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55 articles, 2016-05-26 12:07 1 Lee Kit: Hold your breath, dance slowly “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to (0.01/1) nook, you find yourself doing just that: holding your... 2016-05-26 05:14 836Bytes blogs.walkerart.org 2 7 Most Jaw-Dropping Music Videos of 2016 So Far 7 Most Jaw-Dropping Videos of 2016 So Far: a selection by Mark (0.01/1) Beech 2016-05-25 16:15 6KB www.blouinartinfo.com 3 taller arquitectónica completes palme house in guadalajara the second house on a hilled site in guadalajara, mexico, the structure has a flexible interior to accommodate changes in the growing family. 2016-05-26 08:45 1KB www.designboom.com 4 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opi... 2016-05-26 11:15 985Bytes blogs.walkerart.org 5 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional context... 2016-05-26 11:15 972Bytes blogs.walkerart.org 6 alice minkina uses twisted veneer sheets to construct sagano bamboo furniture product designer alice minkina uses layers of thin twisted bamboo veneer to construct the 'sagano bamboo' furniture collection. 2016-05-26 06:05 2KB www.designboom.com 7 post-castle to be constructed in kaliningrad's historic centre architect anton sagal was awarded first prize for his design in response to a competition held by the kaliningrad region governor's council for culture. 2016-05-26 04:05 2KB www.designboom.com

8 Fall 2016 Accessories: Street Life Accessories have taken to the street — and not just in the sense of casual styles or sporty motifs. 2016-05-26 04:01 828Bytes wwd.com 9 Men’s Fall 216 Trend: Get in Line With brands like Vetements and Junya Watanabe infusing new energy into the striped dress shirt as a fashion piece, this boardroom classic is being pushed to the forefront for fall. 2016-05-26 04:01 752Bytes wwd.com 10 On the Gaze in the Era of Visual Salamis Our attention is not focused on a singular image, but is distributed along the image’s path. 2016-05-26 06:16 12KB rhizome.org 11 L. A. Designer Raquel Allegra Bows on Third Street The shop is likely to be the first of many for the designer. 2016-05-26 03:09 2KB wwd.com 12 Fair Director Amanda Coulson Previews VOLTA12 ARTINFO talks with VOLTA artistic director Amanda Coulson about cocktails, "fair-tigue," and what's new for 2016. 2016-05-26 02:15 4KB www.blouinartinfo.com 13 diller scofidio + renfro's design for rubenstein forum approved the university of chicago has approved a preliminary design by diller scofidio + renfro (DS+R) for the david m. rubenstein forum. 2016-05-26 02:14 3KB www.designboom.com 14 New Rauschenberg Exhibition Highlights Progress of a Process Six works by the pioneer of Pop Robert Rauschenberg will go on display at De Sarthe Gallery Hong Kong. 2016-05-26 01:39 2KB www.blouinartinfo.com 15 designers interpret domestic 'play' for prix émile hermès award twelve finalists have been selected for the prix émile hermès international design award, whose projects focus on the theme of 'play' in domestic design. 2016-05-26 00:15 6KB www.designboom.com 16 What’s on TV Thursday Katie Holmes and Luke Kirby star in “Touched With Fire”; Bernadette Lafont is in “Paulette”; and “The Red Nose Day Special” helps kids in need. 2016-05-26 00:00 3KB www.nytimes.com 17 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power... 2016-05-25 23:13 21KB www.walkerart.org 18 Fernando Botero Comes to Hong Kong’s Central Harbourfront Nine monumental bronze sculptures by the Colombian master Fernando Botero are just now being installed on Hong Kong’s Central Harbourfront, ready to welcome the public on June 3. 2016-05-25 23:19 5KB www.blouinartinfo.com 19 roberto giacomucci combines brass and methacrylate surfaces in empirica collection the objects are the result of a quick thought, an automatic gesture, and a spontaneous sign of a creative process that has grown thanks to experience. 2016-05-25 23:05 1KB www.designboom.com 20 DIFFA Event Raises $1.4M for AIDS Organizations The “Circo Rouge” theme resulted in a kaleidoscopic show presenting bizarro carny elements. 2016-05-25 22:26 1KB wwd.com 21 Dee Ocleppo Hilfiger, Alison Brettschneider, Ty Hunter Honored at Purses and Pursenalities Luncheon The event — an afternoon soiree and auction of more than 100 designer bags benefiting the Madison Square Boys & Girls Club — was held at New York’s Metropolitan Club Tuesday afternoon. 2016-05-25 21:45 1KB wwd.com 22 Surreal Hybrid Speaker/Lamp Thunders Like a Cloud Artist and designer Richard Clarkson’s latest iteration of ‘Cloud’ is a nod to the DIY maker community. 2016-05-25 21:40 4KB thecreatorsproject.vice.com 23 Donna Karan Discusses Dressing the Clintons The designer is confident Hillary Clinton will be the next and first woman president. 2016-05-25 21:36 1KB wwd.com

24 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood a... 2016-05-25 23:13 832Bytes blogs.walkerart.org 25 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-26 00:17 1KB gdusa.com 26 Clapit App Partners With Muse Model Management on U. S. Debut The Australian-born social media app aims to change the way users interact on its platform, which allows people to aggregate all the content they like — from fashion to music and podcasts. 2016-05-25 21:05 2KB wwd.com 27 The Gordon Parks Foundation Holds 10th Annual Awards Dinner and Auction The event honored Maxwell Osborne and Dao-Yi Chow of Public School, Janelle Monae, Leonard and Judy Glickman Lauder and more. 2016-05-25 21:00 2KB wwd.com 28 Clémence Poésy on Acting, Chloé and Keeping People Guessing The French actress discusses her latest film “The Ones Below” and what it’s like to front for Chloé. 2016-05-25 20:56 4KB wwd.com 29 Linda Wells Talks About Life After Allure Laura and Harry Slatkin, Cornelia Guest and John Demsey hosted a party for Wells to fete her latest chapter in life. 2016-05-25 20:49 2KB wwd.com 30 Review: Yayoi Kusama Reflects Back Our Narcissism at Victoria Miro Our verdict on the Japanese artists' latest exhibition of pumpkins, paintings, and mirrored rooms at London's Victoria Miro Gallery. 2016-05-25 20:30 4KB www.blouinartinfo.com 31 Luciano Benetton’s Imago Mundi Exhibit Staged at Pratt Institute “The Art of Humanity” is a collection of around 3,000 works in the 3.9 by 4.7 inches format by artists from 14 countries 2016-05-25 20:28 3KB wwd.com

32 MIT Bookmaking Course Schools Kids in Renaissance Technologies Students in MIT’s ‘Making Books: The Renaissance and Today’ build books from scratch, from making paper to constructing a printing press. 2016-05-25 19:25 3KB thecreatorsproject.vice.com 33 Feel Like Pablo with This 'Cubist Mirror' It's the closest you'll ever get to being 'Girl with a Mandolin.' 2016-05-25 19:15 1KB thecreatorsproject.vice.com 34 Yuri Pattison Wins 2016 Frieze Artist Award London-based artist Yuri Pattison has been announced as the winner of the 2016 Frieze Artist Award. 2016-05-25 19:14 1KB www.blouinartinfo.com 35 The World's Best Pins: #17 Featuring new pins from Laser Pins, Valley Cruise Press, PSA Press, Inner Decay, Brace Legs Collective, and an exclusive 20% off discount code from Strike Gently Co. 2016-05-25 19:10 4KB thecreatorsproject.vice.com 36 First Look: Rafael de Cardenas Brings Pop Aesthetic to Art Nouveau Department Store in St Petersburg Rafael de Cárdenas / Architecture at Large have completed an interior redesign of the third floor of a historic department store in St Petersburg. 2016-05-25 18:49 3KB www.blouinartinfo.com 37 Ed Atkins Inaugurates Gavin Brown’s Enterprise’s Harlem Compound Even in the crush of opening day celebrations, Atkins’s videos still caused people to gawk. 2016-05-25 18:45 3KB www.blouinartinfo.com 38 Mauro Restiffe at Galeria Fortes Vilaça, São Paulo Pictures at an Exhibition presents images of one notable show every weekday 2016-05-25 17:20 2KB www.artnews.com 39 Guccifer, who Hacked Bushes, Pleads Guilty The world learned that George W. Bush was a painter thanks to hacker Marcel Lazar, aka Guccifer, who pleaded guilty Wednesday to hacking Bush emails. 2016-05-25 16:45 2KB news.artnet.com 40 High Above Mexico City, a ‘One-Wall Gallery Without Doors’ Gets to Work Tillmans's work on view at Sonora 128. OMAR LUIS OLGUIN/SONORA 128 For the past few months, a rather mysterious photograph has adorned a billboard atop a 2016-05-25 16:35 3KB www.artnews.com 41 Bronx Museum of the Arts Plans Architectural Redesign The Bronx Museum of the Arts. COURTESY THE BRONX MUSEUM OF THE ARTS The Bronx Museum of the Arts has announced plans for an architectural upgrade that will 2016-05-25 16:34 3KB www.artnews.com 42 These Hodor Door Stops Have Us Sobbing Just hold the damn door. 2016-05-25 16:20 2KB thecreatorsproject.vice.com 43 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors highlighting the french creative's meticulously practical approach to artistic design, the 'LM1 silberstein' is serious watchmaking. seriously playful. 2016-05-25 16:01 8KB www.designboom.com 44 'The Iceman Cometh' via Robots and an Artist Collective at MIT Villa Design Group’s The Tragedy Machine 2016-05-25 15:50 5KB thecreatorsproject.vice.com 45 Anything Can Break Bad: An FBI Special Agent Has Learned the Difference Between the Art World and the Mafia Meridith Savona photographed at FBI headquarters in New York City on February 26, 2016. KATHERINE MCMAHON With a gun in her holster and her mind in art 2016-05-25 15:32 16KB www.artnews.com 46 How to Subvert the Art World and Get Away with It A peek inside conceptual artist Stephen Kaltenbach's decades-long art game. 2016-05-25 15:30 7KB thecreatorsproject.vice.com 47 CGI Short Film Tells a Twisted Tale of Animal Love Five French film students weave a tale of forbidden—perhaps even unnatural—love in 'Chaude Lapin' (Hot Rabbit). 2016-05-25 15:10 1KB thecreatorsproject.vice.com

48 A 'Queer Enlightenment' at the World's First Museum of Gay and Lesbian Art The Creators Project visits the Leslie-Lohman Museum of Gay and Lesbian Art to talk about the relevance of 1970s queer culture today. 2016-05-25 14:55 6KB thecreatorsproject.vice.com 49 The Louvre's Glass Pyramid, Gone! Artist JR is back at it again with the large scale optical illusions. 2016-05-25 14:10 2KB thecreatorsproject.vice.com 50 Italian Artist Carves Dance Music Out of a Mountain [Premiere] Italian artist Neunau hits one of the Alps’ largest valleys to create elemental dance music captured inside a mountain forge. 2016-05-25 14:00 4KB thecreatorsproject.vice.com 51 Bee Sculptures and Psychedelic Landscapes: A Day at Jack Shainman’s Upstate Venture, The School Jack Shainman: The School. COURTESY JACK SHAINMAN GALLERY “I feel so blessed to be able to do this each year,” said gallerist Jack Shainman this past 2016-05-25 13:47 4KB www.artnews.com 52 Art Simulates a Dance with Plant Life in New York Artist Davide Zucco choreographs his work to mimic the growth and movement of ferns. 2016-05-25 13:20 4KB thecreatorsproject.vice.com 53 Zachary Armstrong on Freedom of Painting Ohio-based artist Zachary Armstrong speaks to artnet News about how children's drawings influence his art and the freedom of uninhibited painting. 2016-05-25 13:16 8KB news.artnet.com 54 5 Questions for Olumide Gallery If you like street art, this new London venue is your jam. 2016-05-25 13:13 3KB news.artnet.com 55 Spain Discovers 14,500-Year-Old Cave Paintings In Spain's Basque region, in the Atxurra cave, archaeologists have found a group of at least 70 cave paintings made during the end of Upper Paleolithic era. 2016-05-25 12:22 2KB news.artnet.com Articles

55 articles, 2016-05-26 12:07

1 Lee Kit: Hold your breath, dance slowly (0.01/1) “Hold your breath, dance slowly,” invites artist Lee Kit. As you walk into the dimly lit galleries, wandering from space to space, or nook to nook, you find yourself doing just that: holding your breath in quiet anticipation of what is to come. And perhaps if the gallery assistants were not standing guard you would […] 2016-05-26 05:14 By

2 7 Most Jaw-Dropping Music Videos of 2016 So Far (0.01/1) Related Artists David Bowie Coldplay’s “Up & Up” – arguably more inventive than the music – is just the latest in a run of jaw-dropping videos this year. The surreal video, shot through with the band’s environmental concerns, lifts the song and keeps you watching as it depicts turtles absurdly swimming through subways stations and kids swinging amid the stars. Here is a pick of some of the best videos of 2016, from well-known names. – Beyoncé, David Bowie , Radiohead – to the more obscure, such as Weezer and Mia. 1. Coldplay, “Up & Up” https://www.youtube.com/watch?v=BPNTC7uZYrI May 16 2016, Parlophone Directed by Vania Heymann and Gal Muggia The song is the last track on the band’s seventh studio album, “A Head Full of Dreams,” and the third single taken from it. While it references heartbreak at one point, it is unashamedly upbeat: “We’re going to get it together and go up and up and up.” The band says that directors Vania Heymann and Gal Muggia have created a video which is a poignant montage which references contemporary issues such as the environment and the refugee crisis. Nearly every shot is shows something impossible, sometimes only obvious as the view zooms out. Chris Martin appears, and then it is clear he is many miles in size and sitting on a tiny land mass. Soccer players are on a pitch that is sink scouring pad. A crowded port is shrunk to bathtub size. Heymann, 30, who has directed a video for Bob Dylan’s “Like A Rolling Stone,” and commercial director Gal Muggia, keep coming up with inventive images such as the popcorn lava jumping out of a volcano. Coldplay is in danger of being better known for its videos than music: The Mat Whitecross film for “Adventure of a Lifetime” last year was also stunning, with the band represented as chimpanzees animated by Imaginarium and Mathematic. 2. Weezer, “L. A. Girlz” February 17, 2016, Atlantic The sunny song about a sweet kid on the beach comes with a jaw-dropping surprise. It is not the usual boy-meets-girl scenario. First the Rivers Cuomo lookalike with man-sized Buddy Holly frames is footloose and fancy free, playing air guitar and taking Snapchat photos. Then the love of his life appears – a rather more mature, tattooed female body builder about twice his size. They have fun dancing together while most viewers are by this point probably going, “what?” Miss Muscles is soon doing bench presses with him and flexing her biceps. The deceptively bright chorus says “L. A. girlz, please act your age, you treat me like I have the plague.” 3. Beyoncé, “Formation” https://www.youtube.com/watch?v=LrCHz1gwzTo&list=PL- E79MQ72MqVQWkmv0BEYOwXMc-hCTqHg February 16 2016, Columbia Directed by Melina Matsoukas This song was a standout in the Super Bowl 50 show, and nearly blew Coldplay away. Beyoncé later joined the band for “Up & Up” (and they worked together on “Hymn for the Weekend”), though the inventive videos have little in common. Beyoncé is lying on top of a sinking police car in a flooded street; there are references to black history, Martin Luther King and racist shootings, all wrapped up in commercial pop. While shot in Los Angeles, she also uses New Orleans documentary footage and adds references to Hurricane Katrina. The whole has the serious intent of “ Alright ,” Kendrick Lamar’s standout from last year. 4. Mia, “Borders” February 17, 2016, Polydor Directed by Mia Mia’s song got some airings late last year so this could count for 2015, though its YouTube hits in 2016 have skyrocketed thanks especially to its video. The parent album is penciled for 2016 anyway. The British rapper, of Sri Lankan descent, takes on the refugee crisis with a location shot on the Ivory Coast. She has an army of extras who wade through water and scale barbed wire fences in desperate pursuit of freedom. The song is dedicated to her uncle, who was one of the first Tamil migrants to come to Britain. https://www.youtube.com/watch?v=y-JqH1M4Ya8 January 7 2016, Sony Directed by Johan Renck This video is one of the best-known and most-played and most analyzed of 2016, so much so it hardly needs much introduction. The more than 35 million views on YouTube started when Bowie was alive: nearly every image references death but few got it until he died two days later. The deathbed, the buttons on the eyes, the scars that can’t be seen, Bowie says he is in heaven, and the backwards slow retreat into a coffin-like wardrobe. There had been plenty of misleading trails: Lazarus suggests a resurrection not an ending; the stage show of Bowie’s “Lazarus” has the story of an alien who like Thomas Newton in “The Man Who Fell to Earth” will never die. If the video was initially was strange and eye-opening, with Bowie looking older and careworn, it became scarier and the hairs rose on the back of viewers’ necks when its true meaning tragically manifested itself. 6. Lana Del Rey, “Freak” February 9 2016, Interscope Directed by Lana Del Rey “ High By The Beach ,” with its paparazzi helicopter getting blown to bits with a rocket grenade, was one of the most “oh wow” videos of 2015. Del Rey has specialized in stylishly dangerous videos, and this one is sleek and sexy with her companion being the extravagantly bearded singer-songwriter Father John Misty. If he hasn’t the reckless risk factor of Del Rey’s previous foil Bradley Soileau, all tattoos and insolent sneers, it makes for an alluring video. Not that we would expect much else. 7. Radiohead, “Burn the Witch” May 3, 2016, XL Director Chris Hopewell The video is deceptive: British people of a certain age will recognize it as echoes of childhood and 1960s-on television show “Trumpton.” As an inspector is shown around an idyllic rural town by the mayor they keep encountering evil signs – a gallows, a girl tied to a tree in a pagan ceremony. Most of all it echoes “The Wicker Man,” the horror movie made a few years after “Trumpton.” It all ends nastily with the inspector, like the policeman in the film, being put in a wooden effigy to be burnt to death. There is method in this madness because the group worked out the storyline carefully with the director to fit the lyrics about persecuting people different from ourselves. 2016-05-25 16:15 Mark Beech

3 taller arquitectónica completes palme house in guadalajara taller arquitectónica, led by architect andres escobar, have realized the ‘palme house’ in guadalajara, mexico. the residence shares a lot with another, and is located on the lower portion of the hilled site. its proximity to the other was a major challenge for the team, whom wanted the project to assume an independent identity. a section of the lower floor is recessed directly into the hill with ventilation directed to the south. this was done to keep height minimum in order to conserve panoramic views enjoyed by the site’s sister-structure. common areas are organized on the second floor, allowing similar sight lines that overlook the surrounding landscape. ‘palme house’ is constructed primarily of steel and concrete and features a range of interior materials that provide warmth to the environment. steel was utilized due to its allowance of slender sections and cantilevers that otherwise wouldn’t have been possible. interior organization was left open to change as was required by the still growing family that occupies the space. open area with ventilation to the south a cantilevered roof extends over the second floor veranda designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-26 08:45 Andres Escobar

4 Devendra Banhart + Band* Rodrigo Amarante Hecuba Harold Budd + Brad Ellis + Veda Hille To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Patrick Marschke shares his perspective on Saturday night’s performance of Devendra Banhart & […] 2016-05-26 11:15 By

5 Building Bridges: Symposium at the Fondazione Sandretto Re Rebaudengo This past weekend, Fondazione Sandretto Re Rebaudengo in Turin hosted Building Bridges, a symposium reflecting upon curatorial practice and how curators move from educational to institutional contexts. The conference was held on occasion of the tenth anniversary of the Young Curators Residency Program (YCRP), which annually brings three non- Italian recent graduates of curating courses to […] 2016-05-26 11:15 By

6 alice minkina uses twisted veneer sheets to construct sagano bamboo furniture alice minkina uses twisted veneer sheets to construct sagano bamboo furniture (above) ‘sagano bamboo’ furniture all images courtesy of alice minkina product designer alice minkina uses 160 meters of thin twisted veneer sheets to construct the ‘sagano bamboo’ chair. the circular seat features a curved embracing backrest and is supported by a rounded base and three tubular legs. the furniture piece is complimented by an asymmetric coffee table and individual hanging lamps. the eco-friendly collection which was presented at isaloni satellite milan 2016, uses single strips of the flexible material to create a series of solid wood pieces. bamboo is fast growing and can yield 20 times more timber compared to other trees making it a renewable alternative to typical wooden sources. the ‘sagano bamboo’ furniture reflects this sustainable vision through each carefully assembled layer, presenting an environmentally conscious, contemporary collection. the ‘sagano bamboo chair’ is available in two different versions the chair is supported by a rounded base and three tubular legs bamboo is fast growing and can yield 20 times more timber compared to other trees the ‘sagano bamboo’ furniture reflects an eco-friendly vision through each carefully assembled layer the lamp can take on various different shapes designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-26 06:05 Alice Minkina

