”Filippo Minelli started the ongoing series Silence/Shapes in 2009 to give a physical shape to silence.
As medium to realize his idea he chose chemicals used to create smokebombs and to juxtapose them with the romantic idea of beauty of the natural landscapes.

In the works of the series ‘Silence/Shapes’, commenced in 2009, the artistic research of Filippo Minelli has reached a high degree of synthesis and concentration that combines mastery of the aesthetic codes with language awareness and the ability to express complex content in a mediated way, through a dialectical perspective in permanent balance between transparency and opacity.

Starting from the observation on a purely descriptive level, these photographic artworks present themselves as natural landscapes or industrial archaeology in which we see “exploded” and spreading coloured smoke substances, jarring both thematically and visually with the context and the setting. There is no fortuity, nor documentary intent, but everything is built and composed with extreme attention given to formal and technical qualities.

The reading levels are varied: the one by Minelli is an art of stratified density which does not give up either the aesthetic message, or the transmission of conceptual meanings, multiple, multifaceted and intersecting each other.”

for more information please filippominelli.com

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Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandtttt

”American-born Charlemagne Palestine is a composer, musician, performer and visual artist. Already in the 1970s he composed repetitive music that clashed with the expectations of Western audiences. His early works were mostly compositions for glockenspiel and electronic musical instruments, but his best-known works are his piano pieces in which short sequences are repeated endlessly and variations appear only gradually. Although he was linked to musicians such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he rejected the minimalist label and instead created the term “maximalism” for his compositions.

In the 1970s, Palestine also produced a series of psychodramatic video works in which he activated the body through a symbiosis of sound and movement and gave expression to inner qualities. He often took his explorations to a point of physical and mental exhaustion. His performances and music videos repeatedly feature emblematic objects such as teddy bears, cognac bottles or scarves, which function as signatures and become “identification symbols”. In recent years, Palestine has worked chiefly with musicians such as Pan Sonic, David Coulter, Tony Conrad and Michael Gira. He has issued more than twenty solo albums and played at festivals throughout the world.”

Curator: Luca Lo Pinto

for more information please visit kunsthallewien.at

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”PELLE creates objects and design for the modern age. Merging architectural practice and pristine craftwork, founders Jean and Oliver Pelle imbue their collections with a keen aesthetic and studied attention to functionality. Their pieces are to be lived with, handled, worn, and enjoyed.

At the heart of PELLE’s work is a fusing of primary elements with modern form – geologic lines repurposed, blown glass and coiled leather forged to light contemporary spaces.”

for more information on products and shipping please visit pelledesigns.bigcartel.com

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“Matthew Barney: RIVER OF FUNDAMENT is Barney’s first major solo museum exhibition in Los Angeles. River of Fundament (2014) is one of Barney’s most challenging and ambitious projects to date, and his largest filmic undertaking since the renowned, five-part CREMASTER film cycle (1994-2002). The film, written by Barney in collaboration with composer Jonathan Bepler, tells a story of regeneration and rebirth inspired by Ancient Evenings (1983), Norman Mailer’s sprawling, provocative novel set in ancient Egypt. The presentation at MOCA comprises the epic length, operatic film and approximately 85 works inspired by or made in conjunction with the film, including large-scale sculptures weighing up to 25 tons, drawings, and storyboards. The exhibition also includes Barney’s Water Castings, a new group of sculptures on view for the first time. Overall, the works in the exhibition intertwine history and mythology with the contemplation of fundamental human drives—such as sex, violence, and power—that have continuously propelled civilizations.

Matthew Barney: RIVER OF FUNDAMENT is organized by Haus der Kunst, Munich in collaboration with the Museum of Old and New Art (MONA), Tasmania and curated by Okwui Enwezor. The Los Angeles presentation is coordinated by MOCA Assistant Curator Lanka Tattersall. The exhibition was realized by MOCA in collaboration with Laurenz Foundation, Schaulager, Basel.

For more information please visit moca.org

For more information about the film, visit: riveroffundament.net.

River of Fundament will screen regularly throughout the duration of the exhibition.

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Tom Blachford

Melbourne, Australia based interiors/architecture/travel photographer.

The photographer had the brilliant idea to connect the nostalgic inspiring architecture of Los Angeles’s suburbs with the nausea inducing glow of the moon in creating a series of shots that work as well together as toasty bread works with butter.

You will find Tom Blachford prefers to be quiet about his biography and that his website features not a lot of information about his profession or projects. Still, his website is worth a look as there are other images that mirror the style used in this project.

follow up tomblachford.com for more

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From the gallery:

‘Nudge the Judge’ is Jamian Juliano-Villani’s first solo exhibition in Europe. On view are eight new paintings that pluck influence from fetish culture, exhibitionism, curiosities of nature, and her ever-growing register of imagery pulled from popular culture. Juliano-Villani’s canvases pack such a volume of imagery and reference that they betray their pop-y superficiality almost immediately. A glance at one painting can reveal quotations as far reaching as Mondrian, Caulfield, and George Ault, to the legendary illustrators such as Ralph Bakshi and Mort Drucker. Made to act in new roles, Juliano-Villani’s characters are deployed by the artist as totems of class politics, misogyny, racism, consumerism and self-doubt.

‘Nudge the Judge’ assembles a cast who seem to catch us as voyeurs, while at the same time acknowledging and welcoming their viewers’ gazes. A blow-up doll plays the piano in ‘The Entertainer’. A topiary fondles himself in one work, a half-dolphin in garters and an apron looks becomingly back at us in another. For as much a Juliano-Villani exploits quotation and collage, these paintings hold a psychology that is entirely their own.

Jamian Juliano-Villani lives and works in Brooklyn. Her work has been exhibited widely over the past three years including exhibitions at JTT, New York; Gavin Brown’s Enterprise, New York; SculptureCenter, New York; Night Gallery, Los Angeles; and MOSTYN, Wales. Her first institutional show was held at the Museum of Contemporary Art, Detroit this January, curated by Jens Hoffmann. Juliano-Villani is preparing a solo exhibition at Studio Voltaire, London in 2016, which will be accompanied by a catalogue. Her work will be featured in the upcoming exhibitions ‘Unorthodox’ at the Jewish Museum, New York, and ‘Greater New York’ at MoMA PS1, New York. 

An artist’s monograph will be published by KARMA, New York this December.

more information on tanyaleighton.com

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from the architect:

“This barn of 1878, secluded 1760 meters above sea level, was used for housing during the pasture season. the animals were sheltered in the ground level.

