 2016-06-22 23:27 2KB www.blouinartinfo.com 11 richard mille RM 68-01 tagged by graffiti artist cyril phan never before has a graffiti taken shape on the bridges and baseplates of a watch, making the richard mile RM 68-01 a truly contemporary piece of art within the timepiece market. 2016-06-22 23:05 1KB www.designboom.com 12 Off the Record Fashion and Music Event Returns for Second Engagement in Nashville The event takes place Oct. 29. 2016-06-22 22:39 1KB wwd.com 13 Sophie Cookson on Style, the Kingsman Costumes and Jewelry WWD sat with Cookson to talk about her style, the Kingsman movie costumes and future projects. 2016-06-22 21:41 919Bytes wwd.com 14 Alice + Olivia’s Artful CFDA Capsule Alice + Olivia’s Stacey Bendet was inspired by Eighties art world icon Jean-Michel Basquiat for a CFDA capsule. 2016-06-22 21:16 4KB wwd.com 15 Frieze London Announces UK Regional Museums Acquisition Fund Frieze London has announced that it is partnering with the Contemporary Art Society on a new fund to acquire major works for the UK’s regional museums. 2016-06-22 20:54 2KB www.blouinartinfo.com 16 New York Artist Bridges the City by Weaving Words into Books Elena Berriolo's book was sewn by a machine across 26 miles on the New York subway. 2016-06-22 20:45 8KB thecreatorsproject.vice.com
17 Young Royals Attend Charity Gala Dinner She donned a blush pink Jenny Packham gown that she wore to the Ark dinner in 2011. 2016-06-22 20:29 1KB wwd.com 18 British Label House of Hackney Redesigns the Terrace at Annabel’s The British label used a tropical print from their fall collection to dress the terrace’s furniture. 2016-06-22 20:04 3KB wwd.com 19 Thundercat Is a Cosmic Wolf Man in a New Animated Music Video Animator Ryan McShane transforms Thundercat into an interstellar shaman for "Song for the Dead. " 2016-06-22 19:40 3KB thecreatorsproject.vice.com 20 philippe starck reimagines footwear design for brazilian shoe brand ipanema brazilian shoe brand ipanema has partnered with world-renowned creator philippe starck for 'ipanema with starck' - a spring/summer 2016 collection. 2016-06-22 19:35 1KB www.designboom.com 21 CANADA Is Making Painting Great Again The gallery—not the country—has an exhibition that aims to push Trump’s rhetoric to art, by ‘making painting great again.’ 2016-06-22 18:35 4KB thecreatorsproject.vice.com 22 Mark Leckey at Gavin Brown’s Enterprise, Rome Pictures at an Exhibition presents images of one notable show every weekday 2016-06-22 17:13 1KB www.artnews.com 23 Christo's 'Floating Piers' Temporarily Shuts Down Thousands of visitors were left stranded at Brescia train station, as local authorities tried to control the waves of tourists to Christo's latest project. 2016-06-22 17:09 2KB news.artnet.com 24 This Pin's for You New pins from Poke Daddy, Unhappy Medium, Deja Pins, Dropped Pin, Cultural Void, and a special 21% off discount code from Strike Gently Co. 2016-06-22 17:00 4KB thecreatorsproject.vice.com
25 Dozens of Artists Hijacked the Hallways of a Brooklyn High-rise High above Brooklyn, lucky renters live amidst original works of art. 2016-06-22 16:10 4KB thecreatorsproject.vice.com 26 Life Visions: Frederick Kiesler's Utopian Architecture at MAK After a retrospective on Josef Frank, MAK shows Frederick Kiesler's work as it re-asseses Viennese Modernism in design and architecture. 2016-06-22 15:41 3KB www.blouinartinfo.com 27 M1 and Joey Bada$$ Draw 'The Message' Out of Today’s Hip-Hop [Premiere] Joey Bada$$ links up with M1, of Dead Prez fame, to meditate and paint a wall piece in the pilot episode of new series called 'M1's The Message.' 2016-06-22 15:15 4KB thecreatorsproject.vice.com 28 Auctionata Sets New Auction Record for Alfredo Jaar Auctionata has set a new auction record for Chilean-born artist Alfredo Jaar 2016-06-22 14:56 1KB www.blouinartinfo.com 29 “Petrichor” at Chan Hampe Galleries Explores the Ephemeral Six Singaporean and Italian emerging artists will create thought- provoking work at Chan Hampe Galleries Singapore in its new group exhibition “Petrichor.” 2016-06-22 14:40 2KB www.blouinartinfo.com 30 "Weegee’s Bowery" at Mana Contemporary's ICP Gallery From the old Bowery to the new: Weegee’s Photographs at the ICP 2016-06-22 14:07 2KB www.blouinartinfo.com Articles
30 articles, 2016-06-23 12:02
1 Modigliani Leads Christie's Tough $37 Million Impressionist and Modern Sale (1.02/2) It was a tough night for Christie's tonight as three lots were withdrawn just before their main Impressionist and modern art sale and another 12 out of 33 lots were unsold, including one of the top lots which was guaranteed by Christie's. Few could remember when an Impressionist and modern art sale had made so little—£25.6 million ($37.5 million). Last year the equivalent total was £71.5 million ($105 million). At the press conference we were told about selective bidding, and that bidders from more countries than last year (34) registered—but where were they? We were also told that the real masterpieces were coming up in their Defining British Art sale next week. Christie's always looked unlikely to measure up to Sotheby's previous evening's sale with a very modest £38.6-56.6 million ($57-83 million) pre- sale estimate for just 36 lots of Impressionist and modern art, which was reduced to £32.9-48.8 million ($48-72 million) for 33 lots. Like Sotheby's, they boasted an Amedeo Modigliani portrait among the top lots, but with a lower, £5-7 million ($7-10 million) estimate. This head and shoulders portrait with the characteristically exaggerated swan neck was of Madame Hanka Zborowska, the wife of Modigliani's dealer, Leopold Zborowska. Adding value was the fact that it had not been on the market since the 1930s when it was bought from Arthur Tooth's gallery by one James Archdale from Birmingham, UK. Probably because of insurance costs, his descendants lent the painting to the local museum for the last 38 years. Given the relatively low estimate, at least four phone bidders made a play for it, including two from Asia, before selling for £8.3 million to an anonymous buyer. The only guaranteed lot in the sale was a quiet, sun-drenched early street scene by Claude Monet. With no Monets, or any Impressionist paintings of note at Sotheby's, this was probably the stand-out Impressionist painting of the week. But, estimated at £4.5 million-6.5 million ($6.6-9.6 million), it was the biggest disappointment of the sale, attracting no bids. As occasionally happens, there was a strong suit of Picasso's, but they failed to materialize. A three-foot musketeer painting from 1967 million carried the highest estimate at £2.8-4.8 million ($4.1-7.1 million), but it failed to sell, while a pair of very similar table top still lifes painted on the same day in 1946, one dark, the other light, from the same collection, were both withdrawn at the last minute, carrying estimates of £2-3 million ($3-4.4 million). This usually happens when there are no bids pending in the book. Also withdrawn was their top surrealist lot, René Magritte 's small 1969 oil, Le Temps Jadis , estimated at £1.4-1.8 million ($2-2.6 million). The sale did get off to a cracking start, however, with a colorful Pierre- Auguste Renoir landscape of Rocks at L'Estaque that sold for a double estimate £1.1 million ($1.6 million). Close behind was a tidy single owner collection of works by Paul Klee and Wassily Kandinsky during their Bauhaus period that realized £4.7 million ($7 million). The first example, Klee's Flowers in a Vase sold to art advisor, Mary Hoeveler, near the high estimate for £338,500 ($501,000). But the star lot of the collection, a luminous 1929 Kandinsky, Mit und Gegen (For and Against) , in which a vessel appears to float through a constellation of moons, stars, and other celestial objects, failed to sell against a £2-3 million ($3-4.4 million) estimate. Taking up the slack was Sotheby's Tel Aviv representative whose client bought two geometrical abstracts by Kandinsky for £1.3 million ($2 million) each—both near the lower estimates. Amongst the other German offerings was an Ernst Ludwig Kirchner pastel from his classic 1914 period, which sold within estimate, for a record £1.1 million ($1.6 million). The only other record was for the first Bernard Buffet painting, Les Clowns musiciens, le saxophoniste. Interest from the floor was snuffed out as an anonymous phone bidder appeared with an offer within estimate for £1 million ($1.5 million). Asian bidding was strong throughout the sale. Salome Tan Bo, from Christie's Beijing office, bought Fernand Léger 's Deux Figures for a low estimate £1.2 million ($1.7 million), and Marc Chagall 's La Petite Flutiste , within estimate for £1.4 million ($2 million). Chaim Soutine's Paysage du Midi was snapped up below estimate for £662,500 ($980,000) by a representative from Hong Hong on behalf of a client. But the roll call of unsold lots makes dismal reading, although some had been on the market too recently to attract real interest. A Renoir portrait, bought in Japan last year for £1.5 million ($2.2 million), had the same price for an estimate but failed to sell. A Picasso bought in Paris six years ago for €600,750 ($680,000), found no bidders at £480,000 ($540,000). How different it was from Sotheby's impressive $151 million sale the night before. 2016-06-22 21:25 Colin Gleadell