7 post-castle to be constructed in kaliningrad's historic centre post-castle concept to be constructed in kaliningrad's historic centre post-castle concept to be constructed in kaliningrad’s historic centre all images courtesy of anton sagal young architect anton sagal was awarded first prize for the conceptual design of ‘post-castle’ in response to an open international competition held by the kaliningrad region governor’s council for culture. located on the grounds of the former königsberg castle — destroyed by fire following british royal air force bombing in WWII — the project is part of the ‘heart of the city’ initiative aimed at regenerating the urban area’s historic center. sagal’s winning proposal introduces a ‘different’ castle to citizens. the most important parts of the original castle are to be rebuilt to exact dimensions, with the addition of four contemporary wings that integrate more readily into the modern setting. west and east sections are to be constructed to former specifications. these are connected to south, north, middle wings, and a multi-function hall for events of up to 1,500 guests designed by sagal. configuration is based on historic construction typology of the teutonic order’s castles. spatial organization develops the building’s relation to surroundings, and allows visual continuity and permeability between interconnected spaces. interiors like the historical hall of muscovites are to be replicated as closely as possible to original design cross-section: view of the west wing from inner courtyard section. west wing accommodating the museums of archaeology and the king name: historic and cultural complex ‘post-castle’ location: historic centre of kaliningrad, kaliningrad oblast, russia lead: anton sagal team: olga balakireva, dmitry taran, alexandra taran current phase: conceptual design client: non-profit urban planning bureau; ‘heart of the city’ initiative on behalf of kaliningrad region government designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-26 04:05 Anton Sagal

8 Fall 2016 Accessories: Street Life Accessories have taken to the street — and not just in the sense of casual styles or sporty motifs. This season, handbags and shoes are canvases, as designers “paint” them with images that coincidentally recall Miami’s fabled Wynwood Walls. Here, bags are pieces of urban art in their own right, paired with kicks radiating a cool urban vibe. 2016-05-26 04:01 Roxanne Robinson

9 Men’s Fall 216 Trend: Get in Line With brands like Vetements and Junya Watanabe infusing new energy into the striped dress shirt as a fashion piece, this boardroom classic is being pushed to the forefront for fall. 2016-05-26 04:01 Luis Campuzano

10 On the Gaze in the Era of Visual Salamis Looking at my.pdf library I recently came across Monte Burch's The Complete Guide to Sausage Making , a book that clearly—and perhaps morbidly—describes some key features of this ancient and mysterious practice. Throughout the reading of this document I somehow realized that I had been learning not only about sausage making as such, but also the mode of existence of some digital images, with whom I coexist. How is such a leapfrog possible? In Burch’s guide, a sausage can be made by grinding and mixing “scraps and trimmings” and, interestingly enough, by also maintaining a prudent period of “seasoning and curing.” The meat’s encounter with a systematic process of recombination and extrusion, say, configures the sausages. Moreover, it is precisely their sausageness that allows us to access them according to polarized protocols: on the one hand, sausage production is analog and continuous—the more meat we add to the grinder, the larger the sausage is. Conversely, its access is developed according to a discrete, digital-like protocol: the slice. Shaping images with our digital gaze An image is no longer a singular thing, but rather it becomes dispersed , distributing its existence along paths, iterations, periplus, and versions provided by both humans and systems. In this sense, images are trajectories through media, devices…and places. Visual characteristics (namely; colors, sizes, textures, compositions, effects, texts, icons, and typographies) are subjected to a large number of recursive and combinatory operations; a memetic modality of some images that supersedes the very notion of internet meme. The world s largest sausage in Kobasicijada Festival (Turija-Serbia) in 2012 This implies that in order to access an image’s narrative, we have to retrace some of its extruded, threadlike trajectories. Our attention is not focused on a singular image, but is distributed along the image’s path. Since the versioning of an image is the image, the increasing accumulation of similar images is nurturing distributed ways of seeing. Slicing images’ sausageness Sausage-like elongation describes the way that images accumulate, but this redundancy of content is not merely piled up, but follows an extruded trajectory that creates threads of dispersed versions. Since any given sausage is not only a sausage, but also the expression of its formal mode of production, what is the shape of our engagement with it? If either sausage and image are being distributed across a potentially endless series of elongated versions, we can only access images by slicing them. Slicing Gucci Mane Capturing the environment with our digital devices creates a discrete, framed incision in our surrounding milieu. Hence, further captures within the digital realm (for instance, by copying, tagging or storing digital files) prefigure the apparition of what I would like to denominate image-slices. These slices have also something that really interests me; an intriguing ability to create their own negative imprint in the form of memory. They remind us that their status as slices conceals the almost invisible process of how our digital gaze deprives images of their own visuality in favor of their memory. If the latter is defined here as a time-based measure of the image's shifting or fading along a trajectory, visuality presents the limits of an image; the contours and deformations produced by its elongation. The shape that a sausage acquires during its extrusion—being limited or arrested by its mold or configuration process—posits visuality as the imprint of energy. The visual cohesion of images is therefore based on modulations; the development of deformations through time. As any salami knows, its own depletion measures its extinction, but its memory increases as the salami diminishes. By day seven in the fridge, the last extant sausage piece compresses a huge amount of time within a narrow meat scrap, which indicates, as if metadata were present, its very process of dwindling. The accumulation of image-slices made by our digital gaze is not indiscriminate; it overlaps and compresses nuggets of visuality seeking an array of coagulated slices, relating images by means of mnemonic paths: spaces, affections, repetition, and desire. In doing so, digital images are increasingly becoming an ancillary verification of memory's circulation through systems and users. Accelerated emblems: when memory eats image The circulation of the digital image is propelled through versioning, elongation, and indexical techniques which optimize access to it by reducing the importance of its immediate visuality. After a certain point, memory’s circulation through systems and users becomes the image’s primary index, pointing to its internal coherence rather than an external frame of reference. Certain images can therefore intertwine themselves toward total memory, devoid of any content apart from their own possible trajectories. Undermining visuality, from Egypt to my smartphone. In an attempt to domesticate the Egyptian landscape during the Napoleonic campaign in the 18 th Century, Nicolas Jacques Conté invented an engraving machine that by virtue of its accuracy brought engineers the possibility of describing the landscape in the most objective way. The free movement of the hand was replaced by up to forty-two possible sequences of lines that guaranteed not only a higher degree of precision, but a faster rendering speed. In the monumental Description de l'Égypte it is possible to find examples of these line patterns; rectangular images that visualize nothing but the expression of their mechanical production. Back in the 21 st century, this undermined type of image reappears in the screen of my smartphone. Whenever I swipe too fast over Google Images’ search results, the accelerated flux of images surpasses by far the device’s ability to display them all. I no longer see images, but an array of plain- colored rectangles. How does this situation correlate with our subtractive digital gaze? My contention is that our digital gaze wants to subsume image within a larger structure of memory. If memory is based on delay—or hysteresis—then our digital gaze must decelerate the image's elongation in order to situate it within memory. In the era of visual salamis, we are no longer pursuing images, but image-slices that allow us to reconstruct their possible trajectories. This implies that the completion of memory is based on the limitation, almost the disappearance of image’s visuality. From a computational standpoint, I imagine that this process erases the constructed distinction between software and hardware to the extent of making both indistinguishable. An example of Core Rope Memory contained in an Olympia 15 digit calculator, circa 1971 The pursuit of memory not only undermines visuality but its interfaces as well. Perhaps digital memory artifacts will no longer need visual access interfaces such as screens…but in the meantime, let us take a look on a particular prehistory of this possibility from 1960s, where NASA's Apollo Program developed a form of ROM memory called Core Rope Memory. This was produced by literally weaving a wire skein along ferrite cores. The method of weaving wires—passing or bypassing the cores—configured the software. Therefore, memory was the outcome of an entangled, self- descriptive weaving motion: memory is what happens along the ferrite cores. Contrary to RAM memory, this Core Rope Memory was a non- volatile repository which keeps all its possible tasks in advance, indefinitely, even without energy supply. David A. Mindell's Digital Apollo: Human and Machine in Spaceflight recalls how the Apollo 12 computer easily rebooted itself after lightning struck the spacecraft. Without tapes or disk drives, Core Rope Memory visually exposes its limits and functions. We can imagine it as an artifact with the ability to keep and describe the totality of its existence, not by upgrading itself further, but through total access to its finite structure. This sheer visuality of its woven core—a kind of hardware— is the software, in absence of any other intermediate symbolic interface. The Core Rope's wire paths undermine images insofar as it constitutes its own memory. To put it simply, its finite woven code exists by itself. A distinct modality of software as the human-readable aspect of the machine is no longer necessary. In the meantime, digital plein-air I have to stress that, although sausage making is a pleasant and mouth- watering activity, is not precisely exempted of risk. Whenever a meat scrap falls off the cutting table, we are in peril of getting a contaminated, even a hairy sausage. As Burch’s guide reminds to us: “the one that eats the most sausage gets the most hair.” Nowadays we are witnessing the process of subsumption of memetic images within memory, but in the meantime, we are finding memetic images in the outdoors as well. The temple of the Seven Dolls in Dzibilchaltun, Yuc. Mexico Despite the fact that the Seven Dolls Temple in Dzibilchaltun (Mexico) perhaps was never conceived as a temporal landmark, during each vernal equinox a multitude of people congregate around the temple. When the Sun emerges, its beams traverse the temple's open door towards a plethora of smartphones, digital cameras, and tablets. The sunlight is not only framed by the door; it continues its trajectory by virtue of the devices’ capturing and the images’ further circulation. After my first visit to this temple in 2012, I became increasingly interested in the particular elongated quality of this sort of memetic images. During the last three years I have been visiting several areas of Southern Mexico, finding along my way a variety of these images: digitally printed cylinders in the shore of Bacalar lagoon, fluorescent hoses in Palenque's jungle, gradient-like car reparations in Merida, polygonal paper dinosaurs in Chicxulub, to name a few. These memetic images incorporate an array of digital textures, patterns, gradients, and even moiré effects, but somehow their physicality produces an interesting disruption in its surrounding milieu. They popped out in our vision by highlighting their obvious digitalness in absence of devices, binary code, or even electricity. How is such a thing possible? If the traits of memetic images can be sustained in spite of devices —or their closeness—we must reconsider them as entities created uniquely by devices. Images linger at a certain distance of them; sometimes closer—even “within”— sometimes too far to be extant. A memetic landscape in Bacalar, Quintana Roo, Mexico. Constituted as trajectories by means of versioning, these memetic images could have existed before the advent of the internet itself. Acknowledging this fact places us in the striking situation whereby the prehistory of digital images comes after their “official” emergence as media; as if in the very moment that we relocate these images from their alleged habitat (digital devices,) devices no longer “create” images. The context of memetic images does not lie in their materiality—for example, their pre-filmic or pre- screening origin—nor in the materiality of the places they represent. Conversely, we find context in the very action of capturing and slicing images, as well as in the device's situational location. The encounter with digital, memetic images in the outdoors and their incorporation within networks and memories denotes also the uneven degree of internet implementation over the Earth. Since bandwidth speed results are affected by geography (and geopolitics!), time is the subsidiary of space. The imbalances in a memetic image's speed of elongation describes real geographical distances between captured places and access to internet networks. This produces a particular phenomenon of historical remoteness, whereby 'antique' memetic images are still in the process of being incorporated, uploaded, elongated. As if the light of a distant sun were rising, we still are receiving and unearthing images pertaining to these memetic realms. — Javier Fresneda is a San Diego-based artist and researcher. His work can be found in www.javierfresneda.com among other places. — References Burch, Monte. The Complete Guide to Sausage Making. New York: Skyhorse, 2011. Mindell, David A. Digital Apollo: Human and Machine in Spaceflight. Cambridge: MIT Press, 2008. — Share this Article — 2016-05-26 06:16 rhizome.org

11 L. A. Designer Raquel Allegra Bows on Third Street More Articles By It’s something she had been talking about with her best friend as far back as 1995 and the Los Angeles designer, who got her start in retail working at Barneys New York, next month will hold a grand opening to celebrate the milestone. “I like to do things when they feel right and not before,” Allegra said. “It started feeling right a couple of years ago and we started talking about it. The collection had evolved to the degree that we really could do that now…. It feels like in some ways I’ve been living quite private. I’ve just been creating and not living as much publicly in terms of how the brand is shared. I only just two seasons ago started showing with New York Fashion Week, so I think that I was just finally ready to show myself and share the whole story.” Coming from a retail background, Allegra knows all too well the challenges in telling that full story at a multibrand retailer. Having 1,300 square feet to merchandise gives her the opportunity to experiment with exclusive items, while also feeding her sense of comfort at retail where she can help customers style outfits. Allegra said the plan is to eventually open more stores, but the time would have to be right. The designer, known for her delicate hand-dyed pieces, got her start repurposing Ts from L. A. County jails. She’s since moved on to hand-dyed chiffon and printed linens and is now in more than 200 stores, including Harvey Nichols, Barneys and Merci, the latter of which commissioned her to do an in-store installation. A vintage piece from her days deconstructing those prison shirts now hangs in the window of the freshly opened space against the backdrop of a ceiling-to-floor, hand-crocheted piece made by an employee using fabrics from the collection. Allegra then used that as a canvas on which to paint. The store is also an extension of her love for collecting jewelry and what she called “treasure hunting.” Pieces from her collection sit in a case resting in the middle of the store and include vintage items she’s sourced from the Rose Bowl Flea Market in Pasadena, small shops locally or on her travels to places such as New Mexico. “My jumping-off point has more of an art element than a fashion element,” she said. “That, to me, is the whole point of having a store, where it’s just a pure, creative outlet.” 2016-05-26 03:09 Kari Hamanaka

12 Fair Director Amanda Coulson Previews VOLTA12 Related Events Volta 12 Venues VOLTA The offerings at Art Basel, coming up June 13 to 18, are so rich and vast that choosing what to see can be overwhelming. To help fairgoers plan their itineraries for the art world’s biggest week, BLOUIN Artinfo is speaking to fair organizers about what to expect during the week-long art feast. Today, Amanda Coulson, artistic director of the independent fair VOLTA, talks about VOLTA12. Sixty-eight exhibitors from around the world, assembled under Markthalle’s dome, within an elegantly navigable floor plan. Half of the projects this year are either solo booths or two artists “in dialogue,” and the artists themselves are a mix of established veterans, with biennales and major international exhibitions under their belts, alongside others making their Swiss — or European, or Western — debut. I realize that “artistic discoveries” is a bit of a canned phrase, particularly in an ultra-connected art world, but I think it’s a viable description: whether the artist is a graduate of Romania’s Cluj School of Art, a brilliant West African artist, or a Cuban up-and-comer, there is something—someone—refreshingly and excitingly new for fair visitors to meet and experience. We amended our thesis to: “Basel’s renowned art fair for new international positions.” Emerging artists are present and as important as ever, but then so are major and mid-career artists. There is also more of a focus on selected artists’ significant and classic bodies of work being recontextualized. By embracing this diversity of artistic voices and forming curatorial through lines between works from the ’70s and their influences on new works, or between older artists who have inspired — or taught! — younger artists, the entire experience becomes that much more enriched. They get and respond to the VOLTA mission. For Basel, this means a platform as critically relevant and engaging as Art Basel, but far less exhausting to traverse! Plus, I’ll give props to Team VOLTA for their unparalleled attentiveness to exhibitors; we always get top marks on our approachability, transparency, and general friendliness. VOLTA was founded by three dealers and myself as a fair by galleries, for galleries. It did really start out as a mom-and-pop business, and we still run it that way. Our venue, Markthalle, itself is one reason alone. Walking into this enormous domed building as sunlight from the central oculus lends a bright airiness to the space is really something remarkable. The venue is key in many ways: it’s beautiful and centrally located. And then there is the fair itself — a really manageable number to see, all located on the same floor and within a navigable, compass-like floor plan. Plus half of the galleries are showing either one or two artists. This is all crucial for a fair where the majority of exhibited artists aren’t necessarily household names — some are, for sure, but there are many others who will be brand new to most visitors. All this, coupled with the open layout and plentiful natural light from above, should assuage that crippling “fair-tigue” present at other fairs. Rather than looking at it as “yet another fair” one has to go to, I rather see it as a way to refresh oneself from the grueling slog of the week! Finally, as opposed to other fairs, our food and drink at VOLTA is really stellar. We have a long relationship with Confiserie Beschle, one of the best patisseries and chocolatiers in town — they create the branded VOLTA chocolate bars that we use to promote the fairs. Plus, Markthalle veteran Meyers Culinarium will debut its “Universe” at VOLTA12 — a wood and metal installation created in collaboration with local artist duo Cicolupo — and elevates its already reputable gastronomic feats with a new dinner prix fixe. Plus, we are joined by newcomers Hinz & Kunz, who were awarded Best Newcomer Bar at the 2015 Swiss Bar Awards. They really know how to concoct a mean and delicious cocktail. Forget an exhausting schlep followed by a bad sandwich, at VOLTA we’re looking at it — the total experience — from a whole different perspective. Approachable. Global. Discovery. 2016-05-26 02:15 Samuel Spencer

13 diller scofidio + renfro's design for rubenstein forum approved university of chicago approves design by diller scofidio + renfro for rubenstein forum image courtesy of diller scofidio + renfro the university of chicago has approved a preliminary design by diller scofidio + renfro (DS+R) for the david m. rubenstein forum — a new facility for collaboration to be located at the southeast corner of woodlawn avenue and 60th street. conceived as a place of intellectual, institutional and educational exchange, the 90,000- square-foot building is organized around a variety of meeting spaces. the program — including the number, size and type of rooms — was informed by focus groups and one-on-one consultation with more than 100 faculty and staff from across the university. the design includes a two-story podium that supports a narrow 165-foot tower. at the base, entrances to the north and south open to the main lobby, a space for informal interactions, a restaurant and the building’s largest meeting space, which can accommodate up to 600 people — tentatively named the ‘university room’. the tower pairs meeting rooms with informal spaces to create internal neighborhoods that can be devoted to a small, intimate settings or combined for larger conferences or meetings. two other signature spaces feature prominently in the architectural expression of the building. a 285-seat auditorium projects from the tower facing north. tentatively called the ‘presentation hall’, it provides a tiered- seating option for keynote presentations, panel discussions, film screenings or performances. a top-floor, multipurpose space, tentatively named the ‘lake view room’, offers ample space and amenities to accommodate a large departmental reception, or a multi-day symposium of 50 to 75 scholars. ‘we composed the tower as a stack of ‘neighborhoods’ with meeting and communal spaces of all sizes — both formal and informal, calm and animated, focused and diffuse,’ explains DS+R founding partner elizabeth diller. ‘the building prompts its varied populations to cross paths with one another where possible to enhance intellectual exchange. the lower floors of the rubenstein forum are porous and dynamic with connections to the campus and the community in all directions. as one climbs the building, there is a progressive retreat from the everyday to more contemplative spaces with dramatic views of chicago and lake michigan.’ ‘the architecture of the university of chicago has traditionally sought to inspire, encourage and support the pursuit and exchange of insight and understanding,’ adds president robert j. zimmer. ‘the rubenstein forum will build upon this tradition, drawing from and extending the university’s rich legacy of architecture, while enhancing our convening power as a center of scholarship, education and impact.’ 2016-05-26 02:14 Philip Stevens

14 New Rauschenberg Exhibition Highlights Progress of a Process Related Venues De Sarthe Gallery Hong Kong de Sarthe Gallery Artists Robert Rauschenberg Hong Kong’s De Sarthe Gallery explores five decades of the career of Pop pioneer Robert Rauschenberg through six works on display at the gallery from May 26 through July 2. What unites these works is that they all use transferring techniques, a signature of much of Rauschenberg’s work where he transfers photographs onto his work. In these six works, gallery visitors can see the artist refining these techniques to create transfers of increasing complexity, while staying true to his initial project of using transfer to critique traditional definitions of drawing, painting and photography. In the earliest work in the exhibition, “Bryce Baby,” 1968, he uses solvent transfer (in which an image is applied to the work’s surface, covered in a solvent and then burnished to transfer the image from its original paper) to create a minimalist collage similar to many of his white paintings with its use of found photographs and text. The work also brings attention to the transfer process used, with the word “Big” appearing backwards. In the next work from the 1990s, Rauschenberg’s use of the process has developed with the artist now able to transfer in color by working straight from the photographic negatives with dyes. In “Stretch [Anagrams (A Pun)],” 1998, the artist uses this essentially photographic process to blur medium boundaries by using it to transfer a photographed drawing. Characteristically, the artist uses vegetable dyes reflecting his ecological activism. The other four works, which come from the decade prior to the artist’s death in 2008, see him using pigment transfer (using acrylic paint in place of solvents) to transfer detailed photographs of American life as Rauschenberg saw it, bringing a theme that had fascinated the artist throughout his career to a culmination. 2016-05-26 01:39 Samuel Spencer