Despite several negligible modifications over the years, this building kept its original character, distinctive and typica. the added annexes were dismantled to reveal its initial shape, slightly raised in order to gain height under the roof. the building is currently used as a holiday home ; due to its privileged position on the skiing area, it is well appreciated in winter.

The conversion project tries to emphasize the comfort of the barn while keeping its rudimentary character. the building stays simply set in the fields, without particular exterior layout. the main outer intervention is the opening of a large glass banner facing the valley, offering sunshine, light and the exceptional panorama on the alps.

The inner surfacing, soft and warm, made with larch siding panels, contrasts with the rough stone facades, made to resist to the tough alpine climate. a wood stove guarantees the heating of the main room.”
for more information please visit sf-ar.ch 

Images courtesy of savioz fabrizzi architectes

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September 12 - October 25, 2015
Canada Gallery, New York

A Fall of Corners

“Ms Golden is a Michigan native. She was schooled at the Minneapolis College of Art and Columbia University.

Samara Golden’s objects roost in ways that sculpture shouldn’t. Built up and carved from 4×8 sheets of silver insulation board, then petrified with a slathering of epoxy resin, these tough flyweight chunks of handmade simulacra are her core constructions. Hung on an armature of bird bones, things fit where they need to. Suspended from hardly disguised strings and wires, stuff gets pinned up and down and over. Her sculpture can encrust itself to any axis. It is free to float.

Ms. Golden is a busy, nearly maniacal orchestrator of space and stuff. Her big silvery worlds are engineered, usually from the ceiling down. In A Fall of Corners, there is a renewed disconnect from gravity, the room is upended, sideways, and re-angled by a plushly carpeted catwalk. The gallery space gets spun like a wheel and falls apart into a kaleidoscope of views and points of view, folding space into sharply rendered scenes that spread out across each wall.  (In this case a country restaurant from the 1980’s, a wedding reception?, a hotel lobby and an apartment/bachelor pad equipped with exercise bike). Each of these set pieces is doubled through a sheet of mirror that spans the entire floor of the gallery. The effect is a kind of vertigo that can’t be measured with a stick.

As immersive as a cave and as personal as an underwear drawer, Golden’s handmade world seems to sample a combination of banal architecture and personal memory. Architecture as the envelope for our private lives is what Ms. Golden’s creations lock into. Flying over these places is a kind of magic that’s reserved for dreams and crane shots. Golden is in the business of making new realities come true, these are not in camera tricks or CGI, this all exists in real blood time.  Whole scenes cascade upon the viewer in a monstrous group hallucination leaving one asking Where am I? Are you seeing this? Am I having a migraine or did someone slip something in my drink?

From motion sickness to deja vu, Golden builds an art that disconnects eyes from mind and body. Perspectives are forced on the viewer like a collapsing building. I am reminded of Conical Intersect or Circus, those late Matta Clark works that shred perspectives on what used to be familiar, where the best photos defy any clear sense of orientation, only a ghost of place is left intact. With Golden there is no wrecking ball, the cuts are domesticated. Cups and saucers remain undisturbed, not one chair gets overturned. Perhaps in the end she is closer to some sort of space aged Kienholz for Golden’s things are life-size models of our feelings first and our architecture second.

There are moments when I am in this room that I lose more than myself. I stand dumbstruck in this thing wondering about bats and dolphins. Echo location comes to mind. Am I missing some inner equipment? In place of thoughts and words there are only feelings and sensations; heartbreak, regret, longing and fondness for the places and missing people of this world, and my own life. Abstraction at its best. The gears are freed up, spinning, sometimes quickly and sometimes slowly, I am just along for the ride. This is dislocation times one thousand and I for one am grateful for the break from myself.

Samara Golden, b. 1973, Ann Arbor, Michigan, has been featured in solo exhibitions at MoMA PS1, New York, Night Gallery, Los Angeles, and Frieze Projects, New York. Group exhibitions include MOCA, Los Angeles, Sculpture Center, New York, Zabludowicz Collection, London, and The Hammer Museum, Los Angeles. Golden will present a solo exhibition at the Yerba Buena Center for the Arts, San Francisco in March 2016. She is represented by Night Gallery, Los Angeles, and CANADA, New York. ”

images and press release courtesy of  canadanewyork.com

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WIM WENDERS | TIME CAPSULES. BY THE SIDE OF THE ROAD. WIM WENDERS’ RECENT PHOTOGRAPHS

17 September 2015 – 14 November 2015

Berlin

Blain|Southern Berlin is delighted to present new and recent photographs by Wim Wenders, the artist’s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America – the two countries that have most influenced the artist throughout his career.

for more information please visit blainsouthern.com
Images courtesy of the artist and Blain Southern

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From the architect’s website

. Kefallinia. Cephalonia. The island was even described by Homer in ancient times. Its backbone culminates in a peak 1,628m high, in the midst of the Ionian Sea. Seen from the mainland, it surges out of the blue depths in an intense light, often coiffed with a veil of clouds. So when the opportunity arose to build a house facing this spectacle, the choice was obvious. The subject would of course be the island, framed by the house. From the initial sketches until its completion, the plans were developed around the view. From the terraces, the sitting room, the dining room, kitchen, bedrooms and bathrooms, the living space was oriented towards this fascinating seascape, which the architecture emphasises, making it even more theatrical.

For more information please visit olivierdwek.com

Photographs courtesy of Serge Anton

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Latest work by Karel Burssens and Jeroen Verrecht (also known as 88888) features a 40′ x 4′ hole in a pond surrounding the Horst medieval castle in Belgium. The structure keeps its interior dry making it possible to be lit up during the night to mark its abnormal presence even more. The project was unveiled at the Horst Art and Music Festival and will be on display until October 11.

Karel Burssens and Jeroen Verrecht  share a general interest in spatial conditions and establish this in a practice of installation art, scenography, architecture and photography. Together or separate, they work on several international projects in the worlds of museums, fashion, contemporary dance and architecture. Their expertise grew on both conceptual and productional levels, the broad interests and experience nurturing mutually.

more info at office88888.com

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September 25 2015 – January 10 2016

This exhibition surveys recent work by internationally-renowned artist Do Ho Suh. Suh creates architecturally scaled, fabric installations informed by his personal experiences, that recreate specific domestic spaces where he has lived, including his childhood home (a traditional hanok-style Korean house), a house in Rhode Island where he lived as a student, and his apartment in New York.