2 The International Center of Photography Opens a New Space in New York (1.02/2) Related Venues International Center of Photography Artists Cindy Sherman Andy Warhol Jon Rafman Martine Syms Cornell Capa The International Center of Photography’s new location, on New York’s Bowery, harks back to founder Cornell Capa’s original mission for the institution: to be a place for public discourse. “The medium is very democratic,” said Mark Lubell, the ICP’s executive director. “You should feel like you can be involved.” The downtown space, situated diagonally across the street from the New Museum and opening to the public on June 23, is the fourth the center has occupied over the years. It first set up shop in 1974 in the Willard Straight House, on East 94th Street and Fifth Avenue, just five blocks from the Guggenheim Museum. In 1985, the center moved to its first midtown location, decamping four years later to a larger space nearby, where it remained until recently. When Lubell joined the staff in 2013, the lease was about to end, and he immediately started searching the city for a new home. He considered Chelsea, with its abundance of galleries, but the prices were too high, and there was a feeling, Lubell said, that people were moving away from the neighborhood. So he turned his attention downtown. He considered the New Museum’s annex space before rejecting it as too small. Just up the block, however, was exactly what he was looking for. (The ICP will still have an operational, if not a physical, connection to the museum: One ticket will get you into both institutions, and their hours are the same, making it more convenient for visitors.) When the center first opened, an institution dedicated to the art of photography was a radical idea. “For most museums, photography was the stepchild,” Lubell said. “But today, the medium has come to us.” We live in an image culture, where pictures sent from cell phones are traded and shared almost as freely as words. The center now has a mission to engage in contemporary dialogues about the issues raised by this pervasiveness. The new home was designed to accommodate this new focus. The building has a 90-foot glass façade that is intended, Lubell said, to create a two-way conversation with the street. A third of the entire space is open to the public, he said, and the windows look into one of these areas, containing a café as well as a place to host public events. This transparent entrance also welcomes viewers to the inaugural show in the center’s new space, “Public, Private, Secret,” curated by the institution’s first-ever curator-in-residence, Charlotte Cotton. Exploring the issues surrounding privacy and surveillance and how images makers have responded to them, it brings together a wide range of artists working in still and moving pictures. On the ground floor are videos by Natalie Bookchin, Jon Rafman , Doug Rickard, and Martine Syms that use found footage to examine the different ways we present ourselves online. Coiling around the downstairs area, a stunning body of work extending from 1855 (a stereograph card by Count Louis-Camille D’Olivier) to the present day (a video of images from Kim Kardashian’s “Selfish” book) embodies the show’s insistence on breaking down image hierarchies: A photograph by Cindy Sherman hangs next to Polaroids shot by Andy Warhol , and a paparazzi snap of Jacqueline Kennedy Onassis by Ron Galella is just a turn of the head away of French mug shots from 1922. The show is both contemporary, dealing with how we live with images every day, and a return to the center’s core ideals. “I feel like this show is reestablishing the goal of the ICP, which is as a place of thought,” Lubell said. “I think we’re going to continue to have that dialogue as we plan future shows.” 2016-06-22 17:10 Craig Hubert
3 OPT designs synthetic publics city hall in tekirdag ‘synthetic publics’ is a 35,000ft2 city hall concept developed by architectural design collaborative OPT. created with turkish bureaucracy in mind, the center promotes citizen participation and political transparency through increased connectivity between civilian and governmental bodies. the building is situated within the vicinity of a planned transportation hub in the turkish city of tekirdag, on the northern coast of the sea of marmara about 84 miles west of istanbul. though innately security intensive — for government use — OPT attempts to interject the general public into the scene. much of ‘synthetic publics’ is void space, with little function besides drawing visitors into the building. confidential zones are pushed upwards into the faceted forms, separated into three streamlined groups that include more than 30 departments. diagonal openings penetrate the form at every floor, which brings daylight into the interior and also bolsters views and circulation schemes. 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. 2016-06-23 06:15 Jie Zhang
4 waarmakers R16 shipping package light waarmakers R16 shipping package is also an LED tube light fixture ‘R16’ by dutch design duo waarmakers is a cardboard LED tube lighting fixture, which serves as both packaging and a light at the same time, so that the least amount of waste possible is produced. while designing their ‘ninebyfour’ lamp, a lighting unit made of elm trees from the inner city of amsterdam, they found themselves inundated with different linear LED’s in cardboard tube packaging. they felt uncomfortable with throwing away this cardboard as they believe, if used in the right way, it is an attractive material. waarmakers believe that there aesthetic value in the simplicity of the cardboard material to tackle this waste issue they started to think how it could be reused, or repurposed. from a design perspective the use of LED’s holds the capability for a lot of different materials to be used, as they barely heat up. their solution was, in fact, the packaging material itself – the cardboard tube could also be the fixture. the ‘R16’ has been designed with sustainability at its core, using as little material as possible. for example, they have opted to not include the components to fix the lamp in place in order to encourage users to add their own pencil and coin. slot for user to add a coin independently by pre-cutting the tubes with a lasercutter, the cardboard can first be used as the packaging material, and can be turned into an elegant light fixture in a few simple steps. all necessary components are shipped inside the tube, and the package is only rolled in a single layer of kraft paper for shipping. a single sheet of kraft paper is used for the shipping of the light minimalist appearance can fit into a variety of situations user can apply different colors of fixings depending on the interior natural color of the cardboard lends itself to both soft and saturated tones 2016-06-23 04:05 Martin Hislop
5 KALO present flat pack multi-tier shelf at design days dubai 2016 the ‘multi-tier shelf’ system designed by KALO, contains three maple shelves which rest on vertical slanting legs without the use of any hardware connections. pinned to the topmost shelve with custom-made solid brass pins, the design allows the legs to fold up and down allowing one to construct the assemblage easily. the connection points where the two pieces come together are highlighted by a curved ridge which creates an organic impression upon the design. the maple legs which drop down from the surface fit snugly into leather collars which prevent them from sliding down. the adaptable system was first exhibited by KALO at design days dubai in march 2016 along with a coffee table, stools, and a lounge chair, all of which express a unified visual language. the maple shelves that rest on vertical slanting legs without any hardware connections 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. 2016-06-23 02:15 Ammar Kalo
6 joep van lieshout envisions 'slavecity' a rational, yet highly unethical dystopian society for the first time in the netherlands, museum de pont in tilburg presents joep van lieshout‘s ‘slavecity’. the exhibition comprises a series of models, objects, and works on paper that form a sinister dystopian vision for a rational and highly profitable city that nets 7.8 billion euro per year. in this imagined town of 200,000 inhabitants, values, ethics, aesthetics, morality, food, energy, and economics are totally turned upside-down. van lieshout’s ‘slavecity’ benefits from the latest technology, where participants in the callcenter work seven hours a day as telemarketers and computer programmers. after their work day in the city, occupants must tend to the fields or inside the workshops for an additional seven hours to maintain the city. the participants’ efficiency is closely monitored — measures are taken if they drop below the optimally set level. ‘slavecity’ is the first ‘zero energy’ town, functioning without imported mineral fuel or electricity. the needs of the city are covered by using biogas, solar and wind power, and bio-diesel. everything is recycled — even the participants themselves — whose vital organs are destined for transplantation instead of decaying into dust. depicting this recycling process in close detail is the installation ‘cradle to cradle’. this ‘contemporary anatomical theatre’ comprises a high-tech operating room and a semi-industrial slaughterhouse, where bones, skulls, muscle groups and organs lie brightly lit tables. the people-recycling machine is a model of efficiency: organs are used for transplants; flesh, fluids, fat and bones are made into meat; the remainder is used to harvest energy. ‘cradle to cradle’ demonstrates the internal workings of ‘slavecity’ — the result of an overlay rational, sustainable society where ethics hardly play a role. ‘slavecity’ is presented by zuecca project space at the 2016 venice architecture biennale. 2016-06-23 00:15 Nina Azzarello