15 designers interpret domestic 'play' for prix émile hermès award designers interpret domestic ‘play’ for prix émile hermès award (above) camille courlivant, rose dumesny and line de carné: ‘clico’ — an augmented reality construction game for children which brings an object constructed by the player to life, using a mobile app and a tablet computer. all images by photo babel / wearemb © fondation d’entreprise hermès since its inception in 2007, the prix émile hermès has promoted talented young designers and supported their prospective, early-career projects. in september of last year, fondation d’entreprise hermès put forth a call for projects for the fourth biannual edition of the prix émile hermès international design award — this year under the theme of ‘play’, as applied to domestic design. while acting as an important stimulant of the imagination and the senses, playing also builds character, encourages self-awareness, and influences our relationships with others. chaired by designer matali crasset, the jury has now selected twelve finalists from a total of 762 entries from 62 countries. these shortlisted designers are presented in an exhibition at the espace commines from may 31 to june 5, 2016, showcasing their responses to the experimental, environmental and social challenge. see more about the twelve shortlisted projects below. jean-simon roch: ‘vibrato’ — a wooden box fitted with an electro-magnet that activates a metal blade concealed beneath a leaf of paper. the device allows the user to vibrate objects or forms placed on top of the paper, in a random, ever-changing ballet. ‘they’re all very different, both from the point of view of scale and typologies,’ crasset says of the finalists. ‘some strive for clarity and comprehensibility at first sight: these projects are conceived essentially as inputs to stimulate the imagination; others are located at the frontiers of the real and the immaterial: these are hybrid projects, both concrete and digital. this is a very childlike thing, because they don’t distinguish between the two, and pass quite naturally from one to the other. lastly,a third set of projects is wholly digital, and designed to fit into everyday life. there are child-sized projects and others that engage directly with their surrounding space, or explore symbolism or the quest for the perfect object. each clearly reflects of the values the younger generation of designers is seeking to communicate.’ ‘oracle’ is a niche receptacle and a mobile phone app which gives players a color to find in their immediate surroundings. each team chooses an object corresponding to the given color, and places it in the niche. the object’s tone is analyzed digitally, and validated (or not). the team with the most ‘successful’ objects wins. ‘demi-jour’ is a shadow-game in the form of a collection of cards which can be fixed to the back of smartphone, like a case. to create the shadow pictures, simply unfold the relief shape in the corner of the card (images of objects or figures) and activate your camera flash. then you can animate the figures in a darkened room. a wallpaper printed with conductive ink incorporates a sound system with an external control box. sound is activated by placing a hand on the wallpaper: the walls of a room become an experimental play space. the system is connected to a dedicated web site that allows the user to pre-select the wallpaper design and its associated sounds in advance. ‘dorémix’ is a small, musical wooden train connected to a tablet computer. the tablet controls the train (which is also a mobile speaker), and allows the player to compose a melody based on its journey along tracks connected to notes. there are two different pre-recorded melodies, depending on the circuit.the player may compose other melodies by varying the circuit taken, the speed of the train, and instrument options. joeva gaubin: ‘we do not play at the table’ the game is played at the table, on a linen tablecloth printed with designs and messages to be discovered using accessories (plates, glasses and cutlery). by sliding the base of a blue glass, players discover hidden red forms in the motifs on the cloth. the blade of a knife is used to decipher ‘challenges’ written in mirror language. a fun way to brighten mealtimes. ‘snail racing’ is a game using small wooden snails on a circuit adapted by the player to their home surroundings. each snail is fitted with a measuring device that allows it to move forward the number of centimeters indicated by a throw of the dice. the first snail to make a complete circuit wins. ‘talu’ is a large-scale construction game comprising 28 high-density foam modules covered in felt. the blocks come in three different shapes measuring 20 to 60 centimeters in height. users can build an endless variety of structures and environments. a new form of the game known as ‘consequences’, based on sheets of paper interleaved between two circular wooden boards. the upper board has a ‘porthole’ in which the players draw pictures: the first player draws something in the porthole, keeping his picture hidden from the others, then turns the disc, for his neighbor to draw a second picture next to the first. everyone around the table contributes their own drawing, after which the disc is removed to reveal the whole picture, in six parts. ‘your shelter’ is a wooden trolley with a set of accessories (fabric, rope, velcro, lamp, batons, connectors) that can be combined in infinite, imaginative compositions. the game inspires free play, inviting children to create their own space. a close cousin of the traditional mikado, trikado is a balancing game consisting of a vertical, 40-cm ‘trunk’ of wood against which narrow sticks can be placed. the aim is to place the most sticks, supported directly by the trunk of wood or the sticks already in place. 2016-05-26 00:15 Nina Azzarello

16 What’s on TV Thursday Katie Holmes and Luke Kirby portray bipolar poets who fall in love in “Touched With Fire.” Bernadette Lafont, the French New Wave muse, deals marijuana in “Paulette.” And more than 65 celebrities help raise money for children in need in “The Red Nose Day Special.” TOUCHED WITH FIRE (2016) on iTunes. Two manic-depressive young poets — Carla (Katie Holmes) and Marco (Luke Kirby) — meet at a group-therapy session in a mental hospital and fall in love against the advice of their doctors and parents. Soon, feeling omnipotent, they decide to stop taking their medication and move in together, painting the walls of their apartment with a copy of van Gogh’s “The Starry Night.” He was bipolar, too, Marco assures Carla. Writing in The New York Times , Stephen Holden called this film by Paul Dalio an “extraordinarily sensitive, nonjudgmental exploration of bipolar disorder and creativity” that “flirts with madness (some would say dangerously) while not going over the edge.” PAULETTE (2012) on Amazon and iTunes. A crotchety woman (Bernadette Lafont) with cash-flow issues decides to follow the lead of the punks in her building and starts dealing marijuana. Ms. Lafont, a muse of New Wave auteurs, died in 2013 , a year after this comedy became a sensation in France. 500 QUESTIONS 8 p.m. on ABC. Ken Jennings of “Jeopardy” fame puts his intellect to the test in this show’s Season 2 premiere. THE RED NOSE DAY SPECIAL 9 p.m. on NBC. More than 65 celebrities — among them, Julia Roberts, Elton John, Ludacris, Bono, Kobe Bryant, Tyler Perry, Margot Robbie and Tracy Morgan — go to bat for organizations aiding poor children in the United States and abroad. STAY WOKE: THE BLACK LIVES MATTER MOVEMENT 9 p.m. on BET. The filmmaker Laurens Grant follows activists trying to turn protest into lasting change. “Many people were trying to make sense of what happened, but I felt like the ways that people were trying to make sense of what happened and what we needed to be doing about it were actually destructive,” says Alicia Garza, a founder of the movement. “And so I wrote a letter to black people on Facebook saying that there was nothing wrong with us and we deserved dignity and respect.” INSIDE AMY SCHUMER 10 p.m. on Comedy Central. Ms. Schumer falls in love with a chef, jumps out of a blimp and has her leg eaten off. HUANG’S WORLD 10 p.m. on Viceland. Eddie Huang explores Istanbul’s religious landscape. LIP SYNC BATTLE 10 p.m. on Spike. CeeLo Green makes like Gene Simmons in Kiss’s “Rock and Roll All Nite” while Russell Peters croons the Four Seasons’ “December, 1963 (Oh, What a Night).” 2016-05-26 00:00 By

17 Fionn Meade Paul Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan Meade Chan A common feature within Paul Chan’s three works on view in the exhibition Less Than One is the use of silhouette form to question power dynamics. Void of identifying features or specific characteristics, the animated silhouette within Chan’s restive vision invites and prompts us to project possible narratives onto reduced and impoverished images. Embracing what artist and theorist Hito Steyerl has termed the “poor image” of dubious genealogy within digital culture, Chan’s series The 7 Lights (2005–2007), works with “light and light that has been struck out” to depict a shadow cinema of the sacred and profane within contemporary culture. The tangible yet pared down outline of daily life gradually loses form in the series, with lampposts, cell phones, animals, circuitry, weapons, and people slowly breaking up into fragments that have no single point of gravity. As in 6 th Light , on view, the virtual is seen rising and falling in an animated cycle of dissolution. Score for 7 th Light , the final piece of the series, pushes toward total abstraction as a musical score of shadow fragments is laid out and contained within the strictures of the music staff across composition pages, offering near impossible instructions for the as-yet- unmade final projection in the cycle. It is in Sade for Sade’s sake (2009), however, that Chan deploys his poor cinema of the silhouette to truly epic effect, creating an immersive environment of nearly life-sized animated figures engaged in various encounters of sex and violence. Interspersed with floating rectangular forms that recall redacted imagery or censored sections of explicit texts, the mood of Chan’s work speaks to the American psyche at that time. Here, the artist has added a range of toy guns to what is a highly charged site-specific installation of the work. I recently sat down with Chan to discuss this most recent iteration of Sade for Sade’s sake , on view at the Walker, in the Lower East Side office of Badlands Unlimited , the publishing house Chan founded in 2010, devoted to e-books, paper books, and artist works in digital and print forms. Curating Less Than One I noticed a subtheme in the works I was selecting: what does it mean to become American, as opposed to being American? Thinking about your work, I immediately thought: Sade for Sade’s sake needs to be shown—right now. It just felt timely. You don’t over-explain your work, but I know that at the time you were making it there was heightened attention to the extralegal situations of US policy around Guantanamo and Abu Ghraib, and some of the redacted images that were coming out from Abu Ghraib in particular resonate, I think, for a viewer who’s paying attention to these connections. So, I wanted to first just ask you how you got into the whole Sadean project. The origins of the Sade project came from my reading and thinking about Henry Darger. I did a projection piece called Happiness (finally) after 35,000 years of civilization, after Charles Fourier and Henry Darger (2003), and Sade was a part of that mix. Why was he a part of the mix? Because he was an artist and a thinker who I believe was on the same wavelength as Darger, insofar as they were both interested in the look of infinitude. Darger’s landscapes looked infinite, like a world. But what you realized if you looked a little more closely is that this world was actually composed of a finite set of elements, that he only drew something like 24 kinds of flowers, but he varied them in such a way that his landscapes were completely populated with all different kinds of flowers. It’s a basic idea of theme and variation. But he had a theme. He had, say, four types of trees, and then he varied them to a point where you couldn’t tell what was happening. And Sade, in a very similar spirit, did that in his writing around ideas and acts of sex and violence. One of the other things that I thought connected them was the spirit of escape. Darger lived a terribly lonely and isolated life in Chicago, tragic in every meaningful sense. The Marquis de Sade also led a different kind of tragic life, but it’s important for me to remember that he wrote his greatest works while imprisoned, right? The 120 Days of Sodom was written while he was in the Bastille, and the intensity and the feel of infinitude, I think, come from the desire to escape. So, Sade is a part of the mix of that early animation, but I could never make Sade fit , so I took him out and put him in the back of my mind until after The 7 Lights , when I realized, “Oh, this is a thing I should do. I should follow up with that thinking around Sade.” That’s how it came out. After The 7 Lights , I re-remembered Sade, and thinking about Sodom , and rereading it, I realized that we don’t really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people—girls and boys—to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV. They profited from the war of Louis XIV. That really struck me, because at the time that we were living, we were going through a war, the Second Gulf War. We were going through the destruction of countries in the Middle East, and we were hearing stories about war profiteering. Of your use of the silhouette form, I think of Goya and the Caprichos and other artistic approaches to the grotesquery of the silhouette as a tool for speaking to situations of power and misuse of power. In Sade , the silhouette forms are so artificial. Then the animated jitter brings them to life in a way that is artificial, and yet its artificiality prompts a disturbing effect for viewers. Can you talk about why you chose the silhouette form? I’m a terrible drawer [Laughs]. I can’t draw to save my life! And a silhouette makes it much easier. I have less to deal with! [Laugh] Just one line, really, and nothing inside. I think that’s the simplest answer. A more complicated answer may be that I may not be interested in what it is at all. I may be interested more in its movement. I’ve told this story before, but I’m nearsighted. I’ve been nearsighted since I was, like, 12. But I’m so vain that I refuse to wear glasses, and I’ve learned to live that way because I realized when I was young that I don’t have to see with clarity to know what I’m looking at. I’ve adapted, based on my vanity, so that I can recognize people and things based on their movement. So, I may not be able to tell if that’s you from your face down the street, but I’d like to think that if we hang out just a little bit more, I would know how you’d move, and I would recognize you walking down the street from a block away. That’s how I can tell people in the street since I was 15. So, to me, movement becomes the essential way in which I see things, and it may be the case that the through line for the work that I’ve done, regardless of the medium, is movement. I loved drawing the Darger stuff, the Happiness pieces. I loved drawing them all, but what I was more invested in was how they move. And so with Sade , what was important was a particular spirit or style of moving, which I call “petrified unrest.” That jittering is completely artificial, but what’s interesting is that it feels very human to me, insofar as it represents the feeling that I get when I sit in front of a computer [laughs] or when I’m anxious. That movement is the baseline for the whole piece. If you can see it musically, that jittering is the baseline. Nothing stands still; everything is moving. And even if you’re still, you’re jittery. The counterpoint, in the musical sense, is the gliding—the geometry of the squares coming from left to right. I immediately think of visual redaction. But was that tension thought of as a musical counterpart? That’s very astute. I think it’s true. I didn’t necessary think of it as redaction, but I did think of it as a counterpoint to the movement theme of petrified unrest, as the geometric shapes move qualitatively differently. They’re slow, languid, calming. Mesmeric. And I needed that, because it was too painful to watch even artificial shadows of human beings in petrified unrest. Over time, as I was making it, I couldn’t bear looking at it. It needed a counterpart. It needed something to lessen the burden. Can you talk a bit about the mood when you made the piece? My sense in working with you on this installation is that the mood has to have an update each time you install the piece. The variation includes the space itself. Yeah, I think it’s a function of the illusion of it being a shadow; that the pleasure and the challenge of shadows is that they can go anywhere. In fact, the more unorthodox a surface, the more illusionary it looks. That shadow is a sort of story. I showed some of the Lights in Europe in this institution, and because they knew that the projection would be on the floor, they assumed that the floors must look like a screen, so they cleaned the floor and painted it white and glossed it so it was like a projection screen. And it looked terrible. I told them, “It’s not a projection. It’s a shadow, and it looks better as a shadow if it functions like a shadow.” That it falls on whatever it falls on. Right. It elongates, shrinks, and expands. Right, and I think that’s the spirit in which Sade was made. The spirit of The 7 Lights transfers over to Sade insofar as it needs an unorthodox surface for it to give it the mimetic sense of it being a shadow. For the Walker installation, being able to use the former installation walls and pallets and things that call to mind almost a non-space, or a space in between modes, is just so effective, in particular in counterpoint to the kind of mesmeric left-to-right of the geometric movement. Then there are the toy guns. Can you talk about adding the toy guns? Sure. When I found out you guys were installing Sade , I thought it was great, and I knew that we were in conversation about an unorthodox projection surface. At the time, news of guns was in the air—who has a right to own them, who does not—and I thought, “If we need an unorthodox projection surface, why not have the surface be guns?” That’s when I put in the request to just buy guns. [Laughs] It brings to mind a very particular American conundrum, which is the right to bear arms and the inevitability that every decade guns are more and more an issue in American culture. And in some ways, that extends to how guns are mixed with sex, violence, and celebrity, as well as economic inequality in American society, not to mention questions around what police presence and the consideration of what a “police state” might mean in this country. These things really intermingle in ways that are very powerful. To overlay that on the piece itself in Sade , was in some ways directly responding to this moment. I think so. It’s nice to know a work can do that, and I think I’m just taking advantage of how the works are made. Sade needs an unorthodox projection surface. I don’t say what that unorthodox projection surface is, so the opportunity is always there when people install Sade to interject, to intervene in that space, to give it a kind of presence that it may not have had otherwise. I think of that old Chinese adage that the strongest force in the world is water. I think part of the pleasure of the shadow works I’ve made is precisely that they sort of “bend” themselves. There is no ideal situation for how they’re shown. They actually need a less-than-ideal space. The Lights : they need a dirty floor. Sade : you need an uneven surface. It’s almost like a dare. It’s like, “I dare you.” I remember thinking this with Sade : “I dare you to do this. I dare you to project on a brick wall in Venice.” “I dare you to project on the wall that no one uses at Carol Greene’s gallery.” I think it’s pleasurable. Do you think that less-than-ideal aesthetic is perhaps also a way of prompting or working through philosophical ideas? That philosophical engagement, or political-philosophical mix of concerns, has to have, in some ways, a less-than-ideal aesthetic to be able to actually have something to it, rather than just be a declaration or a position? I love that explanation, and I will use that from now on, because what I’ve used is that I’m an asshole. [Laughs] That’s it. We are beholden to our temperament, I suppose. I am. Whether I want it or not, whether I like it or not, my temperament is: I would rather work in less-than-ideal situations. I need it, in fact, for me to think and to feel and to work at the highest level that I think I can. Because at the end of the day, I don’t think I’ve ever been in an ideal situation for anything. And I may not have the temperament to make it, so if that’s the case, I’d rather work with what I’m willing to take. So, there is real pleasure for me in seeing the Lights projected on a dirty, wet floor. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, “Oh, that’s right. Yeah, it can survive here.” Yeah, I think of it like a dare. I think of it like those weeds that you see in concrete. Like, it’ll grow anywhere. You know, you don’t have to give it much. It’ll grow anywhere. I like works that are resilient and tough. People always ask you about your political engagement and your philosophical promiscuity. You’re a promiscuous reader, and you also have been directly involved in political engagements and actions, though you often talk about these concerns separately. Can you talk about that? I think it’s really interesting, the permissiveness you have to engage with philosophy. I guess it’s no more different than whatever else we find pleasure in doing. The history of philosophy, for me, is a history of great comedy and drama. There’s nothing funnier and more tragic than reading men and women who think they can figure it out. Like, you read Augustine, and it’s like, “You really think you’re going to get it all, don’t you?” Or Plato. Spinoza. It’s moving to me to imagine someone out there thought once, and perhaps will think again, that they’re going to figure it out. I like that. I’m not going to do it, but I’m glad they are. [Laughs] And I like reading about it; to me it’s very pleasurable. Oddly enough, ironically enough, it’s also given me a kind of intellectual and aesthetic and maybe even emotional sustenance to deal with being on Earth, because it’s terrible here! [Laugh] Just the worst! And whatever sustenance we can find to give ourselves just a little bit more endurance and resiliency is necessary. Some people take steroids. Some people take HGH [human growth hormone]. I read Spinoza, and I think it works for me. I also think of [Giorigio] Agamben , as somebody who writes about religion and the transition from the 20th to the 21st century with an earnestness and not a kind of dismissiveness, though not necessarily as a believer. Your work has a kind of recurrent liturgical aspect to it. Can you talk about that? I think it connects a lot to philosophy. There is no history of philosophy without history of religion. Philosophy is an outgrowth of the history of religious thought in the West. So, you can’t have the one without the other. You may think that we can, but as Agamben shows, we really can’t, historically speaking, at least. He is definitely someone who understands that interrelationship between the history of religion and the history of philosophy and how they entangle each other over time, right up to now. And I think, you know, like we talked before about war. Our time involves seeing the emergence of a new religiosity in the US that, I think, has surprised everyone. Who knew in the 21st century we’d have to think about that again? I didn’t. And who would’ve thought that religion would continue to be such a mobilizing force, socially and politically? I didn’t think it was going to happen, but here we are. So, even just as a person curious about politics, I feel like it’s incumbent upon me to be open and to be curious about religion in all its aspects. I think a lot of it comes from my political work. When I was in Baghdad, religion played such a large part in social life there that it really changed my views. It was after my trip to Baghdad , my experience doing anti-war work in Iraq, that I realized I needed to learn much more, and just be familiar with it. Interesting. Roberto Calasso—you ever read him? He runs the Adelphi Publishing House in Italy, but he’s also a writer and specializes in Vedic traditions. He studied at the Warburg Institute at the same time as Agamben, so he has this kind of intermingling curiosity. And he also talks very much about how philosophy and literature cannot extract themselves from moving toward and away but also around the consideration of God or religion. What Agamben shows is the clarity with which we can look at certain aspects of contemporary culture if we allow ourselves a religious vantage point. That if the goal is to see things with a certain kind of clarity, then seeing it from an aspect that can be considered religious is an important component to that clarity. To me, you can’t understand Jeff Koons except through religion. It gives him a kind of clarity that no other outlook can give you. Same thing with the religious right, the Tea Party. If you look at it purely from a kind of secular, capitalist, class, or geographic standpoint, you can get some semblance of clarity, but not all of it. An outlook that allows religion in is, to me, a kind of greater clarity about certain aspects of contemporary life—which, again, is shocking to say because this is 2016. One of the really interesting responses to the Sade piece is— “Is he on drugs?” [Laughs] No rather a response to violence being mesmerizing in the piece. It’s disturbing in terms of a kind of artificial violence, but it also is incredibly mesmerizing. It really draws you in, and you kind of hang out with it. There’s actually a lot of engagement with portraying violence in your work. Is that just, again, a kind of gravitational pull? Maybe the simplest way of saying it is that I think violence is mesmerizing. And we have an example of this right now insofar as we hear Trump’s rhetoric. There’s a violence and aggression to it that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us. You see? I think part of the appeal of belonging to something that shows those kind of tendencies is the belief that if we belong to it, it will protect us—that that aggression and that violence will protect us because we have identified with it. And if we identify with it, it may identify with us and see us as being a part of it. So, I think part of the mesmerizing-ness of it may be this. I don’t know what it is, but I think that’s the dynamic of it. I think that’s part that is the aesthetics of violence. I recently read a journalistic piece tracing a certain kind of populist American demagoguery, from Huey Long to [George] Wallace, to Trump, where this kind of appeal, as you say, is made to a protectiveness through violence, or, a promise of protection through courting a violent aesthetic. It is really sort of shocking to see it be so unfettered in 2016. It’s true. And I think it shows how powerful and compelling that draw is, that pull of violence, and how it echoes with a kind of air of authority that people feel like they ought to belong to if they want to be protected because of the precarious nature of contemporary life—which we all know and feel. I mean, talk about petrified unrest. “I would rather work in less-than-ideal situations. There’s real pleasure in me seeing Sade projected on a brick wall, or seeing the wooden slats that you had put in front of it. It’s like, ‘Oh, that’s right. Yeah, it can survive here.’” “There’s a violence and aggression to Trump’s rhetoric that’s mesmerizing. I think it’s mesmerizing because if one identifies with it, one feels that they can make a friend of it. And if we make a friend of that violence and aggression, we think it will protect us.” Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016. © Paul Chan. Photo: Tom Bisig, Basel Courtesy the artist and Greene Naftali, New York © Paul Chan Photo: Tom Bisig, Basel Collection Walker Art Center Courtesy the artist and Greene Naftali, New York Photo: Gene Pittman, Walker Art Center Courtesy of the artist and Greene Naftali, New York © Paul Chan. Photo: Tom Bisig, Basel Photo: Gene Pittman, Walker Art Center 2016-05-25 23:13 By Fionn