Suh weaves translucent structures made of monochrome polyester, at once architectural, and ephemeral, inviting viewers to wander through their dreamlike interior passageways (often complete with details such as light switches and door handles). In addition to these large scale installations, this exhibition presents Suh’s Specimen Series, fabric replicas of radiators, ovens, refrigerators and bathtubs, rendering these common household appliances luminous and transparent. MOCA Cleveland will also present works from Suh’s Rubbing/Loving Project, large scale rubbings in which the interior textures and details of the artist’s New York apartment are directly transferred onto paper. Suh is particularly influenced by his move from South Korea to the United States in 1991. His works highlight the porous boundary between public and private space as well as notions of global identity, space, nomadism, memory, displacement, and the meaning of home.

for more information please visit lehmannmaupin.com

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Valley Curtain, Rifle, Colorado, 1970-72

” Christo and Jeanne-Claude, respectively, in full Christo Javacheff and Jeanne-Claude de Guillebon   (respectively, born June 13, 1935, Gabrovo, Bulg. born June 13, 1935, Casablanca, Mor.—died Nov. 18, 2009, New York City, N.Y., U.S.), environmental sculptors, noted for their controversial outdoor sculptures and monumental displays of fabrics and plastics.

Christo attended the Fine Arts Academy in Sofia, Bulg., and had begun working with the Burian Theatre in Prague when the Hungarian Revolution of 1956 broke out. He fled to Vienna, where he studied for a semester, and then, after a brief stay in Switzerland, moved to Paris and began exhibiting his works with the nouveaux réalistes. While working there as a portrait artist, Christo met Jeanne-Claude de Guillebon, whom he married in 1959. Jeanne-Claude was once described as her husband’s publicist and business manager, but she later received equal billing with him in all creative and administrative aspects of their work. In 1964 the pair relocated to New York City, where their art was seen as a form of Arte Povera.

Christo’s earliest sculptures were composed of cans and bottles—some as found and some painted or wrapped in paper, plastic, or fabric. Christo and Jeanne-Claude’s first collaborative works included Dockside Packages (1961; Cologne), Iron Curtain—Wall of Oil Drums (1962; Paris), and Corridor Store Front (1968; New York City). In 1968 they also completed a suspended 18,375-foot (5,600-metre) “air package” over Minneapolis, Minn., and “wrapped buildings” in Bern, Switz.; Chicago, Ill.; and Spoleto, Italy. Their monumental later projects included Valley Curtain (1972; Rifle Gap, Colo.), Running Fence (1976; Marin and Sonoma counties, Calif.), andSurrounded Islands (1983; Biscayne Bay, Fla.). In 1985 in Paris, they wrapped the Pont Neuf (bridge) in beige cloth. In a 1991 project, the couple installed 1,340 giant blue umbrellas across the Sato River valley in Japan and 1,760 giant yellow ones in Tejon Pass, California. Four years later they wrapped theReichstag in Berlin in metallic silver fabric. The Gates, Central Park, New York City, 1979–2005 was unveiled in 2005. Stretching across 23 miles (37 km) of walkway in Central Park, the work featured 7,503 steel gates that were 16 feet (5 metres) high and decorated with saffron-coloured cloth panels.The Gates was on display for 16 days and attracted more than four million visitors.

Christo and Jeanne-Claude’s huge, usually outdoor sculptures are temporary and involve hundreds of assistants in their construction. Seen as they are by all manner of passersby, including those who would not necessarily visit museums, these works force observers to confront questions regarding the nature of art. As the scope of the projects widened, increased time was needed for planning and construction phases, the securing of permits, and environmental- impact research. For each project, they formed a corporation, which secured financing and sold the primary models and sketches. Most installations were documented in print and on film, and the materials that created them were sold or given away after the projects were dismantled. ”

via Encyclopaedia Britannica

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

The Wall – 13,000 Oil Barrels, Gasometer Oberhausen, Germany, 1998-99

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Big Air Package, Gasometer Oberhausen, Germany, 2010-13

Wrapped Reichstag, Berlin, 1971-95

Wrapped Reichstag, Berlin, 1971-95

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Running Fence, Sonoma and Marin Counties, California, 1972-76

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69

The Wall – Wrapped Roman Wall, Via Veneto and Villa Borghese, Rome, Italy, 1973-74

Valley Curtain, Rifle, Colorado, 1970-72

images courtesy of christojeanneclaude.net

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“Limits” is a relative term. Like beauty, it is often in the eye of the beholder.

—Chris Burden

Gagosian Paris is pleased to present works by Chris Burden, his first exhibition in Paris in more than twenty years.
Since the 1970s, Burden has channeled the daring spirit of his early life threatening performances into sculptures that embody technical feats on an imposing scale. Toys (figurines, train sets, Erector parts) are used as the building blocks for expansive scale models, cities, and battlefields, while actual vehicles (ships, trucks, and cars) are suspended or set in motion in surreal and improbable ways.

Since 2003 Burden has constructed large-scale models of bridges—both real and imagined—by plotting thousands of toy construction parts. Tower of London Bridge (2003) mimics every aspect of the suspension design of the actual bridge, including its functional drawbridge. Tyne Bridge Kit (2004) is Burden’s reimagining of the Erector toolbox: the one-ton wooden chest contains rows of drawers that store the tools, blueprints, and 200,000 metal parts that can theoretically be used to assemble a 9 1/2 meter-long model of the Tyne Bridge in England. In Three Arch Dry Stack Bridge, 1/4 Scale (2013), first exhibited in the major survey “Chris Burden: Extreme Measures” at the New Museum, New York (2013–14), three elegant arches are made up of hand-cast concrete blocks, held together by gravity alone in the manner of classical keystone construction.

for more information please visit gagosian.com

photos by Thomas Lannes

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from the artist

the pool

In the Pool series I utilize photography’s ability to create visual narratives, which echo moments from my childhood. The choice of a unified color palette, with saturated and bleached-out tones, reminds one of the qualities of home movies and reinforces the ambiguous relation between reality and fiction. Beyond my personal memory it’s also a collective memory I am trying to reveal through the common and universal experience of leisure and bathing. In my work I also focus on the notion of space and the relationship we entertain with the environment in which we live. Swimming pools and beach resorts are interesting to me for they represent a dominant theme of modern life in our culture. They also mix the natural element of water with the cultural and social element of manmade spaces where people can escape from everyday life and seem liberated from any social reference. Although their activities and expressions are familiar and spontaneous, the scenes appear composed by a silent choreographer when moments are isolated and frozen within the frame of the camera.

for more information please visit karinelaval.com

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roccolo’s swimming pool

The client’s requirement was for a pavilion to be connected to the main historic house causing the least visual interference with the surrounding parkland. The pavilion was for an indoor pool, and some space for fitness, service and leasure in a climate controlled space.