7 ‘De Gaulle in Trianon’ Celebrates Historic Renovation of Versailles Related Events De Gaulle in Trianon Venues Château de Versailles Artists Andre Malraux A new exhibition, running until November 9 at the Palace of Versailles, celebrates the 50th anniversary of the Grand Trianon’s renovation into a presidential palace and residence for visiting foreign dignitaries under French President Charles de Gaulle. Featuring archival photos — many of which have never been seen by the public — along with videos, architect plans, and other documents, “A President in the King’s Palace: De Gaulle in Trianon” arrives as a follow-up to an exhibition in 2015 that told the story of the building, from its commissioning by Louis XIV until its restoration by de Gaulle. Visitors to “De Gaulle in Trianon” will also see a refurnishing of the Grand Trianon that recreates seven rooms in the building as they were when they served as De Gaulle's apartments five decades ago. These include the ex- president’s office, family lounge, and dining room, as well as two further offices, a waiting room, and an Ushers’ Room. Also showcased are the kitchens where banquets and receptions for figures including Queen Elizabeth II, US President Richard Nixon, and Chinese President Xi Jinping were prepared. The exhibition is described in a press release as “ bring[ing] back to life this decisive yet unfamiliar period in the history of the Grand Trianon,” in which De Gaulle — working in collaboration with his Minister of Cultural Affairs, the novelist André Malraux — restored a palace that had hosted no official resident since the late 1840s to its original Imperial glory . 2016-06-23 00:15 Samuel Spencer
8 Chou Yu-Cheng Toys With Perceptions at Edouard Malingue Related Venues Edouard Malingue Gallery Come June 24, Taiwanese artist Chou Yu-Cheng invites viewers to play with words, objects and shapes by creating new meanings with disparate associations during his upcoming solo exhibition at Edouard Malingue Gallery. Recognized for modifying, shifting and transferring objects to create new interactions, Chou has produced a “ panoramic wallscape, ” juxtaposing seemingly random elements and shapes, for his new exhibition “Chemical Gilding, Keep Calm, Galvanise, Pray, Gradients, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. II.” A lengthy title at first glance, but one that bears advice and guidance to understanding his new work of the same name. This installation, that welds wallpaper, painting and installation, is exhibited along an entire gallery wall. It experiments with traditional modes of presentation, with the inclusion of various stands serving as shelves for diverse objects. Described in a press release as “an open-ended sentence,” the show presents multiple interactions and interpretations of the piece. Chou offers an open “ relationship between the work and the viewer, ” for the latter to find new “ connections between feelings, things and places. ” Through observation and meditation, one can slowly dissect the title as it reveals tools or even a glossary to piece together this visual puzzle: “The ‘calm’ of the gradient paintings, the resting object identified as an ‘incense burner,’ the graphs that hint to ‘capitalise’ or even ‘dissatisfaction,’ the slab that at once represents ‘chemical gilding,’ ‘agitation’, and ‘hit’.” After having gained a fresh new perspective, the artist aims to help viewers achieve a broader understanding of what surrounds them. 2016-06-23 00:10 Claire Bouchara
9 Tamara Chalabi and Paolo Colombo to Curate Iraq Pavilion at 57th Venice Biennale Related Events Venice Biennale 2015 - All the World’s Futures The Venice Biennale - 56th International Art Exhibition Venues Ikon Gallery Venice Biennale Stedelijk Museum voor Actuele Kunst (S. M. A. K.) Artists Paolo Colombo Ruya Foundation co-founder Tamara Chalabi and Paolo Colombo , Art Advisor at Istanbul Museum of Modern Art, have been named co-curators of the Iraq Pavilion at the 57th Venice Biennale, which will run from May 13 through November 26, 2017. The pavilion — the third consecutive one to be commissioned by the Ruya Foundation — will feature the exhibition “Archaic,” showcasing artefacts from the region historically known as Mesopotamia alongside works of Iraqi Modernism and new commissions that investigate the numerous definitions of the word “archaic.” In a statement, Colombo described the upcoming exhibition as “a wonderful opportunity to juxtapose works by contemporary artists with rich, deep and layered historical artefacts that are at the origin of western civilization.” Chalabi called it “an exciting concept which will allow us to explore the complex and contradictory elements in representing Iraq visually on an international scale.” This exhibition will be Ruya founder and chairperson Chalabi's third time curating the pavilion — she first curated for the Biennale in 2013. That year, she worked with Jonathan Watkins, director of the Ikon Gallery in Birmingham in the United Kingdom, on an exhibition of 11 Iraqi contemporary artists entitled “Welcome to Iraq.” In 2015, Chalabi worked with Philippe Van Cauteren, the artistic director of S. M. A. K. in Ghent, Belgium, on “Invisible Beauty” — a show about new and rediscovered Iraqi artists that is currently on display at Van Cauteren’s own museum. 2016-06-22 23:35 Samuel Spencer
10 Aniwar Mamat Weaves Traditional and Contemporary at OCAT Xi’an Aniwar Mamat has threaded his way to becoming a leading Chinese contemporary abstractionist, with a long-standing career engaging with various materials. His recent felt- based artworks are the embodiment of his singular vision and creativity. Previously exhibited at Pékin Fine Arts in 2015 in Beijing, his woolly tapestries are now draped over the walls and floors of OCAT (OCT Contemporary Art Terminal) Xi’an for his solo exhibition "Felt" until September 11. Originally born in Karghalik, a medieval town on the ancient Silk Route in Xinjiang, Mamat has stayed loyal to its traditions, colors and aesthetics. His oeuvre is unique within Chinese contemporary art, weaving together Xinjiang’s artisanal textile heritage and a contemporary language to create abstract geometric forms in his tapestries. Mamat's former positions as a designer at a carpet factory and as an art professor at one of China’s premier universities of fashion in Beijing provided him with formal training in the use of a variety of materials, shapes, textures and scales. The production process involves a painstaking procedure of individually layering colored bands across a sheet of felt. The artist then rolls this with a bamboo mat, like a giant sushi roll, until the soaked material has been compressed together. It is a technique he learned while working alongside local craftsmen from the region, as he discovered the range of natural dyes and the proportion of strips of felt to be used and colored. The end result is unlike any other traditional patterns or pictorial motifs used across Eastern China. Comprising bright contrasting strips of color, which differ greatly from the preferred shades in the region, the tapestries retain the vivid Central Asian hues found in traditional Xinjiang carpets and textile design. What makes this body of work unique are the descriptive motifs present in these tapestries, which have been transformed into an abstract form. These readable figures of human forms or flowers, among others, are reduced to pure color and geometric form to create a spatial sensation. 2016-06-22 23:27 Claire Bouchara
11 richard mille RM 68-01 tagged by graffiti artist cyril phan bespoke timepiece company richard mille asked french street artist cyril phan, aka kongo, to add a his graffiti style to every component of their ‘RM 68-01 tourbillion’ model. working closely with the research and development team, they first selected an asymmetrical case that added extra punch to the design. the paints had to tested to adhere to the delicate titanium movement as well as the weight, as not to throw the pieces out of balance or impede the mechanisms. it took about a year to perfect the process and design necessary to protect the gears, using special tweezers for treating the pieces without touching them. microscopic letter stencils, barely visible to the naked eye, cut from thin sheets of metal created graffiti art never found on a timepiece before. cyril phan also employed very special pens for his airbrush system that deposits paint drop by drop to apply the particular paint on the metal surfaces. for each watch, the french artist wanted to inflect a graphic vocabulary with letters, words and colors – basically the same as painting on a canvas. never before has a graffiti taken shape on the bridges and baseplates of a watch, making the richard mille ‘RM 68-01’ a truly contemporary piece of art within the timepiece market. the gears weren’t decorated because it would unbalance the mechanism microscopic stencils were used for the lettering 2016-06-22 23:05 Piotr Boruslawski