18 Fernando Botero Comes to Hong Kong’s Central Harbourfront Related Artists Fernando Botero Nine monumental bronze sculptures by the Colombian master Fernando Botero are just now being installed on Hong Kong’s Central Harbourfront, ready to welcome the public on June 3. Organized by Parkview Art Hong Kong and Central Venue Management (CVM), the outdoor installation of nine Botero sculptures will be on display through August 14 at Hong Kong’s Central Harbourfront as part of SummerFest, a three-month pop-up program of art, design, sports, and community events organized by CVM. Hong Kong is the third and last stop of this touring exhibition, after a series of “Botero in China” exhibitions held at the National Museum of China in Beijing, and the China Art Museum in Shanghai. Created between 1982 and 2003, this group of nine plump, inflated sculptures will be exhibited in Hong Kong for the first time. On the eve of the opening, we spoke with Juan Camilo Montana, Director of Botero in China, to find out more about how the Colombian master’s reputation first spread to this part of the world, the expanding scope of opportunities for top international artists to show their work in China, and the popularity of Botero in the wider Asian region. Juan Camilo Montana: Organized by Parkview Art Hong Kong and Central Venue Management, with the support of the Hong Kong Tourism Board, we have built a great team that is working together to attract a record number of visitors to the exhibition. Botero’s monumental sculptures attract a huge following wherever they go, because people are able to touch, feel, and enjoy the sensuality of his forms. This was the response that Botero received in New York at 5th Avenue, in Paris at the Champs Elysees, and in Venice, Berlin, Mexico, and Japan. We are sure that Botero will cause a similar sensation in Hong Kong. The Beijing and Shanghai exhibitions actually attracted quite a bit of local publicity and media attention. The “Botero in China” exhibition landed Botero on the cover of several Chinese art magazines, while international newspapers in both cities including China Daily and Shanghai Daily placed us on the cover. The audience numbers given by both museums were actually very positive. More than 500,000 people visited the Beijing exhibition over a mere 35 days, while the Shanghai showing attracted some 800,000 visitors — which means that more than 1.3 million people have already come into direct contact with Botero’s work in China so far. Taking into account our projections for this upcoming exhibition, we expect a total of some two million visitors to have seen these sculptures by the time the Hong Kong showing is over. It’s very encouraging to see such enthusiasm from Mainland Chinese audiences for exhibitions by major foreign artists. Shanghai especially has opened up so rapidly — I cannot think of another city in the world where you were able to see more than 100 Giacometti works and the same number by Botero at the same time. Chinese kids today are being raised by parents who take them to museums — a new trend that bodes well for their future development. New public and private museums are emerging, and Mainland Chinese collectors are traveling to art fairs and shows all over the world to understand Western art and its history. This movement is also giving more international artists the opportunity to come to China to express their ideas. Just as China’s economy opened up to the world more than 20 years ago, the Chinese art scene is now opening up as well, and we are seeing more and more great contemporary Chinese artists having shows at major American and European museums. I believe that this trend will continue, with increasing numbers of Chinese learning more about Western art and its history, just as we are doing with theirs. I wouldn’t necessarily say that the taste and sophistication of Chinese audiences is changing. Rather, I think that there are just more opportunities today to learn about and understand new cultures and ideas, and the Chinese are enjoying that. The Chinese art historian Xing Xiaosheng first introduced Botero’s work to China in 1986, exactly 30 years ago. Thanks to his books and essays, Chinese artists such as Liu Xiaodong and Sui Jianguo have studied Botero and been influenced by the Colombian master. This makes him a very recognizable figure among Chinese artists, art students, and collectors. There are some Botero collectors not only in China, but also in Japan, Korea, Indonesia, and Malaysia, so we might say that his works appeal to almost every nationality. With more than 100 museum exhibitions worldwide to date, his volumetric figures don’t just attract Chinese collectors, but people from all over the world who feel an affinity with the purpose of art, according to Botero himself: to generate pleasure. 2016-05-25 23:19 Darryl Wee

19 roberto giacomucci combines brass and methacrylate surfaces in empirica collection roberto giacomucci combines brass and methacrylate surfaces in empirica collection (above) the collection consists of tables, lamps, and chairs all images courtesy of roberto giacomucci italian designer roberto giacommuci has revealed his ‘empirica collection’, a series of tables, lamps, and chairs that combine brass structures treated with a special coating with methacrylate surfaces characterized by exclusive shades. the objects are the result of a quick thought, an automatic gesture, and a spontaneous sign of a creative process that has grown thanks to experience. the pieces showcase objects suspended between two worlds, or rather between two times; the past and the future, presenting a synthesis between tradition and innovation, memories and purposes. ‘there’s a real connection between human beings and their creations,’ comments roberto giacommuci. ‘a chemical bond is expressed through the unusual combinations of elements that lead to an original and unexpected result.’ designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-05-25 23:05 www.designboom

20 20 DIFFA Event Raises $1.4M for AIDS Organizations More Articles By Creative directors translated the “Circo Rouge” theme into a kaleidoscopic show, presenting bizarro carny elements — a man suspending a heavy drum from his earlobes, for instance — as well as taut acrobats, strong men in skivvies and models in flamboyant dress, all illuminated by a sweeping light show. The city’s fashion, interior design and styling communities come together to create the production, and this was one of the most elaborate. “There are hundreds of volunteers who make this a reality,” noted DIFFA Dallas board chair Justin W. Bundick. Originally an auction of decorated and refabricated denim jackets, the fund- raiser since 2012 has sold designer jackets in addition to longtime offerings of accessories, trips and home furnishings. The 111 jackets were supplied by an international coterie that included Adam Lippes, Altuzarra , J. Mendel, Lanvin , Missoni , Moschino , Diane von Furstenberg, Etro , Sachin & Babi Noir, Proenza Schouler and Dallas designers Nha Khanh, Finley, Prashe, Binzario Couture and Geoffrey Henning. 2016-05-25 22:26 Holly Haber

21 Dee Ocleppo Hilfiger, Alison Brettschneider, Ty Hunter Honored at Purses and Pursenalities Luncheon Amy Fine Collins was the emcee at the lunch, which honored designer Dee Ocleppo Hilfiger , 25 Park’s Alison Brettschneider and stylist Ty Hunter. “This event combines some of the best of what we have going on in the city. Fashion, which is a big industry, as well as all of our pleasure, and philanthropy — in this case the Madison Square Boys & Girls Club,” Collins said. “I love the tradition of [the program], they encourage creativity and self- expression in underserved neighborhoods, where children can get things at that club house they do not get at school anymore, sadly because of cut backs. No music, no dance, no sewing. They can do all this at this club house.” Upon accepting her award, Hilfiger told the crowd. “I feel awkward, strange and slightly embarrassed at accepting this award, not because I’m shy, which I am, but because the charity work my husband and I do is pretty much what any decent human being should do.” Hunter gave up the idea of reading his speech, saying, “I’m not a speech kind of guy anyway,” and instead extemporaneously spoke about the work the club does, adding that he hopes to mount a book drive for his local club, similar to the one he has done with toys. Winding up, Hunter said, “Oh, and I have a great speech here if anyone wants to bid on it. It’s never been used.” 2016-05-25 21:45 Misty White

22 Surreal Hybrid Speaker/Lamp Thunders Like a Cloud Images courtesy the artist The thundercloud—what is it but an audiovisual show in thin air? Artist and designer Richard Clarkson takes this quite literally with Cloud , an interactive lamp and speaker system designed to mimic a thundercloud in both appearance and as entertainment. Hung from the ceiling, the installation features cloud “fluff” made out of hypoallergenic polyester fiber. The clouds detect a user’s presence, then create a unique lightning and thunder show dictated by the user’s movement. In addition to a Bluetooth-enabled speaker system from which users can stream any music with a compatible device, the system adapts to the desired lighting color and brightness through color-changing lights, and has alternative modes, including night light and music-reactive modes. Cloud grew out of Cloud Version One (2012), which required creating an interactive object using the Arduino platform. Whereas Cloud 1.0 had subtle reactive light and sound qualities, Clarkson tells The Creators Project that Cloud 2.0 is more robust and durable with a bigger speaker system, as well as clouds that are able to communicate with each other, creating what he calls “a networked sky.” “The real challenge came as a result of the much higher level of coding required to incorporate all of these new features,” Clarkson says. “A challenge to learn, not just the basics of a foreign language, but the fluencies and nuances of it.” “Acting as both an immersive lighting experience and a speaker with visual feedback, this hybrid lamp/speaker introduces a new discourse for what a light fixture could be,” he adds. “Advances in physical computing and interaction design hardware over recent years have created a new breed of smart-objects, which are gaining more and more traction in the design world. These smart-objects have the potential to be far more interactive and immersive than ever before.” Instead of outsourcing Cloud ’s code, Clarkson’s team adopted a more DIY hacker/maker mentality, developing the code in-house. By “hand-coding,” Clarkson aims to capture the essence of making, where ideas and processes are shared, tweaked and improved in relatively cheap and easy ways. “The final piece in this story is one of branding and experience,” Clarkson explains. “Using subtle branding cues and a unique out-of-box experience, such as the silver lining of tissue paper that comes protecting every Cloud 2.0 , it transcends from being a ‘project’ into a product, and from a product to a business.” “In many ways the physical computing industry reflects the challenges currently faced by 3D printing,” he adds. “Questions of agency, ethics, direction and justification still need to be properly addressed by the design world. In this light, the role of the designer could begin to shift from idea generation and realization to that of stewardship and leadership.” Whether people end up making their own interactive thunderclouds (and other environments) or purchase them, having something like Cloud in a room would be a great conversation starter. And beyond that, it might just help certain people get some much needed sleep, while forcing jumpy pets to run for cover. Click here to see more of Richard Clarkson’s work, and here to purchase Cloud. Related: Bring The Storm Inside With This Internet-Enabled Cloud Lamp Use Sunlight To Create 3D Animations On Your Walls This Glowing Painting Comes To Life When You Walk By, Knows Your Every Move 2016-05-25 21:40 DJ Pangburn

23 Donna Karan Discusses Dressing the Clintons Remember that Nineties’ Donna Karan ad campaign imagining the first woman president? “That’s how it will be,” the designer predicted Tuesday night. “Hillary [Clinton] will be elected. I hope I have the honor of dressing President Clinton again — and Hillary,” she explained as applause broke out. “I engage myself so much [more] in what is being said,” Karan said, but added that “I think Hillary looks great right now.” The so-called “cold-shoulder” dress she designed for Hillary’s first state dinner in 1993 wasn’t as on target, however. “I got killed in the press for having a dress with cutout shoulders,” Karan recalled. “Now you see it all over the place.” Since stepping down as head of Donna Karan International last year, she’s been focusing on her philanthropic work, or “not just dressing people, but addressing them.” But social media is still tricky for her. 2016-05-25 21:36 Stephanie Green

24 7 Genders, 7 Typographies: Hacking the Binary In a recent panel at the New Museum, artist Jacob Ciocci defined technology as “anything that organizes or takes apart reality,” which prompted a realization: gender could be also be understood as a kind of technology unto itself. The 3rd Istanbul Design Biennial proposes that the ultimate aim of design is a redesign of the […] 2016-05-25 23:13 By

25 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-05-26 00:17 GDUSA Staff

26 Clapit App Partners With Muse Model Management on U. S. Debut More Articles By The company, which has so far raised $2.82 million in a seed round, aims to make its splash in the U. S. market via a partnership with Muse Model Management that includes a launch party this evening and the #makemeamuse competition in which the two companies will attempt to find the “most expressive face,” as explained by a Clapit spokeswoman, who added it’s about looking for the next influencer as opposed to be a high-brow modeling competition. It’s a fitting way to market the app with Clapit’s main feature the selfie reaction that lets users on the networking site post selfies in response to another user’s post. “A picture’s worth a thousand words and so if you really want to express how you feel about something you should just use a selfie reaction,” said cofounder Stan Tsvirko. “It’s a little more human than going just with a normal standard emoji. So when we tested this especially with a younger generation, they’re so used to selfies they just saw it as a natural progression for them.” Users can also clap all the things they like, whether that be music or podcasts. The broader goal is more ambitious, explained Tsvirko: “We’re trying to change behaviors from a simple static ‘like’ to something a little bit more personal.” The app’s founding team includes chief executive officer Paul Bedwell, chief marketing officer Mary Jane Bulseco and Tsvirko, who serves as chief technology officer. The company also brought on Paul Wilson, cofounder of Australian denim brand Ksubi, as brand director. 2016-05-25 21:05 Kari Hamanaka

27 The Gordon Parks Foundation Holds 10th Annual Awards Dinner and Auction “We did have a speech written, but to be honest, when I heard there was only 21 scholarships given today, I actually got really upset,” Public School ’s Maxwell Osborne told the crowd at the 10th Annual Awards Dinner and Auction for The Gordon Parks Foundation, which included Chanel Iman, Prabal Gurung, Victor Cruz, Martha Hunt and Constance Jablonski. “There needs to be one scholarship for everyone in this f—–g room. Excuse me, mom.” Osborne and Dao-Yi Chow were both being honored. The design duo created limited-edition hats for the scholarship students and scholarship auction donors that are embroidered with “WNL,” which has a dual meaning for We Need Leaders or When Nobody’s Looking. Other honorees included singer Janelle Monae, who proudly proclaimed that similar to Gordon Parks she’s from Kansas; Leonard A. Lauder, chairman emeritus of The Estée Lauder Co. and his wife, photographer Judy Glickman Lauder; photographer Latoya Ruby Frazier; Bryan Stevenson, founder of Equal Justice Initiative, and special guest Kathleen Cleaver, a former Black Panther leader who was photographed by Parks with her husband Eldridge Cleaver in Algiers in 1970. Music producer Kasseem “Swizz Beatz” Dean co-chaired the event along with his wife Alicia Keys, Usher and Grace Raymond, Alexander Soros, Nejma and Peter Beard and Karl Lagerfeld, who didn’t attend the event but was there in spirit — the foundation auctioned off a pair of tickets to Chanel’s spring 2017 show in Paris this October that fetched $16,000. To the audience and Osborne’s surprise, Swizz Beats later revealed that the co-chairs helped raised an additional 30 more scholarships. 2016-05-25 21:00 Aria Hughes

28 Clémence Poésy on Acting, Chloé and Keeping People Guessing Showing up to WWD’s offices in flat sandals, a slouchy tweed jacket and striped button-down, her hair thrown into a topknot and sans makeup, Clémence Poésy is embodiment of chic French insouciance. It would be easy to hate her for exuding effortless cool so expertly, but it’s her lack of pretension that makes her likable. When she opens her mouth to speak about her latest film to hit American theaters this Friday, the British art house project “The Ones Below,” her accent is a mix of French and British, evidence of her lives in both cities. “I’m French, but I’m not sure where I base myself really. I guess both Paris and London,” she says. She’s in Los Angeles for the week to see old friends and do a bit of promotion for the film, which premiered at the Toronto Film Festival. “There’s not one drop of blood,” she says of the psychological thriller, about two pregnant couples living on different floors in the same building. “I thought it was a really interesting take on a moment in your life of having a new life to be responsible for and I found the way David [Farr, screenwriter and director] wrote the script incredibly smart and playful. The two women characters become close friends even if they are incredibly different, and then something goes wrong. The house they live in becomes almost a character,” she alludes. Poésy, 33, actually likes to keep people guessing. It’s hard to pinpoint her acting style, since she’s appeared in French, English, Italian and American productions as varied as “Harry Potter and the Deathly Hallows: Parts 1 and 2,” “In Bruges” and “Gossip Girl.” “The way I spent the first 10 years [of her 17-year-career] working, I was quite curious and I just felt like I had to try a few things to figure out what felt best,” she says. Despite having studied the arts at university and attending drama school in France, she still likes to say she’s not sure acting is her calling. “I don’t think I grew up thinking this is what I want to do…although I just might not have admitted it or felt a bit silly saying it because everyone was saying that, so I was saying something else…which I might be continuing in interviews…at 33,” she says. Poésy is also known in fashion circles as a model and the face of two Chloé fragrances, a relationship that began almost 10 years ago. “I was just really touched by how faithful they were. It’s quite rad to get the chance to work at different stages of your life with the same people and Clare [Waight Keller] is incredibly talented and the coolest. I just feel really privileged. I had pictures of Chloé campaigns on my teenage walls because I thought it was poetic and romantic. It never feels super aggressive or overly sexy, it just feels like girls you know or would like to be friends with,” she says. Poésy does seem like the sort of gal who would be a fun friend, in part because she could tell tales of her upcoming projects, which include “Demain Tout Commence” with “The Untouchables” star Omar Sy, to be released in France in December; “Final Portrait,” written and directed Stanley Tucci and starring Geoffrey Rush as artist Alberto Giacometti (she plays his muse and mistress); and the Italian films “7 Minutes” (in which she acts in Italian) and “Tito Il Piccolo,” which she’s filming now in Rome and Spain (most of her dialog is in English, as she plays an Englishwoman who tries to communicate with the Italians using “very bad Spanish”). Still, she’s not content to just star in films, she’s just written and directed her first short “La Grande Adventure” due out in June. “I’ll just be stopping in France to edit it, before going back to work in Italy,” she says. “But I wouldn’t say I’m that busy.” 2016-05-25 20:56 Marcy Medina

29 Linda Wells Talks About Life After Allure What a difference eight months makes. Linda Wells held court at the town house of Laura and Harry Slatkin on Manhattan’s Upper East Side on Tuesday night to fete her new chapter in life. The Slatkins , along with John Demsey and Cornelia Guest , hosted the party for the founding editor in chief of Allure, who was let go from Condé Nast in November amid a company shake up. Since then, Wells has ratcheted up two gigs — as The Cut’s beauty editor at large and as a special contributor to various Hearst titles in a role that will allow her to create a mini beauty magazine of sorts. “Is that not enough?” Wells said when asked if there were any more projects in the pipeline. Apparently not. “I’ve been doing some things with a beauty company and consulting on a big global company that I can’t name that is coming out with its first beauty line — they’ve never had one,” she said. Asked whether she misses Allure, where she served as editor in chief for 24 years, Wells said, “I loved my job so much and there are parts of it I really miss. What I love about what I’m doing [now] is being out in the world and reporting. It’s really fun to report. It’s like you’re kind of living when you’re reporting. It’s good if you’re a voyeur — I am. But it gets me out and talking to people. I love that engagement.” Wells noted that she’s still in touch with her former coworkers who departed Allure after incoming editor in chief Michelle Lee put together her team. “I did a shoot with Paul Cavaco last week,” she said. “He’s doing freelance. He did a shoot today for Italian Vogue and he’s been doing a lot of Michael Kors and he did some W.” Later, Slatkin gave a toast to Wells, saying: “The thing I’ve always thought about Linda is the beauty of insides. What’s great about Linda is that she is amazingly loyal, amazingly kind, beautiful on the outside, yes, that’s the beauty part, but really a true friend.” Guests including Linda Fargo, Desiree Gruber, Frédéric Malle, Mark Lee, Dennis Basso, Ivan Bart and Glenda Bailey raised a glass to Wells, who gave a brief, but surprising, speech in return. “I want to thank Harry and Laura for this beautiful party in this amazing house, which I’m so happy to have moved into the third floor. You didn’t even notice, right?” Wells said, before turning to a “big announcement.” “I’m pregnant,” she said. At the mere suggestion of that, the well-mannered crowd froze. “I’m just kidding,” Wells howled. 2016-05-25 20:49 Alexandra Steigrad