The main house, an early 1900 liberty building had been renovated by the clients ten years previously. The main house ground floor sat 100 cm above the external ground and as such had little connection to the surrounding parkland.The client also desired a glass enclosed space attached to the main house to enjoy the view of its natural surroundings.
The previous renovation of the house included landscaping and the addition of a small artificial lake in the south corner of the parkland.

On this basis and after an accurate topographic survey the following principles were adopted to create minimal visual impact, place the pavilion volume underground.

Location informed by the natural topography of the parkland.
Use the different ground levels to capture light inside, not with zenithale light but with windows directly connected to the outside landscape and lake. Visually connect the underground pavilion to the artificial lake.

Locate the pavilion far away from the main house in a strategic position, to create a totally new and independent space reached by a path that emphasizes the sense of privacy. The location of the underground pavilion far away from the house would then create an interesting and dynamic relationship between the two spaces.

Connect the main house to the underground pavilion and pool via a tunnel.
An irregular path was determined by the established trees which were to be protected.
The tunnel also connects via a few steps to a second small glass enclosed conservatory totally open to the surrounding parkland. A glass enclosed narrow bridge connects the conservatory to the main house.
The specific design of the structural steel was placed outside the glass perimeter. This was to give depth and emphasis to the internal volume and at the same time make the window frame design secondary.Stone footings of the conservatory on the south side of the main house enabled changes in the surrounding garden level, to give a direct connection between the garden and the internal space.
The pavilion space containing the indoor pool, fitness area and small kitchen is based on a sequence of simple geometric volumes in either wood or cement to contain the various functions.

All technical requirements for ventilation, climate control, automated pool cover etc were designed to be as discrete as possible within the overall design.

Choice of material for the pool lining and surrounding pavement needed to be durable and, neutral in colour. It also needed to be able to cover steps, ledges and curved surfaces ( pavement, walls and pool lining). The aim was to achieve a sense of continuity within the volume inside and outside the pool. A small white ceramic mosaic tile was chosen.
The choice of continuity of material creates an effect: a mass of water finds its natural resting state and settles in the lowest part of the volume, held by a dynamic and at the same time gentle form before it slowly follows its course down to quietly settle in the pool.

The west side of the pavilion (front) houses a sliding door. The door totally disappears into a structural cavity to maximize the connection with the surrounding artificial lake and parkland. In summer the indoor and outdoor spaces become one, a seamless conversation between both water surfaces (pool and lake) …..
The surface level of the pool and lake are the same. A small patio/ solarium 40 cm lower than this creates an entrance. The lowered space, obscured from the view of the house mediates the relationship of the natural surroundings and the pavilions simple geometry.

for more information please visit actromegialli.it

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These images and others may be viewed in Sidney at Koskela Art Gallery, for more information please visit koskela.com

The exhibition is open to the public from 8th August – 27th September 2015, with a launch event at 2:30pm Saturday 8th August.

Koskela
85 Dunning Ave
Rosebery, NSW

images courtesy of brookeholm.com.au

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Spanning a variety of media encompassing photography, sculpture, happenings and performances, sound, and single and multi-channel video installations, Aitken’s work explores the modern landscape and posits possibilities for new uncharted frontiers.

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Galleria Continua is thrilled to present in its exhibition space in Beijing the show Ai Weiwei. For the first time in his life, the famous Chinese artist designs and realizes a solo exhibition in his home country, following the entire development of the project from conception to realization in situ.

The show represents a new “challenge” faced by the artist through what he defines as a “learning process”, an on-going project, which is at the same time a struggle and above all, the organisation of an actual organism. Wang Jiaci (Wang family ancestral hall) was an ancestral temple of Ming age, dedicated to the cult of Wang Hua, an important prince who was reigning during the 6th century A.D., taken as reference by all future dynasties, from Tang to Qing. For hundreds of years, the ancestral temple was considered a sacred place, destined to host offerings and cult ceremonies for ancestors, as well as a place for holding important social activities or meetings and those concerning the Wang family.

Today Wang Jiaci is the hub of Ai Weiwei’s monumental project, an ancient building which was disassembled into more than 1500 pieces and meticulously re-built inside two exhibitive areas: Galleria Continua and Tang Contemporary Art Center, crossing the wall that divides the two galleries. The peculiarity of this traditional architecture lies in its structure consisting of columns and wooden beams, completely independent and detachable from the walls. This building technique, recently developed also in the West, was used in China over one thousand years ago and is strictly related to the Chinese philosophy and thought. The choice to bring a predominant installation with imposing structure, cultural importance and aesthetic beauty inside an exhibition and two galleries, aimed at setting conditions of “totality” where the environment, which is no longer physical but also temporal and social, becomes an essential aspect of the work. Thus, visitors become part of the project, and their behaviour forms an inseparable part of it.

The visitor, invited to enter the two exhibitive areas at different times, is forced to see the work only partially, without ever being able to view and enjoy the entire architectural structure from a single point. The public is invited to walk inside a “social context” rather than a visual one, a condition in which the architectural object was deprived of its original use, thus acquiring a new shape and meaning. The behaviour of those who live this experience becomes, therefore, the focus of the entire project, and even the work itself. Ai Weiwei focuses, once again, on the importance of human actions within a particular event, not only of artistic, but also of social and public character.

For more information please visit galleriacontinua.com

Images courtesy of oak taylor-smith

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Curated by world renowned Australian surfboard designer Hayden Cox, the exhibition launch was hosted alongside surfer and Haydenshapes team reder Craig Anderson and New York Artist Jason Woodside. The Gallery event marked the release of a new artist collaboration between Haydenshapes and Woodside whose bright and colorful signature print was added to Haydenshapes latest model release ”Love Buzz” and displayed in the room along with 3 marble prints from Haydenshapes previous Summer Cage Installation project.

The large scale wave installation was created using sustainable Xantia X-Board Cardboard material. More info can be found at xanita.com.