12 Off the Record Fashion and Music Event Returns for Second Engagement in Nashville Off the Record, an exclusive fashion and music event, will return to Nashville on Oct. 29 at The Factory at Franklin. Off the Record showcases collections from well- known international designers and musical performances. The event will begin with a cocktail reception with red carpet arrivals, special musical performances and an intimate viewing of the designers’ fashion lines prior to the fashion show. The lineup of designers and performances will be revealed at a later date. Last year’s inaugural event featured such collections as Gucci, Kaufmanfranco, John Varvatos, Johnathan Kayne and Amanda Valentine with musical performances by The Cadillac Three, Maren Morris, Old Dominion, Phil Vassar and Tommy Shaw of Styx. Tickets will go on sale to the public on Aug. 8 with packages ranging from $300 to $1,000. 2016-06-22 22:39 Lisa Lockwood
13 Sophie Cookson on Style, the Kingsman Costumes and Jewelry Sophie Cookson recently appeared in a series of short films for Gemfields in which she donned jewelry with Gemfields Mozambican rubies. The British actress, who starred in “The Huntsman: Winter’s War,” alongside Charlize Theron, Emily Blunt and Chris Hemsworth, just wrapped filming “Kingsman: The Golden Circle,” with Julianne Moore, Channing Tatum and Halle Berry. WWD sat with Cookson to talk about her style, the Kingsman movie costumes and future projects. 2016-06-22 21:41 Lorelei Marfil
14 Alice + Olivia’s Artful CFDA Capsule
Stacey Bendet, founder and creative director of Alice + Olivia , channeled the powerful, provocative, controversial and misunderstood work of the late artist Jean-Michel Basquiat for a capsule collection to benefit the Council of Fashion Designers of America’s young talent initiative. “I like complicated and misunderstood,” said Bendet. “Basquiat was a huge inspiration — both his color palette and his messages. I’ve always been such a fan.” Bendet’s first CFDA capsule collection in April 2015, celebrated Domingo Zapata, a Spanish-American artist, who has studios in New York, Miami and Hollywood. “I wanted my next collaboration to be an iconic American artist,” Bendet said. “One of my close friends produced a documentary about Basquiat, ‘Radiant Child.’ That inspired me even more. It also felt like this was the right time to do something Eighties-inspired. I thought, it would be amazing to work with Basquiat and bring his work into today.” Basquiat, who started as a graffiti artist — Samo was his tag — began painting in 1980. His sketches featured scrawled texts, stick figures, found bits of writing and stream-of-consciousness rants. The Neo-expressionist artist in 1983 painted black faces with white scribbled notes, a reflection of his feeling somewhat out of place as a black man in a white art world. The Estate of Jean-Michel Basquiat “opened his entire archive to us to go through and study,” Bendet said. “It was a really interesting project.” If Basquiat was alive he might be tickled by the effort. In the late Seventies — before he was discovered — the artist sold painted T-shirts to tourists in Greenwich Village. “I picked out the ‘works’ that resonated visually,” Bendet said. “We worked off the actual art works. I wanted them to feel 3-D or like they were painted on canvas. For ballgown skirts, I wanted you to feel the whole painting, so we beaded and embroidered parts of the image.” The ballgown skirt is based on “Notary,” a 1983 painting that references Pluto and Greek mythology. “He spent over a year-and-a-half on that group of works,” Bendet said. “It was of one of his most detailed.” Bendet used elements of “Panel of Experts,” (1982) on a black slipdress, which features the artist’s ubiquitous three-pointed crown, a duck, volcano, gun and fighting cartoons. The name Madonna, the pop star who was his girlfriend, is crossed out. A black tote was inspired by “Beat Bop,” a hip-hop single with a record cover designed by Basquiat. Bendet called it “a 10-minute sparring match with other graffiti artists.” A bowling bag based on “Ascent,” (1983) captures the painting’s bright blue background. “It was one of his periods of using texts from interesting books,” Bendet said. Also included in the capsule collection is a multicolored striped dress, leather jacket, shoes and jeans, which are inscribed with elements from Basquiat’s notebooks and other works. A sweater has the yellow Basquiat crown. “We did a white button-down shirt because he was always wearing fancy suits with white button-down shirts,” Bendet said. “We had to have everything approved by them,” she said, referring to the Basquiat estate. “A lot of creativity and thought that went into each piece.” Several items in the capsule will be exclusive to Alice + Olivia stores and aliceandolivia.com, bowing in November. The collection will also be sold at Saks Fifth Avenue , Neiman Marcus and other specialty stores. “It was very tragic,” Bendet said of Basquiat’s death. “His time set the stage for the art world today and the importance of fame, it was him and Andy Warhol.” 2016-06-22 21:16 Sharon Edelson
15 Frieze London Announces UK Regional Museums Acquisition Fund Frieze London has announced that it is partnering with the Contemporary Art Society on a new fund to acquire major works for the UK’s regional museums. The recipient of this year’s £50,000 grant for the purchase of a work at the 2016 Frieze London fair is the Middlesbrough Institute of Modern Art, which was selected as the winner from the Contemporary Art Society’s 70 Museum Members. Caroline Douglas, Director, Contemporary Art Society, said that the members of the Collections Fund committee were impressed by the Middlesbrough Institute of Modern Art’s engagement with the local issues of migration and exile. “We look forward to supporting the acquisition of a major work that is emblematic of the period of history we are living through,” Douglas said. The Middlesbrough Institute of Modern Art designates itself as a “useful museum” or “museum 3.0” which it describes as a “civic institution that promotes art as a tool for social change.” The museum is currently developing a new institutional model that focuses on responding to local community issues such as migration through education, activism, and community building. Alistair Hudson, Director, Middlesbrough Institute of Modern Art, highlighted the fact that Middlesborough has been reported* to have the highest number of asylum seekers in the country per capita. “But ours is a vibrant, complex, post-industrial region that was created by migrants and we view this story as an asset to inform and shape our culture and influence social change,” Hudson said. The work acquired through the Collections Fund at Frieze will be announced on October 5 at Frieze London. *J. Reed, ‘Why does Middlesbrough have the most asylum seekers?’, BBC News Online, 23 October 2015 2016-06-22 20:54 Nicholas Forrest
16 New York Artist Bridges the City by Weaving Words into Books Image of A Book as A Bridge from Wall Street to the Bronx, 2015. Courtesy of Elena Berriolo On November 11, 2015, at 9:30 PM, the artist Elena Berriolo boarded the Bronx-bound 2 train at Wall Street Station. Cradling a sewing machine and a blank accordion book crafted of tarlatane and paper, Berriolo bundled herself into the far end of a subway car, peering out at the masses of tired, end-of-day workers and commuters encased in the silent carriage. As the train pulled out of the station, she unfolded the first page of the book, carefully placing it under the needle of the machine, and began to sew, each page unravelling as an unbroken line started forming. When Berriolo reached her final destination at 149th Street in the Bronx, the book had unfolded across the entire length of the train, the pages in the laps and hands of commuters who were all connected by a simple line of thread. Berriolo is a performance and installation artist who has committed to working solely with books since 2009. She has completed two more projects on public transit after the A Book as a Bridge from Wall Street to the Bronx —one going the opposite direction, marking New York’s economic flow from poverty to capitalism, and one from Manhattan to Staten Island on the ferry. The artist told The Creators Project about the project, which she sees as socio-political reparative endeavour intended to build bridges across communities. Citing her craft of stitching and sewing as a metaphor for connection, she says in her book Why Didn’t They? (2015): “It is true most lines are made to divide, but it is only the sewn line, coming from its peaceful history of linking and repairing, [that is] able to separate without cutting off.” Image of A Book as A Bridge from Wall Street to the Bronx,” 2015. Courtesy of Elena Berriolo The Creators Project: When and how did you start working with literature? Elena Berriolo: My interest in the written word came after my pursuit of the book as the oldest three-dimensional, compact, time machine—but it is hard to work within the book format without thinking about the word. At the beginning of my commitment in 2008-2009, the word was a way for me to represent sounds and define/organize time on a page. At that time my texts were usually small quotes from known writers, and only occasionally my own words. Afterwards I became interested in the “word” in Jewish culture—my husband is Jewish—in a society where the representation of images was forbidden. The word is visually extraordinarily important, its power often enhanced by abstract or decorative compositions around it. Summer Day, I Am A Beetle, 2014. Sewn thread, ink, perforation, printed leaves on paper. Courtesy of Elena Berriolo A Book as A Bridge is an inclusive, participatory piece – tell me a little more about how you developed the different aspects: the holding of the pages between subway passengers, the length of