30 Review: Yayoi Kusama Reflects Back Our Narcissism at Victoria Miro Related Venues Victoria Miro Gallery Tate Modern The Broad Museum Artists Yayoi Kusama Yayoi Kusama’s mirror rooms return to London for the first time since her 2012 Tate Modern retrospective in an exhibition at Victoria Miro gallery. The exhibition, which runs across the gallery’s spaces in Shoreditch and Mayfair, features entirely new work, apart from the permanent installation of Kusama’s “Narcissus Garden,” 1966, which can be found at the terrace of the Shoreditch site. These recent works include a significant body of paintings, comprising “Infinity Nets” (featuring swirls of one color over a painted canvas in another shade, leaving dots of exposed color) and a pumpkin portrait at Wharf Road, as well as a group of works from the “My Eternal Soul” series (surreal free-associative canvases of patterned dots, faces and eyes in bright colors) in Mayfair. Also exhibited in Shoreditch are three of the artist’s bronze pumpkins. But it’s unlikely that these works are the star attraction. Like the 2 million people who saw her 2013-15 touring exhibition of South America, or the 2,500 people a day queuing around the block during her first exhibition at David Zwirner Gallery, New York, you'll want to see the mirror rooms. The gallery has three of them; one featuring more pumpkins (her first mirrored room featuring pumpkins since the 1990s), one featuring a flashing, rotating chandelier; and the highlight of the exhibition, her first outdoor mirrored room, the reflective black interior of which is perforated with holes letting in natural sunlight to create a constellation of star-like lights that literally turn day into star-filled night that was still incredibly effective even on the overcast day of the press view. This last room, entitled “Where the Lights in My Heart Go,” 2016, highlights (or should that be “reflects”) the central issue with Kusama’s art in the 21st century. A huge central theme of the artist’s work is internal reflection, from the infinity nets that partly represent the bottomless despair felt by the artist on occasions, to the mirrored rooms that literally reflect ourselves back at us infinitely from every angle. However, the art often gets hijacked for the purposes of external egotism, with her rooms the home of a million infinitely- reflected Instagram selfies. For an artist whose unofficial Venice Biennale show in the 1960s saw Kusama selling the reflective spheres from her “Narcissus Garden” under a sign reading “YOUR NARCISSIUM (sic) FOR SALE,” this is an issue. So, “Where the Light in my Heart Go” seems like a way forward for the artist, with its reflective black surfaces being impossible to photograph well, allowing for a more contemplative experience that the work merits. Leaving the “Infinity Rooms” in Shoreditch and heading to Mayfair — which, fittingly, feels like an infinite journey on humid Northern and Victoria Line trains, we encounter the “My Eternal Soul” paintings, an intimate contrast to the expansive mirrored rooms. Painted on canvases placed on the floor by Kusama in a trance-like state, these works offer insight to the Kusama who often gets lost in the hype around the mirrored rooms — you would not see Adele singing alongside a “My Eternal Soul” painting like she did inside one of Kusama’s rooms at The Broad museum in LA, for example. These paintings are those of an artist who has been among our greatest painters of internal emotions through abstract art, and reflect Kusama at us just as strongly as her mirrors reflect our own selves. Go to this exhibition for the mirrors, stay for these paintings. 2016-05-25 20:30 Samuel Spencer

31 Luciano Benetton’s Imago Mundi Exhibit Staged at Pratt Institute More Articles By Imago Mundi, the cultural nonprofit project part of the Luciano Benetton Collection, has landed in New York. “The Art of Humanity,” a collection of around 3,000 works by artists from 14 countries, was unveiled at the Pratt Institute of New York this week. The works in the 3.9-inch-by-4.7-inch format were created by artists from regions including Australia, Afghanistan, China, Japan, Iran, Israel, Syria, Tibet, Italy, Chile, the Americas, Egypt, South Africa, and Tunisia. They are an extract of a global collection that has now passed the 100-nation milestone. “We are interested in understanding the public, which is always different from one exhibition to the next,” Luciano Benetton told WWD. “We chose this creative university because the project targets young people and we want to understand what they think.” Benetton was enthusiastic about the art world, which “is much more democratic — there are no discussions, no differences, no jealousy.” The arts and culture, he said, are tools to battle intolerance. “We aim to show the world as we would like it to be: colorful, in peace and without walls, building bridges between apparently conflicting ideologies and faiths.” The choice of the exhibition, admitted Benetton, is “provocative” at a time when many countries are shutting their borders and politicians talk about building protective walls. “It is right to encourage dialogue, things are not worked out because there is little will to do so,” contended Benetton, the cofounder of the namesake Italian clothing and textile manufacturer, who left his role as chairman in 2012. The exhibit is on until Saturday in New York at a time when Donald Trump, the presumptive Republican nominee for president, is speaking of walling off Mexico. Benetton said, “The U. S. represents us all. I hope these are boutades [jokes]. After all, it wouldn’t be possible.” A tireless globetrotter, Benetton was setting off to China to prepare the next Imago Mundi exhibition. “There are 55 minority groups in China,” he said, envisaging “an extraordinary period of work” spanning two to three years until each minority is represented. Imago Mundi exhibitions have traveled from Venice at the 2013 Biennale to Senegal, New Orleans and Vienna, to name a few. “The Art of Humanity” marks Imago Mundi’s debut on the Google Cultural Institute platform, which houses the works of many museums and art projects around the world, allowing virtual visitors to have access. On its web site, Benetton is also launching a creative competition to submit an ad campaign for Imago Mundi. Whoever is selected will develop the project at Benetton’s communication and research center Fabrica. 2016-05-25 20:28 Luisa Zargani

32 MIT Bookmaking Course Schools Kids in Renaissance Technologies Screencaps via If the public library was the proto-internet, then the book was both a trusty storage device and an early website. This is essentially how MIT’s School of Humanities, Arts & Social Sciences approaches books in the course "Making Books: The Renaissance and Today," in which students learn about bookmaking technology. The course, led by MIT historian Anne McCants and Jeffrey Ravel , sees students making paper and building a handset printing press. The idea is to illustrate that people in the distant past were also clever technologists, while also reconnecting students to the notion of making instead of merely consuming. "Most of us are now divorced from the process of making the things we use," McCants tells MIT SHASS Communications. "We wear textiles every day but only a few specialists now understand how fibers are made and combined. In the 15th century, however, nearly everyone lived in close proximity to textile makers, and the essential properties of fibers and construction processes were familiar to the general population. That kind of familiarity is very important for being able to innovate with materials. " This semester past, MIT Hobby Shop director Ken Stone led the students in the building of the printing press. First, students milled a huge reclaimed wooden beam from an old building, then they worked the wood in various ways until they had assembled a screw-type letterpress printer commonly used throughout the early modern period. During the build, students toured a Colonial-style print shop in Boston called Edes & Gill, paying particular attention to an early handset press like the one they were building. There they picked the brains of printmaster Gary Gregory. "That enabled them to develop a working understanding of how functional requirements inform design,” Stone says. “The design can draw on details from previous presses and the designers' knowledge but needs to be adapted to the materials, equipment, and experience of the builders. " To make the paper, students deconstructed rags until they created a pulp, from which they screen-molded sheets. This process, rather astonishingly, took a week to complete. Beyond making paper and a printing press, the instructors asked students to consider whether the book is dying because of digital media—a disconcerting proposition since looking at a screen both day and night sounds like ocular torture. So, long live the book. Click here to see more work from the MIT Hobby Shop. Related: Mixed-Media 'Moby-Dick' Book Sculpture Hits the Ocean Floor What to See, Hear, and Read at Printed Matter’s LA Art Book Fair Melding the Beauty of Books with the Strength of Steel 2016-05-25 19:25 DJ Pangburn

33 Feel Like Pablo with This 'Cubist Mirror' GIF via Step through the looking glass and tumble into the inside of a Picasso painting with this experimental gadget. Using a small camera and live-updating neural network that "learned" Picasso's style , programmer and artist Gene Kogan 's device, the Cubist Mirror , can make you look like one of the Spanish painter's masterpieces. If the color scheme was more appropriate, we could say this was the other side of his famous painting, Girl Before a Mirror , but it seems to be more influenced by Girl with a Mandolin or The Accordionist. Kogan first installed the Cubist Mirror at The School for Poetic Computation 's artificial intelligence conference, alt-AI. As you can see in the video below, it's the perfect surreal selfie-op for artificial neural network enthusiasts. See more of Gene Kogan's work on his website , and download the code and instructions to make your own Cubist Mirror here . Related: If Picasso Painted 'Alice in Wonderland'... We Got an Artificial Neural Network to Name Random Objects in the VICE Office This Artist Is Teaching Neural Networks to Make Abstract Art 2016-05-25 19:15 Beckett Mufson

34 34 Yuri Pattison Wins 2016 Frieze Artist Award Related Events Frieze London 2016 London-based artist Yuri Pattison has been announced as the winner of the 2016 Frieze Artist Award. As the winner of the award, Pattison will present a new installation at Frieze London from October 5-9 as part of the fair’s non-profit Frieze Projects program. Selected by an international jury following an open call which attracted applications from more than 75 countries, Pattison’s winning proposal “explores ‘trending’ data and systems of interpretation or control,” according to Frieze. At Frieze London 2016, Pattison will install a networked artwork of “Big- Board” –style monitors which will “collect information from the fair environment as well as the ‘Internet of Things’,” giving visitors an insight into the ever-increasing production of data and the politics of data-driven systems. Raphael Gygax, Curator of Frieze Projects, said, “Yuri Pattison is one of today’s most important young artists looking in a critical way at new technologies.” “As a member of the jury for the Frieze Artist Award, I’m very excited to offer this platform for Pattison to build upon his thought-provoking and increasingly relevant work, exploring cultures of ‘trending’ in the digital economy and the implications for human industry, creativity and control.” 2016-05-25 19:14 Nicholas Forrest

35 The World's Best Pins: #17 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. Time goes on and the trend persists. This week, I went to The Strand , my favorite bookstore in the Universe, and stumbled upon a giant pin and patch display. It even featured some of my favorite brands, like Ball & Chain Co and Big Bud Press. Tons of stores are beginning to stock these artist-made goods, since the wholesale cost is perfect and cool shops love supporting small businesses. It’s the best of both worlds. This week sees another great round of releases, a few of which are included below. I also released 15 new pins and patches on my site, Strike Gently Co. Scroll to the end of this roundup for a special 20% off discount code. I’m not big into the TMNT franchise, but whenever the turtles appear, I enjoy it. Brace Legs Collective did a sick TMNT pin a few months back, just like Juicy J made a TMNT song for the new movie. Similarly, Laser Pins made this wonderfully detailed pin of Shredder from the 1990 movie. They also have a ton of other character pins, Alf and Louis CK among them. $8 here (it glitters!). Like most self-loathing New York transplants, I’ve been wanting to move to LA for ages. Valley Cruise Press makes goods that push me over the edge. They’re just so happy and cute, and their photos contain so much natural light I feel like I’m getting Vitamin D through my iPhone. This pin is about my life. $10 here . I get the ethical quandaries of stealing trademarked characters, but this is too funny for anyone to get mad about (you hear that, lawyers?). Tim and Eric are close enough to my heart that I would wear this. This isn’t like a band shirt where you hope people will see it and go, “Wow, stranger, you have OK taste! Here's a sexual favor,” it’s a talisman for comedy magic. I wish there was a company that solely made pins of all of the production credits for TV shows. Hint, hint. $10 here . There are many poorly-made skull pins out there. I’ve released a bunch of OK ones, but Inner Decay has, hands-down, the best of them all. It’s now available in gold, and it looks incredible. It looks like it'll give you kvlt powers if you put it on your denim. If I had my own cult, I'd order a bunch of black robes and put these on each one. Solidarity. $10 here . Brace Legs is my friend, so I’m obviously biased. But isn’t all journalism just as thinly-veiled? The guy makes killer pins. He recently released this rock candy pin enamel and it looks amazing. Who has the best collection of 90s kid-influenced food imagery products on the web? Brace Legs. Buy them all and relive your childhood; you know it was a better time. $10 here . Thanks for reading this, consumerist masses. Be sure to use the code BOOTY at my shop, Strike Gently Co. , for 20% off your order. Until next week—godspeed. Related: The Best Pins in the World: #16 The Best Pins in the World: #15 Pins of the Week: #14 2016-05-25 19:10 Charlie Ambler

36 First Look: Rafael de Cardenas Brings Pop Aesthetic to Art Nouveau Department Store in St Petersburg Related Events Maison & Objet 2016 Rafael de Cárdenas / Architecture at Large have completed an interior redesign of the third floor of a historic department store in St Petersburg, bringing a candy-colored pop aesthetic to one of the world's earliest department stores, now about to reopen. Curved yellow railings, turquoise glass, and sharp-ridged ceilings will transform the Art Nouveau building of Au Pont Rouge into a slice of the 1980s New York City. Also known as the Esders and Scheefhals building, the historical building has been undergoing a significant renovation by the London-based architecture firm Lifschutz Davidson Sandilands. The Men's and Women's Apparel departments, contained on the third floor of Au Pont Rouge department store, have been redesigned in an inverted layout, locating changing rooms along the spine of the space, in contrast to their more traditional positioning on the perimeter of the shopping area. The layered walls of the central spine are left porous, offering seductive glimpses into the private activities that the changing areas contain, between sheets of expanded metal and colored glass that build an optical sense of lateral depth. Large circular voids in the floor plans have been left for unplanned activity – designer pop-ups, temporary tattoo parlors, barber shops – in a vibrant palette of green, orange, and blue. A canopy of mirrored lights and ceiling ridges in stark geometric shapes gives a pulsating, rhythmic buzz to the space. As is characteristic of Cárdenas, there is a whiff of a vibe of a 1980s disco club. The project comes on the heels of Rafael de Cárdenas's recognition as the Maison & Objet Americas 2016 Designer of the Year, announced this month in Miami, where his firm, Architecture at Large, completed a pop-up shop in the design district – also somewhat resembling a 1980s disco club. How Cárdenas's signature vibrant, edgy style will sit in a building, the restorers of which are promising illuminated columns, tapering golden spires, and a chandelier that covers the entire atrium ceiling with 8800 glass prisms, remains to be seen. Built in 1906-1907 by architects Vladimir Lipskii and Konstantin de Rochefort, Au Pont Rouge has had a history as colorful and dynamic as St Petersburg itself. Until 1919, it operated as S. Esders and K. Scheyfals Trading House – one of the world's first department stores. The Romanov family were among its clients. After the October Revolution in 1919, the building was appropriated by the state and turned into The Volodarsky Sewing Factory, producing menswear. Its grand cupola was torn down in the 1930s, not to spoil the views of the Admiralty Tower, St Petersburg's biggest landmark. After a stint in the 1990s as the St Petersburg Clothing Factory, the building was sold and extensively renovated in 2011-12, with the cupola finally rebuilt, as well as the original signage restored (with pre-revolutionary spelling of the Russian Cyrillic). It is set to re-open this year. 2016-05-25 18:49 Jana Perkovic

37 37 Ed Atkins Inaugurates Gavin Brown’s Enterprise’s Harlem Compound Related Venues Gavin Brown's Enterprise MoMA PS1 Palais de Tokyo Stedelijk Museum Tate Britain Statens Museum for Kunst Artists Ed Atkins When watching a video by artist Ed Atkins , one cannot help but feel self- conscious. His CGI stock characters trigger immediate secondhand embarrassment with their constant stream of poetry, apologies, sappy songs, and other forms of self-mutilation. Like a reality TV show character trapped in an endless confessional, Atkins’s bodied creations don’t mind spilling their guts to the camera. Saying all the things one might never admit aloud, these digital figures are able to act more human than most. An ugly but undeniable mirror, Atkins’s videos have quickly assimilated into the contemporary cannon. The Tate Britain hosted the London-based artist’s first solo museum show in 2011. The curators presciently titled it “Art Now: Ed Atkins.” By the end of 2015, MoMA PS1, the Palais de Tokyo, and the Stedelijk Museum had all hosted sizable solo presentations. This spring, the 34-year-old debuted “Safe Conduct” at the Statens Museum for Kunst in Denmark. The three-channel video parodied TSA procedures with pineapples and body parts played on a knot of monitors that dropped from the ceiling like screens at a stadium. Last weekend, the same triad hung from a steel beam at the inauguration of Gavin Brown’s Enterprise’s Harlem compound. Even in the crush of opening day celebrations, Atkins’s videos still caused people to gawk. The current favorites, “Ribbons,” “Safe Conduct,” and “Hisser,” all make appearances. Like a mini-retrospective of the past three years, the exhibition is as generous as a proper museum show, giving Atkins’s Eugene O’Neill worthy cast the necessary space to stew. “Hisser” serves as the introduction to the show. It starts with a man walking naked through the snow — a first glimpse into Atkins’s cheekily grim world. The man is muttering, apologizing. Bruised across the face, he resembles a Gregory Crewdson subject, but rather than Crewdson’s signature dumbfounded expression, the man appears to be on the brink of tears. With these simple but emotionally engaged images, Atkins manages to be simultaneously tender and grotesque. After moving past infinite bouncing heads and looping security belts, the narrative begins to fold back on itself, leading one straight back to the source. This messy collapse between creator and creation brings to mind the self-loathing bluster of John Self, the anti-protagonist of Martin Amis’s self-reflexive novel “Money: A Suicide Note.” Whether or not the artist identifies with his characters as much as Amis does with Self is up for debate, but it is Atkins’s voice that comes out of their computer-generated mouths. Understuffed rather than overstuffed, the exhibition does a good job of highlighting Atkins’s recent achievements as well as the potential of the yet- to-be-completed space. Those new to the artist’s work will leave with an intimate understanding of the rising star, while diehard fans will inevitably leave wanting more. If “Performance Capture,” Atkins’s recent show at the Kitchen, is anything to go on, the future looks just as deliciously dark. 2016-05-25 18:45 Kat Herriman

38 Mauro Restiffe at Galeria Fortes Vilaça, São Paulo Mauro Restiffe, Geometry , 2015, gelatin silver print. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Pictures at an Exhibition presents images of one notable show every weekday. Today’s show: “Mauro Restiffe: Rússia” is on view at Galeria Fortes Vilaça in São Paulo through Saturday, June 18. The solo exhibition presents the artist’s series of black- and-white photographs of the two Russian cities of Moscow and St. Petersburg. Originally produced in the 1990s, after the collapse of the Soviet Union, the series was recently updated when Restiffe revisited Russia in 2015. Mauro Restiffe, Secret Patterns (detail), 1995/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Winter Trap (detail), 1996/2015, gelatin silver print, triptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Brutal Mirror , 2015, gelatin silver print. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Ghosts (detail), 1996/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Geometry , 2015, gelatin silver print. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Modelling (detail), 1995/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Time Structures , 1996/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Girl at the Window , 2015, gelatin silver print. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Time Structures , 1996/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Winter Trap , 1996/2015, gelatin silver print, triptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Secret Patterns , 1995/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA Mauro Restiffe, Ghosts , 1996/2015, gelatin silver print, diptych. COURTESY THE ARTIST AND GALERIA FORTES VILAÇA 2016-05-25 17:20 The Editors

39 Guccifer, who Hacked Bushes, Pleads Guilty The Romanian hacker Marcel Lehel Lazar, aka Guccifer, pleaded guilty Wednesday to hacking the email and social media accounts of the Bush family, along with other Americans, AP reports. It was Guccifer's hacking skills that uncovered the fact that former President George W. Bush had taken up painting in his retirement. Lazar, 44, entered his plea in Virginia court. He had been charged with identity theft and unauthorized access to protected computers. He faces between two and seven years in prison when sentenced in September, according to the AP. Lazar also hacked about a hundred others, prosecutor Ryan Dickey told the court on Wednesday. While they were identified only by number in court, AP points out that former Secretary of State Colin Powell was also hacked, resulting in Facebook posts under his name, reading "You will burn in hell, Bush! " and "Kill the Illuminati! " Bush's paintings went on view in Dallas in 2014 , at his presidential library. While it might be easy to snicker, Art in America 's Cathy Lebowitz wrote at the time , "These could be shown in a gallery and taken seriously in a number of contexts," citing stylistic comparisons like Sylvia Sleigh and Lois Dodd. She continued, "What is so striking is that they are not particularly illustrational but have an abstract sense of space and form that reminds me of Fairfield Porter and his milieu. " New York magazine critic Jerry Saltz went so far as to say , "OMG! Pigs fly. I like something about George W. Bush. A lot. " As for Lazar, he may be able to serve some time in Romania, as part of his plea bargain. Follow artnet News on Facebook. 2016-05-25 16:45 Brian Boucher