For more information please visit haydenshapes.com

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From the architect. The Wirra Willa Pavilion is a Miesian inspired glass pavilion situated in a vibrant and fertile, rural landscape setting not dissimilar to that portrayed in a Claude Monet painting.

The aim was to create a multifunctional space that provided an experiential opportunityfor the visitor so they could appreciate, to the full extent, the inherent beauty of the landscape. The specific site is situated remotely on a private property that totals 80 acres and was originally established as a stone and citrus fruit orchard. There are well established gardens intertwined throughout.

The pavilion cantilevers over the natural spring fed dam to connect the inhabitant to a sublime environment that is pulsing with an abundance of life and natural beauty. It is essentially used as a private and remote spa house and guest retreat that compliments the existing residence on the property.

For more information please visit matthewwoodward.com.au

Images © Murray Fredericks

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Exhibition 27 June – 18 October 2015

A major exhibition of new work made specially for The Fruitmarket Gallery by Phyllida Barlow, one of the international art world’s brightest stars. Born in Newcastle in 1944, and with a career spanning five decades, Barlow is known for monumental sculpture made from simple materials such as plywood, cardboard, fabric, plaster, paint and plastic. Physically impressive and materially insistent, her sculptures are inspired by the outside world, and with the experience of living and looking.

Barlow’s exhibition sets out, in her own words, to ‘turn the Gallery upside down’. A new series of large sculptures engulf The Fruitmarket Gallery in art, spilling from the upper gallery over the staircase and into the ground floor, enticing the visitor from the street and into a new world.

A major monograph accompanies this exhibition. Phyllida Barlow: Sculpture 1963–2015, written by Frances Morris, Director of Collection, International Art at Tate, offers an indispensible resource on the practice of this important British sculptor. Published by The Fruitmarket Gallery and Hatje Cantz.

for more information please visit fruitmarket.co.uk

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for more please visit style.com

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Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

His work has been exhibited in the US, Canada, Belgium, and the UK. After living in Montreal, Canada for 7 years, he moved to Dallas, Texas, where he obtained his MFA at the University of Texas at Dallas. For the final two years of his degree, he was an artist in residence at CentralTrak, the Artist in Residency program at UTD. His work has been featured in numerous publications around the world, including Sculpture magazine, the cover of the 12th edition of Art Fundamentals published by McGraw-Hill, and in author Tristan Manco’s book Raw + Material = Art . He is represented by Conduit Gallery in Dallas, and by Lot 10 Gallery in Brussels.

more information on gabrieldawe.com

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In 2015 Serpentine Galleries celebrates the 15th anniversary of the world-renowned Pavilion commission.

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Summary:

Marking the first collaboration of its kind between the Museum of Modern Art of the City of Paris and the Museum of Contemporary Art of Montreal, this major exhibition represents a critical retrospective of the works by internationally renowned artist David Altmejd.

The Museum exhibition brings together some thirty works made over the last 15 years. Altmejd has created, among other things, a new on-site intervention. On of the major parts of the presentation, The Flux and the Puddle, 20140, offers a dazzling compendium of the main motifs and preoccupation that inhabit the artists powerful imagination.

Biography:

Born in Montréal in 1974, David Altmejd lives and works in New York. After studying visual arts at the Université du Québec à Montréal, where he majored in drawing and painting, he graduated as a sculptor in 1998. Fascinated by biology and science-fiction film, he moved to New York, where he earned an MFA at Columbia University in 2001. Altmejd represented Canada in 2007 at the 52nd Venice Biennale with the installation The Index, and took part in the Istanbul and Whitney Biennials in 2003 and 2003, respectively.

more information on www.macm.org

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“25 Green” : a house among trees

A new house has put down its roots in Turin. Its structure is in steel and it looks like a forest where trees are rooted in terraces with irregular shapes, ponds are crossed by footings and lush gardens cover the roofs. The building has been thought as a living forest, a house on the trees like the houses children dream of and sometimes build.
The project comes from the necessity of making a residential building to complement a block featured by lack of homogeneity and heterogeneous prospects. The aim of the project is both the construction of the block perimeter with a continuous façade and the making of a filter between the internal inhabited space and the streets. The project wants to create a flowing and smooth transition space to soften the passage from the inside to the outside where the space is always enjoyable. The smooth and changeable transition is emphasized by a targeted use of the green and the building materials as to create a structure which is compact and distinct but also transparent, mutable and enjoyable.

It is a special building because it is alive: it grows, it breaths and it changes since 150 trees with tall trunks cover its terraces. Together with 50 trees planted in the court garden they produce oxygen, absorb carbonic anhydride, cut down air pollution, protect from noise, follow the natural cycle of Seasons, grow day after day and create a perfect microclimate inside the building so diminuishing the fall and rise in temperature in summertime and wintertime.

The streeps in solid wood that floor the terraces filter the sunlight in summer, while in winter they let the light break into the house. The wainscot in larch shingles is a sort of soft and vibrant surface. The metal structures look like trees and they “grow” from the groundfloor to the roof while holding up the wooden planking of the terraces: they become entwined with the vegetation to form a unique façade.

One of the aims of the project is the increase of the energetic efficiency and for this reason several integrated solutions have been adopted: continuous insulation, sun protection, heating and cooling systems which make use of the geothermal energy with heat pumps and recycling of the falling rain to water the green.
There are 63 residential units in the building and they are all different and fitted with wide terraces of irregular shapes that surround the trees. The last floor is covered with private green roofs.

The green is diversified: big vases on the terraces, court gardens, green walls and roof gardens just in front of the lofts.
In the vases there are trees or shrubs of different heights from 2.5 m. to 8 m. Deciduous species have been planted to have sun irradiation in wintertime too. The choice of the species , even if diversified according to the different needs, has been made to grant a variety of leaves, colours and flowering.
When all the green is fully blooming it gives the feeling of living in a tree house. You can dream of a house or live in a dream!

more information available on lucianopia.it

images courtesy of Beppe Giardino

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Rolls-Royce Motor Cars will present the first public showing of Isaac Julien’s new work Stones Against Diamonds during Art Basel in Basel, 2015. The work, commissioned as part of the Rolls Royce Art Programme, will be shown at the Kirche Elisabethen, Basel, from 16-17 June 2015. Following the preview during the Venice Biennale last month, the video installation film will be shown on a larger scale than previously seen, as a unique site specific installation filling the magnificent interior of the imposing church across ten screens. Isaac Julien’s film draws inspiration from a letter written by Brazilian architect Lina Bo Bardi.