time to create a book, the use of the subway as a carriage of creation. The idea of “A Book as a Bridge” came to me after my performance Transcription of Piero Manzoni’s Infinite Line With Sewing Machine. In that performance, while sewing a line on a ribbon, I also sewed on about 25 helium balloon strings, the balloons lifting the line among the audience and building an arch, growing from my location to the door. At the end of the process I asked the audience to hold the line in their hands, then take it outside and release it. Image of A Book as A Bridge from Wall Street to the Bronx, 2015. Courtesy of Elena Berriolo During the performance I realized how people became emotionally involved: there was a sewing machine line growing and moving through the space and at the end everybody was invited to touch, hold and carry that sewn line outside. There I had the idea to have the line grow inside a moving vehicle, where people, instead of balloons, could hold the growing line on the book. I was very nervous before the performance on the 2 train on November 11th and 23rd. Most people on the train were exhausted. Nevertheless some of them reacted—some pretended not to see, hiding their smiles on their cell- phones, some asked questions, some had violent reactions but they did not dare attack a sewing machine. While sewing, I thought: “I am writing a poem,” and I still think I did. Because I changed stitch pattern at every station and I stopped sewing every time the train stopped, you can “read” the book, as the line on it will tell you about the distance from station to station, the number of stops, how bumpy the ride was, the sound of the sewing… Detail shot of A Book as a Bridge from Wall Street to the Bronx, 2015. Courtesy of Elena Berriolo You say in your statement on A Book as A Bridge , that you wished to connect the communities of the Stock Market to the People Market. I chose to go from the Bronx to Wall St. and back and from the Financial district to Staten Island because I can see a gap separating the communities. It is known they are in need of a re-connecting bridge and must realize they are part of the same “fabric.” Image of A Book as A Bridge from Wall Street to the Bronx, 2015. Courtesy of Elena Berriolo In a previous work, Sewing Music into Visual Art: The Sound of Silence , you trace the relationships between music and the practical rhythms of a sewing machine. How did this develop? Because of the possibilities offered by the book format, in 2011 I started working with music trying to transcribe/translate sound in a book with sewing machine, pen and watercolor. Here is my process: I choose a 3-to-5-minute track so that it would last about the length of time it takes for you to look at and turn the 16 pages of one of my books. I set the track in a loop to be able to work with no interruptions. I push the pages under the machine foot as in a dance to the music (but also to my own beat), with no plan in a totally visceral way, working from page one to page 16. Because of the sewing machine’s ability to produce a real three-dimensional line embracing the two sides of the paper, it is possible to define time and space while working with the page—when I sew on side one of the first page I can only imagine what I will see on side two. As soon as I am able to turn the page, I am confronted with the future side of what was the present on page one, along with the memory of its past, and therefore I can proceed by sewing on page three, again reaching into page four with my needle, drawing my embroidered line while it is embracing the two sides of my page. Whenever I describe this process to a writer, I am surprised to see how some of them use a somewhat similar process, metaphorically using the two sides of the page as I do. Therefore I must assume I am “writing.” After all, in the Western world, isn’t writing the organization of sound-defining signs? Isn’t the sewing machine a writer by definition, since all its patterns are beats? Image of A Book as A Bridge from Manhattan to Staten Island, 2016. Courtesy of Elena Berriolo. How does one 'read' the books you create? Because the sewing machine line embraces two sides of the page there is no way to erase nor exclude anything I do on my 16 page books. All of my books have a beginning (the first page being the only white page I work on), an apex, or an area of the book where I can see I have lost some control, and an end where I regain some control. The last page is also special since it does not lead anywhere. Touching is an important part of reading, the hands of the reader are for me as important as the eyes. While I make a book I make it for your hands as well as for your eyes also. The time you spend turning the pages, finding their other side, contributes to your experience of the book. Detail of A Book as a Bridge from Wall Street to the Bronx, 2015. Courtesy of Elena Berriolo Image of Perforation of a Fibonacci Sequence in a Book, 2014. Courtesy of Elena Berriolo Image of Transcription of Piero Manzoni’s Infinite Line With Sewing Machine, 2013. Courtesy of Elena Berriolo Image of My Thorny Rose Brush, 2015. Courtesy of Elena Berriolo Click here to visit Elena Berriolo's website. Related: Embroidered Animation Machine Brings Sewing to Motion How Sewing Machines Were Transformed Into An Orchestra Hacking Sewing Machines To "Glitch Knit" With Nukeme 2016-06-22 20:45 Ysabelle Cheung
17 Young Royals Attend Charity Gala Dinner The event was in aid of the East Anglia Children’s Hospice, of which the duchess is a patron and the dinner took place near the Cambridge family’s home, Anmer Hall. Guests were invited as a thanks for their support of the charity’s “nook” appeal, which aims to raise money for children’s palliative care in Norfolk and for a purpose-built hospice called the nook. She donned a blush pink Jenny Packham gown that she wore to the Ark dinner in 2011. The royal family attended Ascot last week, the five-day showcase and highlight of the Ascot horse racing season. RELATED STORY: British Royal Family Attends Royal Ascot >> 2016-06-22 20:29 Lorelei Marfil
18 British Label House of Hackney Redesigns the Terrace at Annabel’s More Articles By The East London-based label, whose offering spans from interiors to fashion, is known for its vibrant prints which are translated onto wallpaper, furniture, home accessories, as well as clothing. For the redesigning of the terrace at Annabel’s, Frieda Gormley and Javvy Royle — the husband-and-wife team behind the brand — pre-released Limerence, a tropical print featured across their fall collections, inspired by the grasslands of Sri Lanka. They went on to use the print across the terrace’s sofas, foot stools and crushed velvet cushions. The design duo also incorporated fringing, another brand signature, around tables, lamp shades and around the tent covering the terrace. Gormley said that they wanted the interiors to hark back to the Twenties, the age of glamour and cocktails. The collaboration came about after the designers spent a summer evening at Annabel’s celebrating interior designer Iris Apfel. “We came to know the lovely people at Annabel’s and soon after, they told us that they would be interested in having us reimagine their terrace interior. We jumped at the opportunity because it is our favorite club and we feel that there is a brand affinity with it,” explained Gormley. “The history of Annabel’s is all about fashion, glamour, rock ‘n’ roll; it is very London and also cross- generational which we really like.” An “Annabel’s” cushion, wallpaper and a lampshade — all printed with the Limerence pattern used to decorate the members club’s terrace — are on sale at the label’s e-commerce store. Prices range from 95 pounds or $139 for the cushion to 675 pounds or $991 for the lampshade set. Gormley, who was wearing a long-sleeve dress featuring the same exotic pattern, also highlighted that the reimagining of the club’s terrace is the beginning of a long-term partnership between the two brands. House of Hackney, which started as an interiors company, also carries women’s and men’s fashion ranges informed by the prints and designs of its furniture. Both the clothing and the fabrics available for furnishings are made in the U. K. “We start with the print collections and we are quite interiors-led, but then there were people who loved the prints and wanted to wear them so we now also produce smaller, capsule collections,” added the designer. The label has been working on a series of collaborations in the past year. Most recently, their exotic prints dressed the interiors of Globe Trotter’s luggage. They have also launched capsule collections with Puma featuring printed sneakers, as well as with accessories label Eastpak, featuring leopard and floral prints across their signature backpacks. 2016-06-22 20:04 Natalie Theodosi