40 High Above Mexico City, a ‘One-Wall Gallery Without Doors’ Gets to Work Tillmans’s work on view at Sonora 128. OMAR LUIS OLGUIN/SONORA 128 For the past few months, a rather mysterious photograph has adorned a billboard atop a building in Mexico City’s Condesa neighborhood. It shows, in front of a lush, green forest, an oddly spotlit cactus, which just might be floating, alongside two Spanish words, spelled out in large green letters: ¿dónde estamos? —“where are we?” This is a work by the German photographer Wolfgang Tillmans (a fairly unusual one for him, given that text), and it is the debut show for a new exhibition space called Sonora 128 —the address of the building—that is “a one-wall gallery without doors,” Bree Zucker, who organizes the displays, said in a phone interview. The powerhouse Mexico City gallery Kurimanzutto, where Zucker works, is behind the project, though the plan is only to show artists not represented by the dealers. The Tillmans is up through May 31 and then a work by the veteran Colombian conceptual artist Antonio Caro will be pasted up on June 1 for another three-month run. Daido Moriyama and Nobuyoshi Araki are on tap after that. How did it all come about? When Zucker moved to the city a few years ago, she was disheartened by how compartmentalized and private various groups of artists were, and so, she told me, “I was thinking, how can we create a space where everyone is going to intersect whether they like it or not? So that’s how the billboard came to be. The billboard is an open space, it’s a public space, it’s at this intersection where absolutely everyone passes through.” (One might think of Broadway-Lafayette as a New York analogue, she proposed.) Tillmans by night. OMAR LUIS OLGUIN/SONORA 128 A bit of luck was involved. “I was walking down the street one day and I saw this empty billboard, and it hit me like a lightbulb that this was something that would be interesting to do,” Zucker said. Another inspiration: Kurimanzutto’s history of doing shows and performances all over town in its early years. (It now operates out of an elegant, sprawling hacienda-like building.) “I was thinking very much again about how to remake or renew or continue on this energy from the past,” she said. The peculiar Tillmans photo, Zucker suggested, in a way links up with the artist’s new campaign against Brexit in that it is so directly asking viewers—as individuals, as members of a capital city, as a larger country, or even as an entire civilization—to pause for a moment and consider the state of things. Not that everyone is easily able to do that. “I’ve totally had people say, ‘I’ve gone there and nothing was there’ ” Zucker said, laughing, and I’m like, “Did you look up?” In fairness, if all you have is an address, it’s a touch confusing! Bigger plans are in the offing for Sonora 128. The billboard overlooks the tranquil, wooded Parque España, and there’s talk of hosting events, like discussions, there in the future. The location also means that some very special viewers are getting a chance to enjoy the artwork. “Since it borders the park, I like to joke that even dogs are seeing it,” Zucker said. 2016-05-25 16:35 Andrew Russeth

41 Bronx Museum of the Arts Plans Architectural Redesign The Bronx Museum of the Arts. COURTESY THE BRONX MUSEUM OF THE ARTS The Bronx Museum of the Arts has announced plans for an architectural upgrade that will result in more space for public programs and exhibitions. The project, which is a public-private partnership between the museum and the city of New York, will be funded by the NYC Department of Cultural Affairs and overseen by the NYC Department of Design and Construction. Through its Design and Construction Excellence program, the Department of Design and Construction has picked Monica Ponce de Leon to design the first installment of the project. Specifically, Ponce de Leon will be redesigning the museum’s South Wing Atrium, which will be renamed the Gallery Cube. Ponce de Leon currently serves as dean of Princeton University’s school of architecture and is co-curator of the United States Pavilion at the 15th Venice Biennale of Architecture, which opens this month. South Wing Atrium renovations will begin in 2016 with an estimated completion date of 2020. The museum will remain open throughout. Plans for further redesigns are yet to be announced. The museum projects a total cost of $25 million for the entire redesign: $15 million will be spent on construction costs, while $10 million will be put toward the establishment of an endowment to fund an increase in education and public programming. The mayor’s office, together with the support of the city council and the office of the Bronx borough president, has approved $6.9 million for the project’s first phase. New York State Assembly member Latoya Joyner has additionally provided $300,000. The museum is currently organizing a campaign to raise private funds for the rest. In the first phase, the museum plans to transform the opaque South Wing Atrium into an energy-efficient and transparent Gallery Cube, which will host education, public, and community programs. The Gallery Cube will also serve as a shortcut between the museum’s north and south wings. Subsequent phases of the project will involve a redesign of the museum’s internal architecture, specifically to augment the functionality of spaces that are currently underused. The museum also seeks to enhance visitor flow throughout the space, turn vacant lots into community sculpture gardens, and introduce a new performance and event space. The museum has seen attendance rates quadruple in the past six years, due both to its free admission policy and well-received programming, like its recent popular and critically acclaimed Martin Wong retrospective. 2016-05-25 16:34 Hannah Ghorashi

42 These Hodor Door Stops Have Us Sobbing This post contains spoilers for Game of Thrones Season 6, Episode 5, "The Door. " Screencap via Combining a bit of simple design with the Game of Thrones fanbase's desire— nay, need —to mourn, Todd Blatt of Custom3DStuff.com has branded a batch of wooden door stops with the name of Sunday night's tragic hero, Hodor (Kristian Nairn). "A handmade, laser engraved wooden Ho(ld the) door stop for fans, to remember our lost friend," Blatt describes the project on Kickstarter. "Too soon? " In Season 6, Episode 5, we learned that Hodor, a.k.a. Wyllis, was forever changed after Bran (Isaac Hempstead-Wright) time traveled into his brain while fleeing the White Walkers. It gets a bit confusing, but Bran's companion, Meera (Ellie Kendrick), shouted, "Hold the door," through a vision back in time. Her message was directed at current day Hodor, but young Wyllis picked up on it, which means that he's essentially been predicting his own death over and over again for his entire life. Needless to say, an audience traumatized by Red Weddings, White Walkers, Pink Letters, and the torture, dismemberment, beheading, and head-exploding of their favorite characters writhed under this continued needling of their emotions. The Hodor doorstop is funny, which kind of makes the pain go away. The device—simple as it is—would really have come in handy at that point in the show. Anticipating this, Blatt continues, "While of course most of us aren't over it yet and maybe this is too soon, perhaps this doorstop will bring you and your friends some joy after the loss of one of our beloved TV characters. Use this to hold open all doors for your friends and loved ones. Your home doesn't have to be full of tears and sadness in his absence. " Check out how Todd Blatt makes them the Kickstarter video , and click here to get one of your own for just $19. The Kickstarter runs through Tuesday, May 31. Game of Thrones airs Sundays at 9 PM EST on HBO. Related: Inside 'Game of Thrones' Shocking Tree Cave Scene How 'Game of Thrones' Designed Daenerys' Fiery Set Piece The 'Game of Thrones' Google Map Makes Navigating Westeros a Breeze 2016-05-25 16:20 Beckett Mufson

43 alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors alain silberstein adds a bit of pop to MB&F's LM1 with his signature use of bold shapes + colors alain silberstein adds a bit of pop to MB&F’s LM1 with his signature use of bold shapes + colors in 2009, MB&F called on french watch designer alain silberstein to create its very first ‘performance art’ piece that featured reinterpretations by external artists and designers of existing MB&F machines. the resulting timepiece was the HM2.2 ‘black box’, followed by a long list of collaborations with other creators for which the swiss company’s ‘performance art’ series was born. the ‘LM1 silberstein’ is characterized by the french watch designer’s use of bright colors and shapes now, silberstein—who left the safety of working in his trained profession as an interior designer to found his on watch brand— brings forth his take on MB&F’s classic ‘legacy machine N°1′ (LM1), imbuing it with his unique flair for the unconventional. the ‘LM1 silberstein’ employs the french creative’s signature use of primary colors and geometric shapes: red, blue and yellow; with triangles, rectangles and circles for the hands and dial markers—three- dimensionally translated as a cone, cube and sphere for the power reserve —silberstein catches the eye as they contrast against the more subdued movement plate below. but, it is the concave curve of the subdials that highlights the artist’s philosophical approach the most. while the convex sapphire crystal dome and balance bridge offer protection from outside forces, the concave subdials, rather than the convex ones of the original LM1, attract and welcome the ‘eternal time’ of the universe with movement on a more human scale; where it is transformed and displayed as two completely independent time zones. naturally, the hands are similarly concave so they seamlessly complement the curvature of the dials. triangles, rectangles, and circles are translated into cones, cubes and spheres, acting as hands and dial markers the re-interpretation of the classic timepiece sees silberstein replacing the original dual arches of the ‘LM1′ balance bridge with a single, transparent sapphire crystal one, allowing full visual access to the time indications and dial-side escapement. it took two years of development to create this bridge element to the incredibly tight tolerances required to support the balance wheel—a lot of work for an elegantly shaped component that is essentially designed to be invisible. the color and shapes of the concave hands highlight silberstein’s meticulously practical approach to artistic design. three primary colors found on the subdials—red and blue hands, yellow index markers—are echoed in the three shapes—blue cone, red cube, and yellow sphere—of the three-dimensional power reserve indicator. when one reads the time, the hour is generally the first bit of information required, so the hour hands are rendered in a bright red color, indicated on a larger, triangular surface area, in contrast to the thinner blue minute hands. six-pointed star-shaped crowns (comprising two overlapping triangles) offer tactile pleasure when being wound, while also reinforcing the collaborative aspect of this performance art pieces: the shapes and colors of the crown are purely silberstein, while the battle-axe logo represents MB&F. the french watch designer uses contrasts and materials to surreptitiously guide the eye to key elements on the dial: the hands are brightly colored and high gloss, while the underlying dials and movement plates feature more subdued colors with matte finishes. ‘I like playing with materials and finishes. the more matte there is, the more the high polish pops,’ says alain silberstein. the convex sapphire crystal dome and balance bridge offer protection from outside forces from the inside, the ‘LM1 silberstein’ employs the ingenious three- dimensional movement that was specifically developed for MB&F by founder maximilian büsser; realized by jean-françois mojon, and his team at chronode, together with independent watchmaker kari voutilainen. the balance wheel and spring at the very heart of any mechanical watch movement are responsible for regulating timekeeping accuracy. büsser has long been fascinated by the large slowly oscillating balance wheels of antique pocket watches—18,000 bph compared with the 28,000 bph common today—so it is no surprise that this was the starting point from which to let his fertile imagination roam free. what is most surprising though is how radically he has re-interpreted tradition by relocating the balance wheel from its more usual position, hidden at the back of the movement, to not just the top, but floating above the dials. while the location of the regulating organ may be considered avant-garde, tradition is upheld by the large 14mm diameter balance wheel with regulating screws specifically developed for MB&F, a balance spring with breguet overcoil, and mobile stud holder. another special feature of the ‘LM1′ movement is the ability to set two time zones completely independently. the vast majority of dual time zone movements only allow the hours to be independently adjusted, while a rare few offer settings to the half hour. ‘LM1′ allows both the hours and minutes of each dial to be set to whatever time the user wishes. the world’s first vertical power reserve indicator on ‘LM1′ is driven by an ultra-flat differential with ceramic bearings, allowing for a slimmer complication, and a more robust and longer-wearing mechanism. a paraphrased quote from gustave flaubert is engraved on the case band between the lugs of the timepiece it was master watchmaker kari voutilainen who assumed responsibility for ensuring the historical accuracy of the style and finishing of the ‘LM1′ movement, which was no easy task with such an unconventional suspended-balance design from which to begin. it is through the style and finish of the bridges and plates visible through the sapphire crystal window on the back of the movement where voutilainen excelled in providing exquisite historical fidelity; both in the shape of elegantly curved bridges, and the traditionally wide space between the bridges and between the perimeter of the bridges and the case. the watch’s crowns are distinctive six-pointed star shapes, formed by overlapping two triangles on the back of the movement, oversized ruby jewels set in highly-polished countersunk gold chatons provide striking visual counterpoints to the frosted, sensually curved bridges. while providing historical links with the large jewels seen in high-grade antique pocket watch movements, the ruby bearings have a practical application in reducing wear and increasing longevity by accommodating large diameter pinions and holding more lubrication oil. the ‘LM1 silberstein’ has a black hand-stitched calfskin strap with black top- stitched seams with red gold case the ‘LM1 silberstein’ is accompanied by a black hand-stitched calfskin strap with black top-stitched seams with red gold case, or red topstitched seams with both titanium cases; with a paraphrased quote from gustave flaubert: ‘le vrai bonheur est d’avoir sa passion pour métier‘—which translates to ‘making a profession for your passion is true happiness‘—engraved on the case band between the lugs of the timepiece. a potrait mosaic of the elements that have gone into realizing the ‘LM1 silberstein’ ‘I resonated with LM1 because by highlighting the balance – the mechanism that splits time into miniscule increments – it highlights how man converts eternal time into something he can use‘, silberstein explains. ‘it was a pleasure to work from such a creative timepiece as LM1 because the suspended balance and arched bridge made it feel like working on the set of a science fiction film‘, he concludes. french watch designer alain silberstein 2016-05-25 16:01 Andrea Chin

44 'The Iceman Cometh' via Robots and an Artist Collective at MIT Mo Faraji plays Badman Pavlavi in production This is it or Dawn at Bar Bazuhka, Tragedy Machine, Villa Design Group,MIT List Centre, Photography: Rob Kulisek, Courtesy of Mathew Gallery If a machine could write dramas, what would they be? This is the idea that London-based artist collective Villa Design Group explores with The Tragedy Machine , their waggish, new exhibition at the MIT List Visual Arts Center in Cambridge, Massachusetts. Spawned from a sci-fi worthy premise, the exhibition-meets-theatrical production springs out of the group’s reaction to their stridently academic venue. “Mass production has always been an interest of ours especially the mechanization of work and what that might mean to art production,” Villa Design Group member William Joys tells The Creators Project. “MIT provides such a strong math and science context, so we decided to take it on instead of ignoring it. Because we have a lot of interest in producing theater, we wondered, quite earnestly in the beggining, if it would be possible to create a machine that could write tragedies. We were thinking we could collaborate with some sort of artificial intelligence department.” The collective was told their dream was still an impossibility—leaving writers everywhere relieved. Invalid Suit II (The Theory of Savage Grace) Tragedy Machine, Villa Design Group, MIT List Centre, Photography: Rob Kulisek, Courtesy of Mathew Gallery Nevertheless, the spectacle that Villa Design Group ended up producing feels just as ambitious. “We think of ourselves as a kind of theater for design," Joys explains. The set and the costumes are custom-made. A three-paneled paragon acts as an impressive backdrop, submerging the audience in a scene from Stonewall , a widely-criticized 2015 film idealizing New York’s 1969 riots and the beginnings of the modern gay rights movement. Stonewall isn’t the only Hollywood reference; clips of Eddie Redmayne playing Stephen Hawking in 2014’s The Theory of Everything and Lili Elbe in 2015’s The Danish Girl flash on the bellies of the robots that guard the stage. “It was a kind of a whimsical idea,” Joys explains. “Through watching the different films, it becomes clear that acting is mechanical. It’s almost like Eddie Redmayne becomes a machine that can serve two different functions in a split-second. These films also talk about subjects we are interested in like sexuality and science, so it works in that way, too.” Villa Design Group often works in layers. “We always start with a matrix of ideas, thoughts, and feelings, and we work from there,” Williams explains. As their influences intermingle, the initial images and ideas begin to free associate with one another creating new pathways for meaning. Folding in on itself, this self-referential tactic allows Villa Design Group to produce work that is simultaneously personal and corporate. Oedipus 570 (oh no! Ceci N’est pas une pipe) Tragedy Machine, Villa Design Group, MIT List Centre, Photography: Rob Kulisek, Courtesy of Mathew Gallery Sexuality and its public face, too, play large roles in The Tragedy Machine , echoing much of the collective’s past work. At Art Basel Miami Beach 2015, Villa Design Group mounted a solo booth with Mathew Gallery composed entirely of neon-lit, steel secturity doors, inscribed with illustrations of infamous homosexual serial killers. The doors were inspired by the gates at the Versace mansion, in front of which designer Gianni Versace was famously murdered by Andrew Cunanan. In The Tragedy Machine , everything feels vaguely erotic. Objects and bodies are completely fetishized—encouraging a collapse between man and machine. Villa Design Group’s strength seems to be their ability to conjure both pleasurable and painful images of desire. Their four-act play is a rewrite of Eugene O’Neill’s boozy saga, The Iceman Cometh. Instead of Greenwich Village, This Is It or Dawn at Bar Bazuhka takes place in Bar Bazukha, a favorite spot that the group frequented while staying on the Greek islands. Like O’Neill’s irreverent, drug-addled characters, the cast of The Tragedy Machine lives under constant strain. This extremism is exemplified by characters like Bruce Ritz, an English fashion photographer dying of AIDS, and Odele Iodine, the recently blind owner of Bar Bazukha and a faded lesbian rock star. The absurdity of the storyline is only surpassed by the outrageously produced set, but strangely enough, they work together, creating another sense of awe entirely. The result is unapologetic and rambunctuous. For those not lucky to enough to have gotten seats at the preposterously intimate, one-night display, we recommend praying that the piece grows legs for an East Coast tour. Villa Design Group’s The Tragedy Machine will run from May 20th to July 17th at the MIT List Visual Arts Center. Get more information here. Related: Ritual, Fetish, and Infinity Collide in a Memory Theater Choose-Your-Own-Adventure Play Takes a Bushwick Warehouse Back to the 70s Cyber Plays Take Immersive Theater Online 2016-05-25 15:50 Kat Herriman