Stones Against Diamonds examines themes within her letter, where she praises the beauty of natural elements over preferred precious stones. Filming the work in remote Vatnajökull region in South East Iceland Austurland,, using the breathtaking scenery of glistening ice caves as a set for the film, Julien portrays some of the most beautiful objects as the least precious in a conventional sense. The shoot took place over five days with the crew enduring sub-zero temperatures deep in the heart of spectacular glacial caves, formed in ice over thousands of years and accessible for only a few days a year due to the harsh climate. Signature elements of Bo Bardi’s work have been incorporated into Julien’s work, including a staircase, meticulously built by hand in the ice cave during the production of the film.

In a move providing technical challenges for the fifty-strong crew, a larger version of the staircase was recreated during post-production before being merged, using CGI, replicating Bo Bardi’s famed spiral staircase. Continuing the parallels, Julien incorporates Bo Bardi’s signature easels in his film, made of glass and concrete, two elements present in the majority of her work.

The way in which Julien’s film will be installed in Basel continues this representation, as the artist will multiple screens positioned to draw direct comparison with Bo Bardi’s work. Stones Against Diamonds will be shown on a loop, repeated five times within the hour across the ten screens, each time varying slightly to add an element of surprise for the viewer. Richard Carter, Director of Global Communications, Rolls-Royce Motor Cars said, “The precision incorporated into the production of this work is demonstrated by the crew travelling to the ends of the earth to find the rarest, most beautiful natural components in order to create a piece of moving, dramatic and timeless art. This truly reflects Rolls-Royce Motor Cars, where the master craftsmen and women source the world’s finest materials to create rare, unique and exquisite motor cars, which transcend their primary function as a form of conveyance to become works of art themselves.”

more information on isaacjulien.com

photos by harold cunningham

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”Sean Kelly is delighted to announce From Düsseldorf, a solo exhibition of recent work by prominent German photographer Candida Höfer. This will be Höfer’s first exhibition with the gallery and her first exhibition in New York since 2013. An opening reception will take place on Thursday May 7 from 6:00 to 8:00pm, the artist will be present.

On view for the first time in the United States, the photographs presented in this exhibition were all taken in Düsseldorf, Germany — the city where Höfer first studied photography under Bernd and Hilla Becher and which, to this day, remains an important influence on her work. In the mid 70s, Höfer and her peers at the exalted Kunstakademie, known as The Düsseldorf School of Photography, created one of the most remarkable artistic movements in Germany since the Bauhaus. In the years following, Höfer has continued to photograph Düsseldorf with a fresh eye, revealing an entirely new, and unexpected, minimalist direction in her work.

Alongside the meticulously composed, large-scale, color images of interiors for which Höfer is known, the exhibition presents photographs from the artist’s remarkable new body of work. Höfer’s latest compositions focus primarily on architectural detail and structure, color and form, utilizing extreme angles and close-ups to interrogate abstract forms. These fascinating new images juxtaposed against the Baroque churches, Rococo halls, and Modern opera houses, quintessentially representative of Höfer’s oeuvre, create an exciting visual dialogue that explores the past, present, and future of both the city and the artist.

Höfer’s internationally recognized work has been exhibited in solo exhibitions at the Kunsthalles in Basel and in Berne, the Museum Folkwang in Essen, the Louvre in Paris, the Irish Museum of Modern Art, Dublin, Museum Kunst Palast in Dusseldorf and, most recently, at the Kunstmuseum Luzerne. Her work has also appeared in group exhibitions at The Museum of Modern Art, New York; the Power Plant, Toronto; Kusthaus Bregenz; Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; and Documenta XI, Kassel. Höfer represented Germany at the 2003 Venice Biennale. Her photographs are in major public and private collections worldwide.”

more information available on skny.com

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PAOLA PIVI “YEE-HAW”
Galerie Perrotin, Paris / 4 June – 1st August 2015
Opening reception: Thursday 4 June, 4-9pm
Exceptionnal closure from 25 June to 2 July

“Yee-Haw,” Paola Pivi’s ninth exhibition at Galerie Perrotin in the last fifteen years, introduces a new series of photographs with animals. Her diverse work, spanning performances to sculptures to large installations, is punctuated over the years by her photographic representations of animals in performative happenings; these are her most renowned images.

A long way from unicorns and other chimeras, the animals that appear in Paola Pivi’s world are very real. Yet, set in their strange surroundings, they appear as a dream within reality, imbuing them with a mythological aura (ostriches or a donkey sailing on a small boat in the Mediterranean Sea, 84 goldfish swimming in bowls and flying in a passenger airplane in New Zealand, different white animals grazing in an Edenic land, alligators frolicking in whipped cream in Florida or polar bears covered in multicolored feathers posing during the inauguration of Galerie Perrotin in New York). These images cast a new oneiric light over the world, viewed now through the prism of fantasy, of a fabulous bestiary. They appear to reveal a dimension that is a part of everyday life, which has only by chance never occured before in front of someone’s eyes.

For this exhibition, Pivi brought four horses to the Eiffel Tower. The animals seem to have found a new playground, an architectural landscape made to their measure. Once again, Pivi revisits and juxtaposes elements that are both familiar and archetypal into a fantastic iconography.

for more information please visit perrotin.com

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The library is located along the seashore of China Bohai Bay. The design key point is focused on exploring the co-existing relationship of the space boundary, the movement of human body, the shifting light ambience, the air ventilating through and the ocean view.

The design began with section. The library houses a reading area, a meditation space, activity room, a drinking bar and a resting area. According to each space, we establish distinctive relationship between space and the ocean; define how light and wind enters into each room.

for more information please visit vectorarchitects.com

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Damián Ortega

Casino / Curated by Vicente Todolí

from 5 June to 8 November 2015

More information available on hangarbicocca.org

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French photographer Charles Pétillon created the series ‘Invasion’, containing bundles of white, inflated balls within architectural spaces, neighborhoods and natural landscapes. He considers each photo in his series a metaphor for either a period of time, an emotional sensation, or universal urban evolution. They aim to change our perception of the ordinary sceneries we encounter everyday.

The photos were exhibited at Maison Européene de la Photographie between the 20th of February and the the 22th of March 2015.