19 Thundercat Is a Cosmic Wolf Man in a New Animated Music Video Screencaps by the author One of the more creative bassists of our time (not named Squarepusher) is Stephen Bruner, a.k.a., Thundercat. Nestled on Flying Lotus’ label Brainfeeder, he's played on some of his label boss’ records and worked as a session musician for many other artists. His latest record, the mini-LP The Beyond / Where the Giants Roam is out today, and the lead single “Song for the Dead” is a great slice of cosmic, jazzy R&B full of Thundercat’s typically amazing fretwork. Also out today is the music video for the track. Directed by Ryan McShane (a.k.a., RY NO), the video is a combination of animation and NASA footage backgrounds. Like the song, it’s a cosmic bit of creativity, with some morphing shapes and colors. It’s not exactly psychedelic, but it lies somewhere on the spectrum. "I was born in 1995, the year Kids came out and Jerry Garcia passed away, and I've been drawing ever since,” McShane says of his work leading up to the video. “15 years later I dropped out of high school to spend a couple of years indoors, drawing in my room. One night in August 2013, I drew a fake cover for Captain Murphy's Between Villains. I posted it to Twitter and the [Mad]villain himself retweeted it, and so did Thundercat.” The two struck up a friendship on Twitter. Fast forward to the present: McShane heard the new album, and after a two-week break spent indoors working on drawings, hit on an idea for a music video. While listening to the track “Song For The Dead”—the sounds at 1:49, to be exact—McShane found the idea he needed to animate. “I wanted to animate this few seconds of a transformation as the sound spins around in stereo,” he explains. “But I had a few days free, so I decided to block out a full video. Super rough, black-and-white, with NASA footage backgrounds—I had a bunch on hand that I found whilst researching for Breeder's The Expanse titles—and then I just sent it to Thundercat.” “He loved it, so I was locked into it now, my first big solo animation,” he adds. “Naturally, the way I work, I made it even harder for myself, adding colors and extra seconds. Shout out to Breeder co-worker Alex Gee for suggesting I add color.” But McShane doesn’t ditch the black-and-white altogether. The video’s first few frames roll in black-and-white with an acid western vibe, then explode at the moment of a death. Overall the switch is effective, and fits the sonic metamorphoses in Thundercat’s new track very nicely indeed. Click here to see more of Ryan McShane’s work. Related: Thundercat, Flying Lotus, and the Making of "Them Changes" Watch a Fallen Samurai's Heart Break in Thundercat’s New Music Video Until The Awkward Silence Comes: A Casual Conversation With Flying Lotus 2016-06-22 19:40 thecreatorsproject.vice
20 philippe starck reimagines footwear design for brazilian shoe brand ipanema brazilian shoe brand ipanema has partnered with designer philippe starck for ‘ipanema with starck’ – a spring/summer 2016 collection that reimagines footwear design. ‘philippe starck thing U’ philippe starck has re-envisioned a collection of modern, elegant sandals which each reflect a different mood or lifestyle choice embodied by the modern day woman. to celebrate this collaboration with impanema, four simple designs have been illustrated to depict a particular theme associated with summer. collaged photos combining women’s legs with sun hats, ice lollies and sand buckets are used to present the flip-flop designs in a playfully stylish fashion. 2016-06-22 19:35 Hollie Smith
21 CANADA Is Making Painting Great Again Two Simpsons, Plantains, Basketballs, Cigarettes, Katherine Bernhardt, 2016. All images courtesy of the artists and CANADA After being passed down from Ronald Reagan to Donald Trump, the groan- inducing “Make America Great Again” slogan has found its way into the art world. But in this case, sarcasm, instead of xenophobic ignorance, oozes delightfully out of its use. Lower East Side gallery CANADA wants to Make Painting Great Again , as the title of its current exhibition suggests. Sarcasm aside, it is somewhat humorous that the exhibition will be up through Independence Day and that, amongst the grand total of 17 painters included in the show, 15 of them were born in the US. All but one is represented by CANADA. Make Painting Great Again Installation View Perhaps these are also playful nods to the jingoistic and non-inclusive rhetoric of Trump—or, maybe it’s just pure coincidence. But in any case, the works on display here joyfully diverge from the overly academic, zombie formalism -style painting that has plagued the medium's upper echelons in the past few years. Maybe painting is on its way to becoming great again, no joke. Make Painting Great Again Installation View There is a fair amount of playfulness on display here, a refreshing departure from the medium’s tendency to be serious and calculated. Katherine Bernhardt’s enormous spray-painted canvas is a tropical 90’s throwback, mixing graffiti-esque renderings of Lisa Simpson with neon pink-outlined cigarettes, palm tree leaves, and basketballs. Make Painting Great Again Installation View Tomorrow’s Party , by Sadie Laska, is a painterly take on a full tuxedo, with spray paint applied onto PVA and aluminum cut to the rough shape of a tuxedo outfit, at approximately twice the normal size. Michael Williams’ Bet it All on Number Twelve is a surreal and geometric potpourri of figures that sometimes resemble real objects, like a toothpaste tube labeled “STUFF WE CAN USE,” but more often than not only come halfway between recognizable and unknown forms. Make Painting Great Again Installation View Dugan Nash, the only artist in the show not represented by CANADA, has painted a world map onto a mounted bowling ball that has land masses resembling Earth’s own, but seemingly inverted and slightly distorted. Xylor Jane has continued her longstanding practice of painting number sequences; in this case, what appears to be dates of the past and of the future, ranging from 1992 to 2357. As with all of her number works, the assortment of numbers is seemingly random, but in fact bear calculated significance to Jane that is never deliberately disclosed. Make Painting Great Again Installation View These works, alongside the 14 others in the show, bring a stimulating energy to the historically turbulent artistic medium. They are not heralding changes as radical (or as retrogressive) as Trump, but unlike the Republican presidential candidate, they seek to explore new territory, rather than return to an archaic climate. Make Painting Great Again Installation View Make Painting Great Again can be seen at CANADA until July 15th, with the aforementioned paintings on display alongside works by Katherine Bradford, Joe Bradley, Sarah Braman, Matt Connors, Gerald Ferguson, Jason Fox, Daniel Hesidence, Lily Ludlow, Elena Pankova, Tyson Reeder, Anke Weyer, and Wallace Whitney. Related: Sublime Oil Paintings Unveil the Anxieties of War Illusionistic Paintings Intervene on London Phone Booths Explosive Field Paintings Capture the Sun's Brilliance 2016-06-22 18:35 Andrew Nunes
22 Mark Leckey at Gavin Brown’s Enterprise, Rome Installation view of ‘Mark Leckey: UniAddDumThs,’ 2016, at Gavin Brown’s Enterprise, Rome. ROBERTO APA Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Mark Leckey: UniAddDumThs” is on view at Gavin Brown’s Enterprise in Sant’Andrea De Scaphis, Rome, through Saturday, July 16. The solo exhibition presents an installation that evolves over the run of the show. Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA Installation view of Mark Leckey: UniAddDumThs,” 2016, at Gavin Brown’s Enterprise. ROBERTO APA 2016-06-22 17:13 The Editors
23 Christo's 'Floating Piers' Temporarily Shuts Down Interest in Christo's new project The Floating Piers on Lake Iseo in northern Italy has left approximately 3,000 people stranded at a train station in the nearby city of Brescia. Local authorities stopped visitors from continuing their journey towards the lake because of massive overcrowding within the region, Art Magazin reports, citing the Italian news agency Ansa . The installation artists' project opened on Saturday, June 18, attracting 55,000 visitors on the first day. Throughout the weekend, train and ferry services were repeatedly interrupted by a steady stream of people hoping to experience the unique artwork. The 81-year-old artist and his team constructed three kilometers of piers connecting the town of Sulzano with the island of Monte Isola and the small isle of San Paolo. The piers are composed of 220,000 individual buoyant plastic cubes covered in bright yellow fabric. The installation is intended to mimic the feeling of walking on water. In a statement on his website, Christo assured visitors , “The Floating Piers is absolutely free and accessible 24 hours a day, weather permitting. There are no tickets, no openings, no reservations and no owners. The Floating Piers are an extension of the street and belong to everyone. " However, organizers announced that the installation will temporarily close from midnight on Thursday until 7:30 a.m. on Friday for essential maintenance work. The project was first conceived in 1970 by Christo and his late partner Jeanne-Claude, but the complex nature of the artwork required decades of planning before it could finally be executed. The massive installation is scheduled to run through July 3, if weather permits. Follow artnet News on Facebook. 2016-06-22 17:09 Henri Neuendorf