45 Anything Can Break Bad: An FBI Special Agent Has Learned the Difference Between the Art World and the Mafia Meridith Savona photographed at FBI headquarters in New York City on February 26, 2016. KATHERINE MCMAHON W ith a gun in her holster and her mind in art history, FBI Special Agent Meridith Savona has been investigating art crimes for the FBI’s New York office major-crimes unit since 2010. She has seen her fair share of fraudsters and thieves, ranging from would-be dealers trying to pawn off fake Jackson Pollocks to rapacious collectors willing to pay top price for stolen artifacts. With all that she has discovered, her view of the art world, characterized by its secretive nature, is considerably less than favorable—simply put, a breeding ground for crime. But, Savona thinks it’s changing for the better, due in no small part, she believes, to the FBI’s efforts. Savona is one of two agents based in New York specially trained in the investigation of art crimes, a multimillion- dollar industry rivaling organized crime and arms trafficking. If someone calls the FBI reporting the robbery of a painting or a fraud being committed by a would-be dealer in New York, the case would most likely wind up on her desk or on that of her colleague Christopher McKeogh. The two are members of the FBI’s Art Crime Team, a specialized unit with 16 full-time agents stationed throughout the United States which has recovered more than 2,650 items, valued at more than $160 million, since its inception in 2004.“I always wanted to be an FBI agent,” said the 50-year-old Savona, who attended Stony Brook University and New England Law, Boston. She came to the FBI in 1996 after working in the Bronx district attorney’s office as a prosecutor. During her first 14 years at the bureau, she focused on organized crime, but when an opportunity arrived to work with major theft, specifically art crimes, she jumped on it. “I wanted to do something where I would learn something new, and this turned out to be the most interesting thing I had done in my entire career,” she said, admitting that she knew little about art when she took the job. “I could learn about art, about different mediums and about artists, but when it came to art as a business and an industry, there wasn’t a whole lot to guide me.” Under the tutelage of the now-retired agent James Wynne, Savona went about learning the ropes, discovering the differences between the art world and the Mafia. She now spends time at museums and galleries, dragging her husband along when they go on vacation. “I am open to everything because every case is so different,” she said. “Every time I get a call on a case, it’s a different artist, it’s a different medium, and I have to start from scratch to absorb as much as possible.” Her cases have ranged from repatriating stolen Chilean tapestries to raiding an Indianapolis cache of pre-Columbian artifacts. She brings in experts when necessary, not only in art but in science as well, especially when it comes to establishing forgeries. Authenticators who may be leery of offering opinions to ordinary citizens for fear of being sued have become increasingly cooperative with her. Savona’s first case involved Glafira Rosales and the Knoedler investigation , which proved to be a real eye-opener. “What I found was an art world that is this closed, secretive world,” she said. She discovered that art transactions were unlike almost any other retail exchange. Related cases against collateral defendants were still pending, so Savona was not at liberty to discuss the investigation in detail, but she believed that the publicity surrounding the Knoedler case may play a role in changing that closemouthed environment. “The art world has changed, and I think you will see in the future that the art world will be less secretive in the sale of paintings; you are going to see no more of these handshake deals; you are going to see a lot more transparency, and that is a big change in the art world from when I first came in.”But the Art Crime Team’s focus is not on cutting the art world down to size, or even making the industry more transparent. The unit was founded in 2004 in response to the raiding of antiquities in Iraq, in particular the looting of rare artifacts from the National Museum in Baghdad in 2003. “Because of the U. S. presence in Iraq at the time, it was clear that somebody would have to investigate,” said Bonnie Magness-Gardiner, manager of the Art Crime Team. “It was also clear that the U. S. government didn’t have a team organized, in place, or with the expertise required to do that kind of investigation,” she said. When the Art Crime Team was established a year later, it began with just eight part-time agents. Robert Wittman a.k.a. “Bob Clay” with Geronimo’s war bonnet, valued at $1.2 million and recovered in an undercover operation in Philadelphia. COURTESY ROBERT WITTMAN R etired Special Agent Robert Wittman was a key player in this development. The son of an Asian antiquities dealer, Wittman began investigating art-related crimes as an agent stationed in Philadelphia in the 1980s. In his 20 years with the bureau, he worked a wide variety of cases, often going undercover to set up “deals” to reclaim stolen artworks. He worked frequently on cases that brought him to Europe, where he noted that Italy, France, Great Britain, and Spain all had special units devoted to art thefts and forgeries, whereas the United States, which controls “40 percent of the art market,” according to Wittman, has rarely been provided a budget to pursue such cases. “Ultimately, art theft is a property crime,” said Wittman, author of Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures and the just-released book The Devil’s Diary about the return of a missing Nazi diary to the United States Holocaust Memorial Museum. “The hardest part of this job was to convince the FBI that there is a difference between the theft of a Monet and the theft of a Chevrolet.” Along with establishing the Art Crime Team, the FBI also instituted the National Stolen Art File , an electronic index of items valued at over $2,000, which the public can use to report their suspicions and check on the validity of questionable artworks coming to the market. According to Wittman, a background in criminal investigation work is essential to being a good art- crime detective. “You need to know the elements of the crime and the statutes that pertain, but then it takes an interest in art,” he said. “You don’t have to be a connoisseur or a specialist, but you have to know the difference between a print versus a painting versus a giclée.” But by far the hardest thing to learn is the business of art, explained the retired agent, who often modeled his undercover performances on his father’s talents at deal making and who often found himself making “deals” on yachts, in hotel rooms, and even in parking lots. Perhaps, Wittman recalled, his most thrilling case involved trying to track down one of the Rembrandts and the Vermeer that went missing from the Isabella Stewart Gardner Museum in 1990. In that instance, he pretended to be an unscrupulous art dealer named Bob Clay who had flown down to Miami to meet with Frenchman Bernard Ternus. Ternus boasted of having access to numerous stolen works of art, including two Picassos taken from Diana Picasso’s apartment in Paris and a cache of paintings stolen at gunpoint from the Museum of Fine Arts in Nice.“He said he had a Rembrandt and a Vermeer for sale, and it didn’t take a whole leap of logic to figure out that there’s only one Vermeer missing from the 36 in the world, and to know it had to have come from the Isabella Stewart Gardner Museum,” said Wittman. Over the course of the investigation, he met with criminals in Barcelona and coordinated with the French police in Paris and Nice from June 2006 until the final arrests in June 2008. The scariest moment came in 2007, when the crooks suspected that Wittman was an informant after the police had recovered the missing Picassos. “That particular case was fairly dangerous because the individuals involved were all doing armed robberies, and when they thought I was an informant, they threatened my life,” he recalled, describing the hair- raising meeting that took place at the Diplomat Hotel in Miami. “I had to stare them down and talk my way out of it,” he said, noting that this was one of the rare occasions when he came armed with two guns, one in each pocket.“We recovered about $75 million of stolen art, but we couldn’t get the Vermeer or the Rembrandt,” said Wittman. “I probably got pretty close to finding them, and I thought if we could have kept going, we would have had a good shot at possibly identifying where they were, because those art thieves didn’t lie about the Picassos, so I thought they weren’t lying about the rest of the paintings.” Unfortunately, once the French police had arrested the gang for the crimes committed in France, they were uninterested in pursuing the investigation further. In the end, Ternus was sentenced to five years in the United States for transporting stolen goods, and was then deported back to France where he is serving another eight-year sentence for the robberies themselves. Wittman’s last case, which began when he was at the FBI but continued past his retirement to 2013, was the recovery of a diary written by Third Reich mastermind Alfred Rosenberg. Wittman was contacted in 2001 by the United States Holocaust Memorial Museum, which was supposed to have received the text along with a cache of papers from the estate of Nuremberg prosecutor Robert Kempner. The diary turned up in the possession of a man in Lewisburg, New York, who had gotten it from one of the prosecutor’s former girlfriends and was holding onto it to turn a profit. “This is my most satisfying case,” said Wittman, who, in the course of his career, had recovered one of the original copies of the Bill of Rights, an original edition of Darwin’s On the Origin of Species , and an original edition of Copernicus’s On the Revolution of the Celestial Spheres . “All those were interesting, but we knew what the books contained. The diary was different because no one knew what was in there. It had never been translated or transcribed.” The recovered text contains invaluable information regarding meetings with Hitler about the “final solution” for the Jews as well as the invasion of Russia. This case is the subject of The Devil’s Diary. Henry Mayer, senior adviser on archives at the United States Holocaust Memorial Museum, examines the Rosenberg diary, which spans ten years and 500 pages. U. S. HOLOCAUST MEMORIAL MUSEUM, COURTESY MIRIAM LOMASKIN E ven though Savona is not certified to go undercover and has not had the same high-profile experiences as Wittman, she has witnessed plenty of excitement of her own. When asked if this line of work is ever dangerous, she replied, “Sure, because anything can break bad.” Speaking of carrying a gun in her holster, she explained, “On the surface, I am confronting a person who has just committed a fraud, but I don’t know how far they are willing to go to save those millions of dollars they are making. I am the person who is trying to stop them from making millions of dollars or is going to prevent them from leaving the country. You never know how far someone like that is willing to go.” The FBI Art Crime Team maintains a ten-most- wanted list of missing works, currently topped by the cache of 13 paintings stolen from the Isabella Stewart Gardner Museum in 1990, including four works by Rembrandt and a Vermeer. A reward of $5 million has not led to any arrests or information on the whereabouts of the stolen items. Other works on the list include Caravaggio’s Nativity with Saint Francis and Saint Lawrence , stolen in 1969 from Palermo, Italy, and valued at $20 million, and van Gogh’s View of the Sea at Scheveningen and Congregation Leaving the Reformed Church in Nuenen , together valued at $30 million, stolen from the Van Gogh Museum in Amsterdam in 2003. Speaking of the Gardner Museum theft, Wittman remained optimistic. “If those paintings are still in existence, they will be recovered, because the bright spot about art is that it outlasts us, so at some point, they are going to come back on the market,” he said.“The problem with a theft case is finding the object,” explained Savona. “Sometimes, with museums, a theft is not noticed for a period of time until later, when they are doing an inventory.” But noting that the latest museum theft case in the United States is over 20 years old, she insisted that the situation is getting far easier for FBI agents and more difficult for thieves, as surveillance and security considerations now make robberies “pretty tough.”Fraud and forgeries are on the rise, however, especially as the Internet has made advertising with false claims and fine print that much easier. In 2015 Savona worked the case of East Hampton “dealer” John Re, who was offering a cache of alleged Jackson Pollocks for sale, claiming that they had been discovered in the basement of art restorer George Schulte. Eventually Schulte’s family reported the sales to the FBI out of concern for his reputation. Re pled guilty and was sentenced to five years. “I think the biggest mistake that people make in such cases is that they want to believe they are seeing something that no one else has seen,” said Savona. “If it sounds too good to be true, chances are it’s not true.” A Chilean Tapestry, The Ambassadors of Rome Offering the Throne to Numa Pompilio, was recovered by the FBI Art Crime Team in 2015. COURTESY FBI R epatriation of stolen artifacts is also a priority of the FBI Art Crime Team. Cases often involve relationships with Interpol and foreign governments. Today Syria has been added as a key source of looted antiquities, along with Iraq. But sometimes Special Agent Savona is called in to work on cases closer to home. In 2014 the FBI Art Crime Team deployed special agents, including Savona, to conduct a raid on an Indianapolis home, removing thousands of cultural artifacts, including Native American items. They had been taken by a 91-year-old man, Don Miller, over the course of several decades. “We’re collecting and analyzing with the goal of repatriation,” FBI Special Agent Drew Northern said at the time of the confiscation. Larry Zimmerman, a professor of anthropology and museum studies at Indiana University–Purdue University Indianapolis, described his reaction as “frankly overwhelmed. I have never seen a collection like this in my life except in some of the largest museums.” In addition to American Indian objects, the collection includes items from China, Russia, Peru, Haiti, Australia, and New Guinea, he said. The FBI admits that the task of cataloguing and repatriating the artifacts will take years of work. On a typical day, Savona handles 12 to 15 cases. She acknowledged that art crime is so prevalent that the FBI could have 20 agents in the New York office working on it full time. Savona spends most of her time interviewing suspects and witnesses, sometimes in tandem with a partner. “It comes down to getting people to talk to you when it is really not in their best interest to speak up,” she said. “Somehow, some way, you get them to open up. The best part of the job for me is having a partner to work with and getting a back-and-forth going until you get someone to open up. That’s really what this is all about, and it’s how you make your cases.” Barbara Pollack is a contributing editor of ARTnews. A version of this story originally appeared in the Summer 2016 issue of ARTnews on page 62 under the title “Anything Can Break Bad.” 2016-05-25 15:32 Barbara Pollack

46 How to Subvert the Art World and Get Away with It BURY WITH THE ARTIST, 1968–2010 aluminum and unknown contents. 5 x 5 x 2¾ in. All images courtesy Marlborough Chelsea In the late 60s, conceptual artist Stephen Kaltenbach burst onto the New York art scene, populating the city with subversive works, then vanished just as quickly. Before street art, Kaltenbach placed single message bronze plaques and stencil graffiti around the city. Kaltenbach also invented the bad painter Es Que? and gaudy sculptor Clyde Dillon, and anticipated culture jamming by taking out a number of conceptual ads in Artforum , urging people to do things like spread rumors and perpetuate hoaxes. After decamping for Central California in 1970, Kaltenbach fashioned himself a “regional artist.” Now, the 76-year old Kaltenbach resurfaces with Viewing Room , a retrospective at Marlborough Chelsea that runs until June 18. True to form, Kaltenbach supplied The Creators Project with an essay explaining his methods, and how he left the art world so many years ago. The following has been posted verbatim from Kaltenbach's original essay. Only the punctuation has been edited, as per VICE's Style Guide. YOU ARE ME, 1969. Artforum magazine, December, 1969, page 75. 2 1/4 x 10 1/2 in. Protocol of Opposites In my experience one concept and subsequent Art Action leads to another. So I will try to string a few together. When I got to New York I was operating under the self-imposed protocol of observing contemporary artists and their goals and ambitions and ways of working and then looking for opposite viewpoints. I named this the Protocol of Opposites. One of the first things that was evident was the driving need to get a show in an important gallery or a museum. My Street Works (Sidewalk Plaques, Graffiti Works, and Personal Appearance Manipulations) were conceived of and done in response to that attitude: art that needed no establishment venue. What those pieces led to was the realization that I was working for a mostly non art initiated audience; these works for the most part were seen by people who were passersby on the street. This suggested the Targeted Works which were pieces made for a specific audience. The Hoaxes were for art historians. The Artforum ads were Micro Manifestos for art professionals. The first Time Capsules were for museum staff: preservationists and curators and also for art theorists, writers and reviewers. Viewing Room installation view Causal Art The line of work joined to another protocol which was the attempt to extend Minimalism beyond the simplification of the object. This took many forms; one which I called “Causal Art” was the attempt to enhance the achievements of my peers in the work that they were doing, essentially minimizing my role in the physically active aspect of the art making process. Some delightful realizations occurred from this: also reduced was my own access to information as to what exactly were the effects of my Art Action; what art did I make? ART WORKS, 1968–2010 bronze. Edition 35 of 100. 5 x 8 x 1/4 in. In other words, only minimal knowledge was available of the products of my work. While I was well aware of the advantage of seeing artwork with a "fresh eye," there was no doubt that the artist, who spent huge amounts of time in the studio, was working from a depth of understanding that was greater than what I could achieve. This initiated the Micro Manifestos, the ads in Artforum , in my view a less aggressive way to exert the same influence. Viewing Room installation view Bad Painting in the 1960s, and its Recent Revival Another focus of the Protocol of Opposites came from the observed conversation happening in the artist's bars: the discussion about good art, especially painting. My opposite was, naturally, Bad Painting. This then led to the Life Dramas: the assuming of a persona of a failed artist or at least one who was challenged by his lack of understanding of the purposes of art. My first artist was Es Que?, a couch painter who was attempting to get a show at the gallery in the furniture section at Lord and Taylors department store. This required the production of nine paintings in a period of thirty days which was the time I allocated for the project. This attempt failed as the curator said that I needed more time to develop and that I should try back in a year. I considered this Life Drama to be a tragi-comedy. RAINBOW BUTTON, 1968. Plastic buttons. Edition 994 – 1,000 of 1,000 (last 6 from edition). 1¾ x 1 ¾ in. My understanding was that I was playing the “long game.” Much of my work needed to be hidden for a period of time before being uncovered by interested art professionals—or not. A close friend; an art historian who was in on most of what I was doing was very concerned that nobody would ever care enough to look into my art. While I realized that was a possibility, I felt that my work was on its own after it left the studio and had to survive on its own merits. The dynamic was, however, that I was being invited to be in museum shows in New York and Europe and my secret agendas were being exposed to the art criticism and deconstruction that goes with that. I felt strongly that my work needed time to mature in private to gain the gravitas necessary to operate as I wanted it to. To achieve this I decided to do my third Life Drama which I thought of as Hyper Realism. I would leave the contemporary art world and re-establish myself as a regional artist, maybe a painter or a sculptor. Meanwhile I could continue my conceptual work in private without the constant examination that went with New York's exposure. I, of course, had my own ambitions so this was difficult but I was very interested in forcing myself to do “hard things.” I referred to this work as The Elephant Project or sometimes the Black Project. WISDOM, 1970 – present. Gold plated steel and unknown contents. 7 ½ x 9 ½ x 7 ½ in. How I Left The Art World I had been doing works that operated as announcements for subsequent pieces. In this case I did an art work for Lucy Lippard's 557087/955 000 to announce my departure from public contemporary art. My index card for Lucy's show was completely anonymous: a white card with no lines on it and no writing in a plain white envelope which I slipped under her door. I titled this piece, "fade to white," after the film maker's edit to switch from scene to scene. Click here to see more of Stephen Kaltenbach’s work. Related: Worship at Genesis Breyer P-Orridge's Cut-Up Altar Trip on 'Aerial Paintings' with Artist Tom Shannon Adrien Brody Gets 'Hooked' on Fish Art at Frieze Week 2016-05-25 15:30 Stephen Kaltenbach

47 47 CGI Short Film Tells a Twisted Tale of Animal Love Screencaps via A snake, a boar, and a hare get into a hairy situation in a new animated short by a group of students graduating from the Supinfocom animation school in Arles, France. The five-minute film, Chaud Lapin (Hot Rabbit) , is devoid of dialogue, but the characters' wants and desires become evident as they navigate the choppier seas of a strange love triangle—with a torrid twist. The directing team of Géraldine Gaston , Alexis Magaud , Flora Andrivon , Maël Berreur , and Soline Bejuy have something special in their ability to a story while incorporate interesting visual elements that fly in the face of everything science has taught us about nature. Watch Chaud Lapin in full below. Learn more about Géraldine Gaston , Alexis Magaud , Flora Andrivon , Maël Berreur , and Soline Bejuy on their websites. Related: Meet the Young Animator Channeling Studio Ghibli in Pakistan Filmmaker Reimagines His Youth in Beirut Through a Surreal Short Robot Film "Construct" Could Change Everything You Know About CGI 2016-05-25 15:10 Beckett Mufson

48 A 'Queer Enlightenment' at the World's First Museum of Gay and Lesbian Art The places, faces, and bodies of a queer enlightenment paper the pastel- colored walls of the Leslie-Lohman Museum of Gay and Lesbian Art in New York. The show, aptly titled The 1970s: The Blossoming of a Queer Enlightenment , narrates the turbulent years between the Stonewall Riots in New York in June of 1969 and the first ominous inklings of the AIDS epidemic in the early 1980s. The Creators Project went behind-the-scenes of the show, from the sexually playful photography of Crawford Barton to the surreal bondage scenes of Jimmy DeSana, from the revolutionary work of Kay Tobin Lahusen to the venerable images of Robert Mapplethorpe's X Portfolio , to investigate a history full of hope, sex, protest, and the tangible zest of being queer, proud, and political in the 1970s. Our guide throughout was Hunter O'Hanian, the museum's director and co-curator of the show along with the rest of the museum's staff. He led us through the exhibition, down into the museum's labyrinthine archives, and behind the green curtain to the museum's workspace, overcrowded with delicious new donations (hint: miniature erotic sculptures from a New Jersey lawyer, coffee table books of dirty illustrations) and Leslie- Lohman's modest but impressive staff. Diana Davies, Gay rights demonstration, Albany, 1971/2013, Digital color print. Gift of Alexis Heller, ©NYPL. Collection of Leslie-Lohman Museum. "There are many people who wonder why a gay art museum has to exist," O'Hanian says. "For us it's pretty straightforward: you have a segment of the population which has been marginalized and so the idea of seeing themselves reflected on the walls is really very important. " Of course, Leslie-Lohman isn't just a gay art museum, it calls itself the first museum dedicated to gay and lesbian art. Rink Foto, Lovers in a 1951 Mercury, 1979/2009, Archival inkjet print, 16 x 20 in. Founders’ gift. Collection of Leslie- Lohman Museum. The museum was first started in 1969 as an amateur venture by Charles Leslie and Fritz Lohman. Leslie and Lohman, lovers and art-lovers, started their DIY gallery as a means to preserve and exhibit works from the queer community, i.e. their gay and lesbian cohorts. Now with over 24,000 objects in its archives, the initial collection primarily featured the partners' private stores of gay erotic art, which they exhibited out of their SoHo loft, but over time, they began to accrue any and all genres of art. In the beginning, pieces donated to their growing gallery often from friends and artists; as the AIDS epidemic progressed, however, the partners jumped to salvage precious works from the belongings of the gay deceased—or rather, from their families who were often more than willing to get rid of this "obscene" art. Stanley Stellar, Tava Von Will (detail), 1979, Color print on paper, 20 x 16 in. Gift of the artist. Collection of Leslie-Lohman Museum. The organization still remains a haven for gay art today, receiving donations with open arms (and ever-decreasing archival space) from across the country and across the world. In 2011, however, after living for 24 years as a nonprofit organization and corresponding gallery space on Prince Street in SoHo, Leslie-Lohman was awarded museum status, and last year, the foundation and the museum officially merged under the name of the Leslie- Lohman Museum of Gay and Lesbian Art. In recent years, Leslie-Lohman has also been approached frequently by a wide range of museums and galleries to loan out works from their formidable collection—a sign, O'Hanian hopes, of progressive movement in the greater world of art institutions. Francesco Scavullo, Robert Mapplethorpe and Samuel Wagstaff Jr., 1974, Silver gelatin print, 11 x 14 in. Gift of David Aden Gallery. Collection of Leslie-Lohman Museum. The 1970s: The Blossoming of a Queer Enlightenment is a tribute to this history and to the forward momentum of the organization itself. The show features, in addition to the artists mentioned above, Paul Cadmus, Joan E. Biren, Marion Pinto, Amos Badertscher, Harvey Milk, Saul Bolasni, Francesco Scavullo, Diana Davies, Rink Foto, Tee Corinne, Neel Bate, Peter Hujar, and dozens more. "When we put the show together […] I really wanted to talk about today," says O'Hanian. Like the 1970s, the director points out, 2016 is both a time of fervid political discourse and sexual liberation and of social crises and revolutionary diction. The show's memorials of protests, public and private, are proof that art and activism in such times are intrinsically linked and that art crystallizes a picket line for its generation and generations to come. Diana Davies, Demonstration at City Hall, 1973/2013, Digital print. Gift of Alexis Heller, ©NYPL. Collection of Leslie- Lohman Museum. Says O'Hanian, "In a broad sense, this show is about race marginalization, or is about class marginalization, or is about gender marginalization. It is really just a metaphor, not just for the gay community but for any segment of the community that feels underrepresented, that they can use art and demonstration and public politics in order to have their voices heard. " Rink Foto, The first large group of lesbians in the San Francisco Gay Parade, invited by Harvey Milk, 1974/2016, Archival inkjet print, 13.4 x 18 in. Gift of the artist. The 1970s: The Blossoming of a Queer Enlightenment runs until June 3 at the Leslie-Lohman Museum of Gay and Lesbian Art. Find more about the show on the museum's website. Related: A New Art Show Tracks Queer Life in Everyday Portraits Beyond the Pink Triangle: A New Generation Tackles HIV/AIDS Awareness How the AIDS Epidemic Was an Attack on Imagination 2016-05-25 14:55 Sami Emory

49 The Louvre's Glass Pyramid, Gone! Image courtesy the artist The Louvre's massive glass pyramid, designed by Chinese architect I. M. Pei and installed in 1988, has disappeared. In its stead, a shard of the famous Paris art museum has been drained of color, as if the translucent panes have become some sort of living Instagram filter. What's actually going on is that French artist JR , known for dramatic large-scale art , clever optical illusions , and an eagle eye for social issues , has covered the structure with anamorphically exact renditions of the 16th century facades beyond, complete with a tiny French flag sticking out the top. "I am a fan of Ieoh Ming Pei," JR tells The Creators Project. "I read an interview and I was impressed by his willingness to make the pyramid discreet: he wanted it to blend into its environment. I share with him this attention to context, I adapt my photographs to the city around them, to the architecture. Hundreds of tourists take selfies with the pyramid everyday, so I wanted to make it harder for them by removing the pyramid, so that they actively look for it, that they move around to find the best spot to take the picture. " @JR The cheeky artwork will remain in place for a month, during which time JR will lead a 24-hour takeover of the museum. According to the Wall Street Journal , on May 28 he'll host, "a series of screenings, workshops, magic shows and a concert by Nils Frahm and Ólafur Arnalds. " Additionally, there will be appearances from Daniel Buren, filmmaker Agnès Varda, Cara Delevingne, and members of Arcade Fire. This is the latest in the artist's series of high profile collaborations, which include Darren Aronofsky , NYT Magazine , Stephen Colbert , and Robert DeNiro. @davidg16er The artist and his art. @daliouchhh JR's version of the pyramid will be on view through June 28. Check out more of the artist's work on his website. Related: JR and Darren Aronofsky Project a Silent Climate Protest Artist JR Shakes Up The Dance World With Immersive New Installation Enter the Optical Illusion Graffiti Void 2016-05-25 14:10 Beckett Mufson