More information and works available on charlespetillon.com

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from the architects: The church of San Paolo Converso houses the new headquarters of CLS architetti. The “Firm in the Church” – a project created by the firm’s architects themselves and inaugurated at the end of 2014 – is a structure located inside the church. The church of San Paolo Converso, dating back to the 16th century and decorated with fresco paintings by the Campi brothers, is divided in a front church and a rear church. The front church is open to the public and consists of a single chamber with an entirely decorated barrel vault and side chapels, at the centre of which rises the altar.

The rear church is reserved to the cloistered nuns of the adjacent convent. These two sections communicate visually through the upper lunette on the wall behind the altar. The reception is located at the entrance of the front church, the library in the altar area, and a first meeting room in the area connecting the two churches. A four-floor iron structure built in the rear section houses the offices and the various planning areas. All this without affecting the original construction in any way. An iron staircase connects the floors crossing the entire length of the parallelepiped structure.

The last floor houses the partners’ offices and the meeting room, which protrudes over the front part through the lunette, thereby dominating the entire space with a unique view. The iron structure is open on all sides, thereby allowing you to admire the frescoes from different levels. The library, plastic model laboratory, and the kitchen are in the groin-vaulted crypt, which features a double row of four columns dating back to the 16th century. The entire project is made of natural black tubular iron, whose cross-section is repeated in different scales both in the construction of the weight-bearing structure and in the furnishes, such as the desks and bookcases designed for this space. The flooring and worktops are covered with grey rubber, thereby making the various areas visually homogeneous.

The lighting is the result of a light engineering study carried out together with Flos: tailor-made hand blown neon lights attached directly to the iron structure. A complex lighting system lights the frescoes and volumes from various sources. In addition, the particularity of the place has required an acoustics study to ensure proper soundproofing for the open spaces on all four floors. The partners of the firm have decided to make the front church a place dedicated to creative disciplines, where international guests can organise their exhibitions, performances, and installations open to the public.

more information available on the architect’s webpage clsarchitetti.com

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Features include Another Magazine, Wallpaper*, Port Magazine, NY Times, Telegraph Luxury, Le Monde, Printed Pages, Telegraph Magazine

Clients include Jo Malone, Maiyet, Smythson, Sunspel, Stella McCartney, COS, Pringle

To see more of her work you can check her website at katejackling.com

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Via the architect. The building is located in the Colonia Roma, a historic neighbourhood in the central sector of Mexico City. La Roma developed in the 19th century as one of the first extensions of the city centre, with an orthogonal grid of large houses inhabited by the upper classes of the city. With the emergence of suburban life in the 50s, la Roma decreased its population throughout the second half of the 20th century, getting to its worst with earthquake of 1985.

Images © Miguel de Guzmán

Courtesy of archdaily.com

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Yayoi Kusama’s latest exhibition titled ”Give me love” will be held at the David Zwirner Gallery in New York during May 9 – June 13, 2015.

”David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions. ”

more information available on davidzwirner.com

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more information on louisvuitton.com

images courtesy of architecturaldigest.com

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Frieze New York returned to Randall’s Island Park, Manhattan from May 14 to 17, 2015. For the fourth consecutive year, Frieze New York was sponsored by Deutsche Bank.

Housed within an innovative structural design and overlooking the East River, the fair showcased the world’s most exciting contemporary galleries. This year saw the introduction of Spotlight, a new gallery section which took place alongside the existing Frame and Focus sections. The fair also benefited from a celebrated non-profit program comprising Frieze Projects, Talks, Sounds and Education.

Images courtesy of ocula.com
Photographs © Charles Roussel & Ocula
More information available on friezenewyork.com

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Janet Echelman‘s latest aerial sculpture has been suspended 365 feet above Boston’s Rose Kennedy Greenway. On view through October 2015, the monumental installation spans 600 feet, occupying a void where an elevated highway once divided the city’s downtown from its waterfront.

“The sculpture’s form echoes the history of its location,” describes Echelman. “The three voids recall the ‘Tri-Mountain’ which was razed in the 18th-century to create land from the harbor. The colored banding is a nod to the six traffic lanes that once overwhelmed the neighborhood, before the Big Dig buried them and enabled the space to be reclaimed for urban pedestrian life.”

Courtesy of archdaily.com

Images © Peter Vanderwarker

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Like a great skeptical underground project, Shrigley’s conceptual, idea-based art is a never-ending stream of curious propositions and eccentric moral dilemmas. With acerbic humor and strangely profound insights, the artist lays bare the ambiguities, comedy and pathos of everyday life. According to the artist, most aspects of life have the potential to be “ridiculous, absurd, awkward, funny and meaningless all at once.”

Shrigley has consistently experimented with different media and formats, although drawing has been the mainstay of his practice. This exhibition focuses on the economy and eloquence of his unique, funny drawings on paper, with their pared-down, crude graphic forms and puttering script. In all these works, the artist furthers his exploratory unraveling of the world around him with images and words that beckon the viewer to enjoy the liberating power of a good laugh.

Images & text courtesy of Antorn Kern Gallery

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MARCIN MACIEJOWSKI

Unsettled Matters

17 April to 17 May 2015

@ Wilkinson Gallery, London

”Maciejowski paints people in his life, scenes from the media, famous people, and artists, writers and other cultural figures. The paintings that reference other artists could be read as a form of institutional critique, as Maciejowski performs the act ofreimagining moments of history and culture that interest and influence him. The choice of title of the exhibition – Unsettled Matters – is a conscious reference to an article about contemporary art that refers to the past. Often art that does this accumulates these references in a kind of constellation of selfvalidation, creating a hollow surface that looks like art but would collapse if these references were removed. In opposition to this, Maciejowski’s approach to the representation of these people is the same as his approach to painting a person he loves. The images he selects to paint are the accumulation of a vocabulary of how he experiences the world – a strange concoction of the banal and the sublime, like feeling painfully sad in a theme park.

Kathy Noble”

Images & text courtesy of Wilkinson Gallery

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Glasgow-based, Denmark-born photographer Tine Bek has taken the idea of the Baroque and spun it out to explore some pretty big concepts: nature, domesticity and the representation of the female body to name but a few. His series Barok is formed of numerous individual images which when isolated don’t seem to have to much to do with Baroque and all its drama and grandiosity; but together they form a strange narrative and take on a whole new feel. “Baroque is the main inspiration, not just as a period within architecture or art, but more so as an expression of a certain philosophy,” explains Tine. “The overall themes [are]… the balance between illusion and reality, light and dark and time and space.