24 This Pin's for You As the founder of Strike Gently Co , I deal in pins and patches daily. The Creators Project asked me to pull together a weekly roundup of the best newly-released pins. Most of these will probably sell out. If you like them, smash that “add to cart” button. Every Wednesday, you can head to the bottom of this article for an exclusive discount code so you can keep your pin game sharp. Gather round, folks. This is my 21st pin roundup for The Creators Project. That means a few things— primarily, it means that enamel pins have officially transcended 'trend' status. These trinkets that used to be the relics of tourist hippies and biker gangs have now thoroughly permeated the mainstream, thanks not least to Instagram. The opportunities are as endless as the ideas of the various small artists and companies designing pins, and they are legion. The output hasn’t slowed down since Week One, so congrats to the World of Pins: you’re here to stay. In honor of the big Two- One, you will find a special code at the end of this post good for 21% off any order from my shop, Strike Gently Co. There’s nothing terribly original about a switchblade; they're practically synonymous with Edgy Bro Chic. Everyone knows at least one Australian moto dude who has this tattoo, right? But this switchblade pin is different; it’s a beautifully-crafted 3D pin. You don’t see 'em very often, and when you do, they’re usually either poorly designed, poorly manufactured, or both. This 2" pin from Poke Daddy (a possible nickname for that breed of edgy Australian dude) is sure to last and look good in the process. $15.00 here . The sheer marketing perfection of this one left me no choice but to include it. What do coffee shoppers love more than Wu-Tang Clan? Joy Division. It only makes sense to combine what are probably the two best-selling graphic tees of all time into a pin that’s guaranteed to sell out. Take notes, folks. $8.00 here . When Spongebob first aired in 1999, the world was a much simpler place. The youth were slightly less corrupt; cell phones were still bricks; pants were larger; and celebrity murders and sex scandals were big news, instead of terror and trash politics. This pin pays homage to Spongebob better than any pin I’ve seen yet. It just came out really well; the design translates into a beautiful looking pin. In the name of pop appropriation, thank you Deja Pins. $9.99 here . I’ve been trying to make a bagel pin for months. The designs never come out quite as good as I hope, and so it's back to the drawing board (tablet). This design by Dropped Pin is funky, but in a good way. Look at that schmear! You can’t have a bagel without it, honey. Maybe that’s what my design was missing—an overabundance of creamy goodness. Definitely gifting this to my Jewish relatives this Hanukkah. L’chaim. $10.00 here . I include a lot of bootlegs and various culturally referential items in these posts, because, hey, it’s what the people thirst for. I’m a populist, in the best sense. But there are also a lot of original pin designs worthy of mention, like this one from Cultural Void, a growing company with some really noteworthy designs. I didn’t know about them until today, but will definitely be picking some stuff up. This pin is a little bit Classics Studies, a little bit rock and roll. Get it? Get it. $8.00 here . Thanks for reading. Head to Strike Gently Co for a 21% off discount with code COOL. Related: All the Enamel That's Fit to Pin These Are the Pins You Should Be Wearing This Week The World's Best Pins: #18 2016-06-22 17:00 Charlie Ambler
25 Dozens of Artists Hijacked the Hallways of a Brooklyn High-rise Ines Esnal, Vaho, 2016, Hallway Hijack, 27th Floor, 66 Rockwell. Courtesy of Hallway Hijack. Phong Bui , who founded art mag The Brooklyn Rail nearly 20 years ago, is turning a residential tower in downtown Brooklyn into a work of art. Presented with the opportunity to commission artists to bedeck the halls of brand new residential housing complex at 66 Rockwell Place , Bui turned to friend and fellow artist Thomas Vu , who runs the LeRoy Neiman Center for Print Studies at Columbia University. The two recruited more than a dozen students and recent graduates to create distinct works of art in the vestibules of nearly every floor. Fittingly, the Rail ’s curatorial wing, Rail Curatorial Projects , dubbed the commission Hallway Hijack. “The idea of the hallway is so interesting because it’s neither private nor public," Bui tells The Creators Project. "The tenants don’t take ownership of it. It’s a transitory space, which I like very much. " A curator who routinely transfigures the everyday into art and the recipient of mentorship from art world elites in the ‘90s, Bui feels compelled to nurture the next generation of creators. “Opportunities in New York City for young artists are very slim, almost nonexistent, because of real estate prices, economic pressure, inflation, and whatnot," Bui says. "Artists are slowly disappearing if we don’t find ways to provide them with opportunities by means of housing, residencies, and grants. I think that if New York loses all of those things, it will be very devastating. " Phong Bui and Tomas Vu, Archigrama I, 2016, Hallway Hijack, 15th Floor, 66 Rockwell. Courtesy of Hallway Hijack. Nicole Maloof is one of the artists chosen by Bui. Her hallway unfolds as a cascade of sky-blue line drawings, with cartoon cats amidst Dr. Seuss-like vegetation, punctuated by crimson asterisks. “I take notes on long projects and have a background in science," Maloof explains, "so I'm used to the academic way of referencing things, but I also wanted to be playful. I knew going in that I wanted to leave a trail of notes, in a way, but I wasn't sure exactly what that meant. " The impulse manifests as a list printed by the elevator that, like a true academic, Maloof appended as “footnotes” to her piece. “Knowing people, since they can’t just copy-paste into their browser, actually have to take a picture or type text into their phones to Google it, I kind of wanted them to live with the image for six months before they chose to investigate," she says. "I love thinking you know something, then realizing you don’t, and it becomes something else in your mind. " Nicole Maloof, Notes on the Making of an Image, 2016, Hallway Hijack, 22nd Floor, 66 Rockwell. Courtesy of Hallway Hijack. “I’m really interested in discourse, so any opportunity to share my work, even in this strange hallway in a residential building, is important,” Maloof says. “Anywhere art can potentially squeeze itself in and give people an opportunity to think about visual culture is a win.” The artists infuse the building’s sea green hallways with a dizzying array of subjects and styles, transforming carbon copied floorplans into a creative oasis where a cache of lucky Brooklynites dwell way up high, amidst original art. Cary Hulbert, cosmic life hunters, 2016, Hallway Hijack, 25th Floor, 66 Rockwell. Courtesy of Hallway Hijack. Yujin Lee, The Unrecorded, 2016, Hallway Hijack, 34th Floor, 66 Rockwell. Courtesy of Hallway Hijack. Nathan Catlin, Foxhole (3), 2016, Hallway Hijack, 21st Floor, 66 Rockwell. Courtesy of Hallway Hijack. Jesse Weiss, STRATA/TIERS/FEARS, 2016, Hallway Hijack, 31st Floor, 66 Rockwell. Courtesy of Hallway Hijack. Chris Jehly, The Equilibrium Box, 2016, Hallway Hijack, 40th Floor, 66 Rockwell. Courtesy of Hallway Hijack. Learn more about Hallway Hijack on the Rail Curatorial Projects' website and check out all of the pieces on Instagram . Related: Scarecrow Punches Tin Man, Chinese Artist Actually French: Last Week in Art The Human Price of Gentrification Emerges in a Brooklyn Installation A Giant Neon Sign Brings 'Understanding' to Brooklyn 2016-06-22 16:10 Kara Weisenstein
26 Life Visions: Frederick Kiesler's Utopian Architecture at MAK Related Events Frederick Kiesler: Life Visions Venues MAK Austrian Museum of Applied Arts / Contemporary Art Artists Frederick Kiesler The city of Freud, Schiele, Schoenberg, Loos and Otto Wagner, Vienna was the first metropolis of Modernism. After a retrospective on Josef Frank, the Museum of Applied Arts (MAK) in the Austrian capital now presents a reappraisal of Frederick Kiesler ’s oeuvre, as part of the museum’s effort to re-assess the visionary figures of the Viennese Modernism in design and architecture. His work varies from experimental theater sets that brought the audience into the stage space, to revolutionary shop windows for Saks Fifth Avenue, and to the Laboratory of Design Correlation that he founded at Columbia University. Kiesler’s oeuvre was a pursuit of design that acknowledges and creates human relationships, that carries us into the future, and makes a better future possible. He called this “correalism,” adapting the word “correlation.” The process was an “investigation into the laws of the inter-relationships of natural and manmade organisms”. It was distinctly different from the stern, intellectualizing Bauhaus ideal. “Form does not follow function,” Kiesler wrote: “Function follows vision. Vision follows reality.” The essence of reality, for Kiesler, manifested not in the thing itself, but in its ordered, coordinated correlation to its environment: painting to human, human to building, building to street. Good design would support life in all its manifestations, and present as much as the future. Extraordinary things have come out of such a radical approach, and not only buildings. Today, the perception of Kiesler has shifted to include an artistic interest in his work: the way scientific and artistic concepts merge in his insights, his holistic modes of presentation, and particularly his insistence on removing the separation between autonomous art, and everyday life. Kiesler was a pioneer in the use of new technologies – film and television – as well as an innovator in curatorial concepts. The thematic exhibition at MAK is based primarily on the extensive holdings of the Frederick and Lillian Kiesler Private Foundation, with exhibits that range from art projects, architectural visions, and exhibition design, to store and furniture designs. There are also poster and book jacket designs, some of which have never been exhibited before. The centerpiece of the exhibition is a life-size reconstruction of “Raumstadt” (City in Space), a model of the city of the future, developed for the Austrian theater section of the “Exposition Internationale des Arts Deco- ratifs et Industriels Modernes” in Paris in 1925, and considered by critics to be the climax of his European career. This walk-through model of a Utopian city, consisting of a suspended framework of intersecting planes, was described as “technically and imaginatively the boldest creation in the De Stijl tradition.” Kiesler’s artistic and theoretical musings will become a springboard for interpretation by figures in fine arts throughout the exhibition. Leonor Antunes, Céline Condorelli, Verena Dengler, Lili Reynaud-Dewar, Apolonija Šušteršič, and Rirkrit Tiravanija will be holding action groups, readings, and performances. As his old friend Virgil Thomson said: “being with Kiesler was like touching an electric wire that bore the current of contemporary history.” 2016-06-22 15:41 Jana Perkovic