50 Italian Artist Carves Dance Music Out of a Mountain [Premiere] Photo: Simon Artale. All images courtesy the artist, unless otherwise noted After a 15-year stretch in Berlin and Milan, producing and performing electronic music in their respective scenes, Italian artist Sergio Maggioni stepped back, ditched his traditional recording methods, and traveled near his native northern Italy in search of something new. It was in the village of Bienno in Val Camonica—one of the largest valleys of the Alps—where he found it, glimpsing his old stomping grounds in a fresh light. “I studied the history of my old environment, and I found out that there's a lot of iron in the middle of the mountains,” Maggioni tells The Creators Project over Skype. “So these villages are very traditional, peaceful places, but at the same time they have to compete with around 70 factories working for that iron. You can really hear [the hydraulic power hammers, or maglio ] in the air as a neverending beat. People reported the village shaking because they were constantly going.” That nonstop beat soon planted an idea for Maggioni when he revisited the Forge Museum in Bienno, a tourist spot in the mountains where his parents took him as a child. “There was this tour guide with an elementary school class,” he said. “The guide showed them a working Maglio, and in the middle I noticed the kids start to dance. Seeing that I thought, ‘Why not record this?’” From that idea sprang Neunau , a new moniker for Maggioni, and also the title of his debut EP for Parachute Records. Taking field recordings from the Forge Museum and creating, in the label’s words, the “rhythm of an incessant heartbeat," the EP’s four tracks are elemental dance music captured and created in the very same place. Maggioni and his team have tracked their experience making the EP in a ten-minute documentary entitled Sounds From The Forge , which premieres today on The Creators Project. You’ll find the full video below, along with two cuts from the EP. “We basically used the Forge base as a recording studio… there were two different locations, one to record and one to listen back to the material,” Maggioni explained, referring to his recording team of Piero Villa and Matteo Lavagna as well as five blacksmiths that operated—or “played”— the machinery. They booked three sessions: one to feel out the sound of the space, the second to put that knowledge into practice, and a third to patch in any missing details. “We put microphones everywhere to catch different frequencies, and then recorded takes with different tempos and intentions,” Maggioni said. “It was like being the director of an orchestra and actually having the musicians there, altering the way they played it.” Maggioni has already debuted cuts from the Neunau EP in a live setting, but with two different approaches. One is more of an ambient installation piece, in which Maggioni uses dishes and vases forged in Bienno as electronically altered percussion; the other plays as a more traditional techno set, as he manipulates the original takes from the Forge Museum. Credit: Simone Artale Neunau , the debut EP from Sergio Maggioni’s Neunau, will be released by Parachute on 12” vinyl and digital formats on May 27th. Click here for more info. Related: Artist Unmasks Daft Punk for New Sculpture Series Land Art Animations Piece Life Itself Together Olafur Eliasson Hauls Icebergs into the Middle of Paris 2016-05-25 14:00 Charlie Schmidlin

51 51 Bee Sculptures and Psychedelic Landscapes: A Day at Jack Shainman’s Upstate Venture, The School Jack Shainman: The School. COURTESY JACK SHAINMAN GALLERY “I feel so blessed to be able to do this each year,” said gallerist Jack Shainman this past Sunday, during a tour of the School, his 30,000- square-foot exhibition space inside a former high school in Kinderhook, New York. The scattering of press followed Shainman as he led us into the building for a trip around this summer’s assemblage of art, “A Change of Place,” the third seasonal show to grace the gallery’s upstate annex since its founding in 2014. Glass enclosures housing honeycomb-encrusted metallic shapes occupy the school’s foyer. These so-called “apisculptures” are the work of Garnett Puett, a beekeeper with 2000 active hives in Hawaii. “I’m four generations into beekeeping so it comes naturally to me, working with the bees,” Puett said. Later, Shainman would take us to a room upstairs where Garnett had two pieces, each a “collaboration” with 30,000 bees. “They all get along in harmony, they’re all women, they never fight,” Shainman offered as reassurance. Installation view of Garnett Puett’s “Geometric Arm 1”, 1989. COURTESY JACK SHAINMAN GALLERY Puett coats his geometrical structures in beeswax, provides some sugar- water and a queen for the colony, and then lets nature do the rest. I asked him how he knows the bees’ work is complete. “It’s sort of like baking bread,” said Puett. “Sometimes it’s a few weeks, sometimes a month.” One of these works, a cabinet with three guns inside of it, was already half- engulfed in honeycomb after just a week. A rogue bee on the wrong side of the cabinet inspired my next question: Has your art ever killed anyone? “No,” Puett nervously laughed. Downstairs from the bees, Irish-born artist Richard Mosse’s photos were on prominent display. The first of two bodies of Mosse’s work on show is a series he completed in 2009 showing members of the U. S. military within the former palaces of deposed Iraqi leader, Saddam Hussein. “I’m starting to feel like I’m in Charlie and the Chocolate Factory ,” said Shainman, continuing to lead the tour with a spirited step as we whizzed past these images, stopping briefly to admire another wall of portraits by Malian photographer Malick Sidibe, before making our way down to a large atrium, which formerly housed the school’s gymnasium. Installation view of Richard Mosse’s “Everything Merges With the Night”, 2015. COURTESY JACK SHAINMAN GALLERY A massive photograph of a sprawling valley in the Eastern Congo region takes up most of the atrium’s back wall. Masked in psychedelic hues of pink, Mosse created this image along with the rest in the series, titled “Infra,” with Kodak Aerochrome, a discontinued infrared film used by the military for reconnaissance missions. Mosse explained his use of the film as an attempt to capture something “otherworldly.” In this instance, the history of violence baked into the land after decades of political turmoil and outbreaks of the Ebola virus. “You can’t see the traces of it,” said Mosse. “So it’s really about the topography but [the image] also highlights the shortcomings of the camera and my frustration with myself.” Installation view of Pierre Dorion’s “Screen I & II”, 2016. COURTESY JACK SHAINMAN GALLERY In a later conversation with Mosse, he told me more about his experience taking the work back to the Congo last year as part of the Salaam Kivu International Film Festival. “It was a completely different set of value judgements to what we’d been used to in the West,” said Mosse, recalling the reactions. “A lot of people also were very unsatisfied because it didn’t show a positive side to the Congo and [they] wanted to know why the fuck I did them.” This seemed like a fair question to ask. “That’s the thing about my work,” he said. “It’s got a vague purpose but it’s not trying to spoon feed you information. It’s about asking questions rather than answering them.” The final stop on the tour found us facing paintings commissioned specifically for the space by French artist Pierre Dorion. In lieu of any actual physical descriptions of the School, I’ll defer to Dorion’s paintings, which the artist himself described to us as being in “dialogue” with their surroundings, “not only pictorially, but in terms of mood, atmosphere, colors, and everything.” 2016-05-25 13:47 Robin Scher

52 Art Simulates a Dance with Plant Life in New York Davide Zucco, Tropisms, 2016, spray paint, pigment, burns, varnish, oil paint, on wood, plexiglass, steel structure, 69x36x24 inches. Courtesy of Solivagant and the artist Hank Willis Thomas’ “Art Imitates Life. Life Imitates Ads. Ads Imitate Art” campaign was a ubiquitous, thought- provoking sensation at last year’s Armory show, but artist Davide Zucco 's new show at LES gallery Solivagant makes an addendum to Thomas’ proclamation. Among everything else, “Art Imitates [Plant] Life.” Tropisms , curated by Rachel Steinberg , consists of a two-part installation. The central, commanding piece that is its namesake is a painting-sculpture hybrid that resembles a fern existing in a black vacuum. This Tropisms is the result of a multifaceted painted surface that has been burned away in order to be fossil-like in appearance. Accompanying this piece is Circuit , a steel line throughout the gallery that is “both delineating and sewing the space together, opening up the limits of the work, in a material echo of the central construction,” according to the press release. Davide Zucco, Tropisms, 2016, spray paint, pigment, burns, varnish, oil paint, on wood, plexiglass, steel structure, 69x36x24 inches. Courtesy of Solivagant and the artist Beyond Tropisms ’ aesthetic qualities, what is particularly unique about the central piece is what happens when you are not at the gallery viewing the work. In an attempt to mimic the natural movement and growth of plants, the painting-sculpture moves and extends around the space throughout the duration of the show, a sculptural nature-dance of sorts. Davide Zucco, Circuit, 2016, steel structure, variable dimensions. Courtesy of Solivagant and the artist “The work is moved all together as one piece and is meant to be following an elliptical path around the gallery, and at the same time it’s moving on its own axes following a circle, sort like a planet would do,” Zucco explains to The Creators Project. “We’ve been looking at YouTube videos of growing plants following a source of light, we’ve tried our best to emulate or interpret that aspect in Tropisms .” Davide Zucco, Tropisms Choreography. Courtesy of Solivagant and the artist Ultimately, the artist and the team at Solivagant opted to choreograph five specific movements for the piece, to occur throughout the show’s four-and- a-half-week run. This ensures that weekly visitors will experience a slightly different iteration of the exhibition, whether they are consciously aware of the change or not. Davide Zucco, Tropisms, 2016, spray paint, pigment, burns, varnish, oil paint, on wood, plexiglass, steel structure, 69x36x24 inches. Courtesy of Solivagant and the artist Zucco is no stranger to engaging with nature and natural life in his works, having had an exhibition at NURTUREart last year that was inspired by the Petrified Forest National Park in Arizona. On his fascination with nature, the artist explains that he “grew up in a small town in the Dolomite mountain chain in Italy and experienced a lot of nature while growing up,” and that “Later on, living in a big city like New York feels like a living organism itself.” Davide Zucco, Tropisms, 2016, spray paint, pigment, burns, varnish, oil paint, on wood, plexiglass, steel structure, 69x36x24 inches. Courtesy of Solivagant and the artist But nature is more than a childhood fascination for Zucco, who believes it serves a special purpose in art as a counterpoint to our overly digital times: “Nature in my work functions as a way to go against the anthropocentric vision of the world that is dominant in our society,” Zucco tells The Creators Project. “It gives a sense of belonging and interconnection on a bigger scale... I believe science is fundamental in the challenging time we are living right now, both environmentally and socially speaking.” There are roughly two weeks left to see Tropisms at Solivagant before it closes on June 5th, meaning you can still catch at least two of the show’s choreographed movements. Check out more of Davide Zucco’s work here. Related: An Interspecies Ballet Fuses Plant Growth with Dance Shadowy Stop-Motion Animals Are Gorgeous 10,000 Stacked Photos Create Insanely Detailed Insect Portraits 2016-05-25 13:20 Andrew Nunes

53 Zachary Armstrong on Freedom of Painting Zachary Armstrong 's work is laden with symbolic nostalgia. The self-taught artist's canvases on view at the Tilton Gallery on Manhattan's Upper East Side are also reminiscent of the work of Jean Dubuffet and the outsider artists he once championed. Armstrong is in fact somewhat of an outsider, choosing to live and work out of a studio in his hometown of Dayton, Ohio. The influence of the blue-collar city permeates his work. Compared to market darlings such as Jeff Koons , who rely on dozens of assistants, the 31-year-old artist builds all of his canvases and stretchers himself, and is known for spending marathon 16-hour sessions in the studio. While the themes of youth and childhood occupy most of the artist's output, stylistically he is far less consistent, dabbling in myriad painting styles and mediums. On one hand, he creates cartoonish dinosaur paintings reminiscent of children's room wallpaper and stick figure canvases inspired by his childhood scribbles, and on the other side of the spectrum there are his vertiginous canvas stacks. Inside his solo show at the Tilton Gallery , a childhood portrait of the artist drawn by his older brother hangs adjacent to the entrance. The picture is a recurring image throughout the show. The image is superimposed multiple times in the artist's encaustic covered canvases. We walked through the exhibition with the artist who spoke about his hometown, his influences, and his studio practice. What is your experience as a self-taught artist? My dad was an art teacher so we just grew up drawing like crazy and there were always tons of art materials in the house… there was a ceramics studio in the house and that was it from the beginning. My brother is an artist here in New York and works as a designer. But everybody has got their hand[s] in it in one way or another. When did you become an artist full-time? It was really hard, but your early twenties is when everybody takes time to think about what they want to do, what they are going to do, and what makes them happy. It was a real struggle, a real broke struggle for a long time. But I just started taking it more seriously and putting…all I had into just making artwork, and slowly but surely I started to sell paintings in Ohio. And I thought, man, somebody's paying a few thousand dollars for a painting in Ohio, maybe I am onto something, maybe I'm not crazy. Why have you chosen to stay in Ohio? I have a little boy there. I had him when I was very young, and I always used to think that I had to leave… There's not a network of artists or friends with shows or things like that. Now more and more I travel a lot, and I always have tried to get the hell out of Ohio to keep my sanity but the more I'm gone, the more I like it there. I'm in New York a whole lot and have been for a while, but now I can't wait to go home. Also, my studio is massive and so cheap, because its fucking Ohio. It's just so affordable there, especially if you can make money from elsewhere, so I'm spoiled there, too. And its easy to do things. You can get in your truck and go to the hardware store and buy a bunch of wood and be back to work in the studio in under an hour while here [in New York] that's a day's mission. Your work has taken many forms over the years. W hy the big aesthetic jumps? I never really considered myself as a painter, just as an artist, I guess; I just want to make stuff. But after years of consistently making paintings, big paintings, and learning from them and adding and taking away and doing things then you do realize, Oh shit, I am more of a painter than I am any kind of other artist. What's your working process? Another good thing about Ohio is that there's just nothing else to do but work. You can't go out and have a whole lot of fun at night or do anything like that. I mean, I got my little boy and he's in the studio a lot with me too, he's 13 now. I spend time with him and I work and that's it. I work every day, a minimum 10 hours a day…And that's all I do, that's all I want to do. Here [in New York] you can get distracted, you run an errand and half your day's gone. But there you can literally just focus. I love that; I get up and go to work. That's my working process [laughs]. I turn on the hot plates, let the encaustic heat up and start painting. Who are some of the artists that have influenced you? I'm always attracted to artist that I don't make work like. For instance, I went to Chelsea last week to see the Luc Tuymans show and I love the way he paints. I like the soft, light, brushy painters. Which is the exact opposite of what these are. I saw the Michael E. Smith show, I've always really, really liked his work. He's got this Midwest look, and I can read his work, maybe because we come from the same type of place. I love big names like de Kooning , I've been to the Hammons show here like four, five times in the last few months. I've been looking at these old American painters like Gari Melchers , he made some really nice simple, early American portraits, he's a 1900s guy who I like a lot right now. Every couple months I'll go through a little spurt and just go crazy buying books on somebody different, whether its someone I already know a lot about and just want to know more or [I] become more attracted to the work. In the last couple of months I've been buying a lot of Louise Bourgeois books… I grew up really liking Rauschenberg and Johns and those type of guys. Growing up my dad's favorite was probably Picasso , there were always books on him and he's always been one of my all-time favorites. What is it about a child-like aesthetic that appeals to you? For whatever reason I've always been aware of Dubuffet, and I'm not just saying this; it sounds kind of crazy, but I never really look at him or try to learn, or look and take things away from him… People always make the relation, but Dubuffet is a little different, because he made up those things on his own. I'm almost more like a Warhol where you take a logo, you take something and you just reproduce it. I look back at some of those early drawings and I think, fuck, I used to be able to draw so good, now I just really can't, and now I just second guess everything. All the best drawings I did when I was young, I didn't overthink everything. And I love that, but I can't do that anymore and I accept that. Hopefully you learn how to paint and what to with color and lines and how to manipulate things, so the last two years, three years that's been happening, actually learning how to make my own marks again without being a kid anymore. To paint free-form, making those things off the top of your head, it's hard, it takes a lot of guts, I'm jealous of artists [who] can do that. If you could own any artwork from art history, what would it be and why? I would love to have a nice Picasso mask painting. There's a painting I've always loved and lately I've been putting it in to these other big paintings I've been making. I think it's called First Steps, from 1936. Its a painting of a mother holding a kid's arms and the kid's taking its first steps and she's got this very mask-like face. It's the way the figure takes up the canvas and the space that is one of the things that I really, really like. And it's the way Dubuffet works too, where the whole image fits in the canvas and there's these nice corners and borders that are negative space. It's like he almost turned these figures into squares, or turned the figure into the shape of whatever you're putting it on, the shape of the canvas. Dubuffet was very good at that. Everything just fits right in, the arms couldn't go too far out, they had to be right in that square. "Zachary Armstrong: Paintings" is on view until June 30, 2016. This interview has been edited and condensed. Follow artnet News on Facebook. 2016-05-25 13:16 Henri Neuendorf

54 5 Questions for Olumide Gallery Eunice Olumide has the distinction of having already conquered another creative industry: as a fashion model, she has appeared in runway shows around the world and in the pages of Vogue , InStyle , Dazed and Confused , and I. D. , among many others. Now, as an art dealer, she is in the process of launching her eponymous gallery with a roster of leading street artists. With a focus on politically conscious work, Olumide Gallery is poised to bring a breath of fresh air to the London art scene. Here, we asked Eunice Olumide to take a break from busily planning their first opening this Friday and Saturday to tackle five quick questions. What type of art does your gallery focus on? The gallery is comprised largely of contemporary art from a conscious background, which at the moment includes Nick Walker , Elmo Hood , and Inkie . Tell us about your background in art and what led you here. I have worked as a fashion model since I was 15. This year I became an ambassador for Vivienne Westwood's “Climate Revolution," and met many artists and revolutionaries who believe and support the cause. I spent time with and was a muse for Yoko Ono and other artists—including Tim Noble , Richard Wilson , and Nigel Coats —who in turn introduced me to the London art scene. To me, fashion and art are intrinsically linked, with fashion mirroring art and art mirroring the culture of our times. What is the first artwork that captured your attention? It has to be Boy Soldier by English artists Schoony. There is something that is beautiful and elegant about this piece, but at the same time, it deals with serious socio-political and environmental issues within our society. What makes your gallery unique? Tell us about your first show. The gallery is unique because it was set up by artists for artists. I have never studied art but was in a way nominated by the artists themselves to set up the gallery. It has been an incredible journey and one that I am proud to have been asked to do. We will hold the first ever soft launch and private exhibition at the Groucho club on May 27 and 28, which is invitation only. We are all extremely excited about the event, and particularly being able to secure such an important and respected venue. What is the most challenging part of running a gallery? The most challenging part has to be organizing all of the artists and the work for the exhibition, but what is life without struggle? Might I ask has there ever been a thing that has produced beauty that appeared without any effort? I think not. With beauty there is always pain, for how would we know the true meaning of happiness if we had never experienced sadness? The artnet Gallery Network is a community of the world's leading galleries offering artworks by today's most collected artists. Learn more about becoming a member here , or explore our member galleries here. 2016-05-25 13:13 artnet Galleries

55 Spain Discovers 14,500-Year-Old Cave Paintings An archaeologist and a recreational cave explorer recently discovered at least 70 ancient cave paintings in the in the Atxurra caves in northern Spain. Although a team located the caves in 1929, the paintings are nearly 1,000 feet inside, and are barely visible to the untrained eye, so they haven't been seen until now. Archaeologist Diego Garate and caver Iñaki Intxaurbe saw the 12,500- to 14,500-year-old works, which would have been made during the end of Upper Paleolithic era, and feature hunting scenes, horses, bison, and goats. The Daily Mail reports that researchers have found evidence that the markings may have contained black coal dust, and were made using flint tools. As ancient as the artworks are, they actually are fairly recent creations compared to those cave paintings discovered on the Indonesian island of Sulawesi in 2014. Those paintings, at at least 40,000 years old, are believed to be the world's oldest-known artwork. That same year, archaeologists also discovered the first known artwork by the Neanderthals , a hashtag mark in Gorham's Cave in Gibraltar. Maintaining and preserving such works for future generations is challenge due to their fragile nature, and prehistoric cave paintings in many sites around the world, including 30,000-year-old artwork in Australia and rock paintings in Africa , are considered endangered. Spain boasts a number of significant ancient cave paintings, including the Altamira Caves , known as the Sistine Chapel of Palaeolithic art. After decades of tourism, the popular attraction had suffered significant damage due to the large number visitors and was forced to close in 2002, but began allowing limited tours again in 2014. Researchers will continue to the study the Atxurra cave paintings, but the site will not be made open to the public. The new find is not the first in recent years for Spain's Basque region, where a group of 18,000 year-old cave paintings was discovered in January 2015. Europe's oldest-known artwork, a group of cave paintings at France's Grotte Chauvet from 36,000 years ago, received World Heritage Status by UNESCO in 2014. Follow artnet News on Facebook. 2016-05-25 12:22 Sarah Cascone

Total 55 articles. Created at 2016-05-26 12:07