27 M1 and Joey Bada$$ Draw 'The Message' Out of Today’s Hip-Hop [Premiere] All images courtesy of JLove & M1 Productions For M1 , it's always been about the message. As he raps in the classic anthem, as one-half of Dead Prez, " It's bigger than hip-hop. " But hip-hop itself is suffering in his eyes, so he's on a mission to bring it back to a place that he misses; where it can offer change and elevation. To that end, he reaches out to one of the scene's young stars, Joey Bada$$ , and in the first episode of new series, M1's The Message , they work together to express it with paint at Tuff City , a graffiti and tattoo shop in The Bronx. Additionally shot both in 3D and 360 VR, M1's The Message is executive produced by JLove & M1 Productions and directed by JLove Calderon. In the pilot episode, which premieres today on The Creators Project, M1 chats with Bada$$ about his goals as an artist. Bada$$ states that the name of his group, Pro Era, is actually short for progressive era, and that his main purpose with the larger Beast Coast collective is to unite the East Coast. "I'm just trying to deliver a positive message to my whole generation, 'cuz I feel like a lotta them is misguided, misled," says Bada$$. They next withdraw into meditation, so that Bada$$ can seek out what his personal message of the day will be. M1 points out that this isn’t religious, but simply a way to clear your mind. Bada$$ ultimately has a vision of a multicolored face with the sun in one eye, the moon in the other, and the world on his ear. Next, he draws it with markers and sits down with OG graffiti writer Sen One to figure out how they'll translate it to a wall piece. They then set to it, with Bada$$ himself picking up a few cans. Beside the multicolored face is the word "Zenith," painted by Med, Bids, Seize, and 0283. It's all about "humans rising to their highest potential; the zenith," Bada$$ explains. M1 first started thinking about the show while traveling around Italy on a speaking tour, where he got some painting in with Sen One, who was also there at the time. "I thought to myself how liberating painting felt and wondered how many emcees had ever felt this feeling," M1 tells The Creators Project. "I also began to wonder about how to elevate the vibration produced by emcees and graf artists. " This is M1, otherwise known Mutulu (which translates to "follow the path for the love of your people"), on his regular wave of revolutionary action. The show is about personal change, but his new album, a collaboration with Italian producer Bonnot called Between Me And The World , takes a larger view of the concept. On one track, he raps , "The president has to go / The governor has to go / fill-in-the-blanks has to go. " He calls it " cultural propaganda " to prepare the world "turn a new page in this chapter of Herstory. " "With our blend of political background, ears tuned for the masses, and production savvy, we will produce what will become the future of music...not just hip hop," he says of the collabo. It also features appearances by fellow New Yorkers like Prodigy of Mobb Deep and Jahdan Blakkamoore. You can catch M1 tonight on The Nightly Show with Larry Wilmore on Comedy Central. The show is expected to begin in the fall. For updates, stay tuned to www.jloveandm1.com . Related: Here's a Rewind to East Coast Graffiti’s Halcyon Days LAYERS: The Many Facets Of Serengeti's "Kenny Dennis," Produced By Jel And Odd Nosdam Revisit the Golden Age of Hip-Hop at New Photo Exhibit 2016-06-22 15:15 Mike Steyels
28 Auctionata Sets New Auction Record for Alfredo Jaar Related Artists Alfredo Jaar Auctionata has set a new auction record for Chilean- born artist Alfredo Jaar during its June 18 “Circle of Life – Photographs from the Teutloff Photo + Video Collection” sale. The online auction house sold the artist’s lightbox and mirror installation “The Silence” 1987 for €75,000 against an estimate of €16,000 to a German bidder. Commenting on the result, Auctionata’s specialist for Post-War & Contemporary Art, Julia Mauersberger, said: “We are very excited that the installation ‘The Silence’ of the Chilean artist Alfredo Jaar , who was also represented by various galleries at Art Basel this year, achieved the highest recorded result in the auction market.” Other notable results included the sale of Wolfgang Tillmans’ “Tube Lines” 2000/01 for €23,750 against an estimate of €8,000, Jack Pierson’s “Self- Portrait #25” 2005 for €18,750 against an estimate of €20,000, Peter Hujar’s “David Britzenhofe Applying Make-Up (II)” for €13,750 against an estimate of €4,000, and Thomas Höpker’s “Muhammad Ali’s Fist” 1966 for €6,875 against an estimate of €5,000. 2016-06-22 14:56 Nicholas Forrest
29 “Petrichor” at Chan Hampe Galleries Explores the Ephemeral Related Venues Chan Hampe Galleries Artists RUBEN PANG Ashley YEO Melissa Tan Six young emerging artists will create thought-provoking work at Chan Hampe Galleries Singapore in its new group exhibition “Petrichor,” which runs from July 1 to July 31. As the name of the exhibition suggests, it will center on the term and essence of “petrichor,” a word that refers to the transient earthy smell of rain that follows dry weather. This act of nature vanishes in an instant, similar to a momentary glimpse of inspiration that somehow disappears. The show aims to bring these ideas together through a range of mediums. Six artists of Singaporean and Italian nationality will individually create boundary-breaking pieces in an attempt to investigate their own artistic practice. The gallery announced in a press release that the exhibition is “a collective effort to create a space where artists are encouraged to constructively critique one another’s works.” The artworks on show will present diverse techniques as each artist brings their own distinct thoughts and practices into the mix. Among the four Singaporean artists, RUBEN PANG is known for his intuitive paintings and reflections on the self, and Melissa Tan bases her practice on themes of nature and the ephemeral. Italian artist Gabriela Butti combines various media, bringing together new concepts and old methods. The exhibition will showcase an intriguing gathering of inventive artistic creations, including “ macroscopic-marbled fabrics, [...] crystalline metal sculptures, irradiated pointillism portraits, and site-specific installations. ” 2016-06-22 14:40 Claire Bouchara
30 "Weegee’s Bowery" at Mana Contemporary's ICP Gallery Related Venues International Center of Photography Artists Weegee Weegee, born Usher Fellig on June 12, 1899, in the town of Lemburg (now in Ukraine), first worked as a photographer at age fourteen. In the early days, Weegee struggled to keep jobs and slept on the benches of Bryant Park in New York. Walking the streets at night and sleeping without a roof on his head exposed to him to a social class in the city that later became his subject. He eventually became a freelance news photographer, famous for installing a police radio in his car and wandering the streets. He was keen on exposing the city’s underbelly through his images. At the ICP gallery at Mana Contemporary, a new exhibition, “Weegee’s Bowery” looks back at the Bowery in the 1940s and 1950s. The ICP is itself moving to a sprawling 11,000 square-foot space at 250 Bowery and this exhibition is well timed to celebrate the old, dark Bowery. The ICP holds a substantial 20,000 photographs by Weegee and Weegee specialist Christopher George has edited this down to a precise 39 prints for the Bowery show. In his book, “Naked City (1945),” a section titled “The Bowery,” confirms Weegee being a regular at Sammy’s Night Club. A print on view at the ICP exhibition depicts the rush at the club, a photograph made by probably standing atop the bar. Weegee did write about the owner Sammy extensively in his book, but not in any photograph. Weegee himself appears in a number of photographs and book launch parties (including his own) at Sammy’s but in his visual representation of the place, he marked it as symbol of a larger portrait of a culture of drifters. His photographs of the Bowery aren’t portraits of passerby-observation, rather a considered celebration of its daily oddness and quirks. Many have considered his work strictly journalistic and distant from an artistic aesthetic, but Weegee brought the working class and their depiction in photography into the realm of high-art. 2016-06-22 14:07 Paroma Mukherjee Total 30 articles. Created at 2016-06-23 12:02