“For me the images are always moving, changing and evolving, leaving me with something not quite graspable, where the architecture is more sophisticated than the people, who seem almost more animal-like than civilised. With statues that seem alive and people mainly portrayed as almost abstract figures, the reality as we know it is turned upside down, leaving all rules of etiquette behind.”

text via Emily Gosling @ itsnicethat.com

images courtesy of Tine Bek

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Diana Al-Hadid’s first solo exhibition at the gallery, titled Ground and Figures, presents a combination of various work: three-dimensional paintings, drawings on mylar, sculpture, and a site-specific installation. While continuing her course of inventing visually distinct and compelling work, for which she is well recognized, this exhibition advances several aspects of her practice – in scope, scale, and subtle shifts of color palette.

Myriad topics influence Al-Hadid’s conceptual curve, including anatomy; architecture; geology; history; and art history. These separate subjects synthesize, leading to her ingenious methods of execution, and an aberrant aesthetic emerges as a result. Everything in her repository culminates into creating impossibly intricate works, simultaneously ethereal and ragged. Each piece bridges a realm ­– dimensionality is immeasurable, and matter isn’t tangible.

Large-scale panels merge image and volume. These lace-like works, formed using an additive process combining polymer gypsum, fiberglass, and plaster, held together by a skeleton of steel, finally manifest as apparitional paintings. On the surface of each piece, gold leafing drips along lines and contours, highlighting the collapse of image, and exalting memory against the inevitable passage of time. One of the panels is influenced by a snapshot taken at Piazza San Marco that Al-Hadid captured during her last trip there, when the façade of the cathedral was mostly covered in scaffolding. The bottom of this piece is open, so that the building’s semi-discernable architectural form disintegrates out of the “frame.”

Al-Hadid created an installation specifically for this exhibition, applying a bottomless design, similar to the San Marco piece. This exploit drops a 30-foot long “wall” from the ceiling, spanning the width of the gallery space. Combining landscape and portrait imagery from various Old Master paintings, she constructed this to include a sizable egress, irregular and fissured, allowing people to move through the work. Inviting interaction, this installation is the first of its kind, giving the sense of traversing a painting, or passing through a threshold between a distant past and an obscure frontier.

Diana Al-Hadid (b.1981, Aleppo, Syria) currently lives and works in Brooklyn, NY. She received a BFA in Sculpture from Kent State University in 2003, and an MFA in Sculpture from Virginia Commonwealth University in 2005. She attended the Skowhegan School of Painting and Sculpture in 2007. Al-Hadid has received numerous awards, including: a Joan Mitchell Grant; Louis Comfort Tiffany Grant; USA Rockefeller Fellowship; New York Foundation for the Arts Grant; and a Pollack-Krasner Grant. Her work is included in many public collections, such as the Whitney Museum of American Art, New York; the Virginia Museum of Fine Arts, Richmond; the Museum of Fine Arts, Houston; The Weatherspoon Art Museum, Greensboro; and The Judith Rothschild Foundation, New York. Al-Hadid has had solo exhibitions at Secession, Vienna, Austria; Columbus College of Art and Design, Columbus, OH; Weatherspoon Museum of Art, Greensboro, NC; Virginia Museum of Fine Arts, Richmond, VA; Nasher Sculpture Center, Dallas, TX; Centro de Arte Contemporánea, La Conservera, Murcia, Spain; Nevada Museum of Art, Reno, NV; and The Hammer Museum, Los Angeles, CA.

Images & text courtesy of pacemacgill.com

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The work seven fictive dining ceremonies was particularly made for this exhibition in Milano. Fitted for the theme Luxury and the title of the exhibition Slow City Maastricht I developed the 7-piece place setting from existing cutlery in combination with the self-created parts. The design of the cutlery has the old typical shape of the silverware of Maastricht, which is also equipped with the city brand, the star of Maastricht. Back then the cutlery was a valuable and individually decorated possession, which often functioned as a showpiece and conversational piece. Surprisingly, knife and fork where not meant to be utensils for eating. Neither is my cutlery. Instead it gives seven different answers on what to do with it when you don’t use it for eating. The observer is encouraged to find new appliances to refine his mind and the fine sense for design, dreaming and fantasy.

more info on cargocollective.com

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Unlike other club concepts, which often focus on wealth and status, we aim to assemble communities of members that have something in common: namely, a creative soul. The majority of our members work in traditional creative industries, with the film, fashion, advertising, music, art and media sectors, among others, heavily represented.

We offer five types of membership: Local House, Every House, Under 27 Local House, Under 27 Every House and Child Membership.

Local membership to Shoreditch House gives you access to all club spaces and facilities: bars and restaurants, the gym, our Cowshed spa, the screening room, a rooftop swimming pool and our event programming calendar for members.

Every House membership provides access to all Soho House clubs internationally.”

all images courtesy of soho house london

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”Whose Utopia? 2006 contrasts the humdrum reality of life in a lighting factory with the dreams and aspirations of its younger workers at a time of economic growth and social change in China.

Artist Cao Fei spent six months with the employees of a lighting manufacturing plant in China’s Pearl River Delta region, an industrial megalopolis that in the past two decades has attracted great numbers of migrants from poor rural areas. The artist documented the workers’ daily life, from the factory floor to their humble living quarters. At the same time she conducted interviews about their passions and ambitions beyond their day job, and invited some of the workers to be filmed performing scenes based on their responses.

The first part of the video shows workers absorbed in their repetitive tasks, acting almost as extensions of the machinery surrounding them. From the relentless rhythms of the assembly line to the busy offices and orderly stockrooms, the whole process takes on a hypnotic quality, enhanced by the eerie instrumental soundtrack. In the second part the factory aisles are animated by the fantasies of a handful of workers, seen dancing or playing guitar as their colleagues keep toiling, seemingly unaware. The final segment consists of filmed portraits of individual workers, pausing from their tasks to look straight into the camera. Such vignettes offer a glimpse into their personalities and inner lives, depicting them as much more than cogs in the collectivist machine fuelling China’s economy.

Cao Fei was born in 1978 in Guangzhou, China. She lives and works in Beijing.

Curated by Valentina Ravaglia” – description courtesy of tate.org.uk, more information available on their website. Image courtesy of Whose-utopia, My future is not a dream, 2006 © Cao Fei / Lombard-Freid Projects

Even if you are not going to be in London for the show, you can still watch the video part of ”Whose Utopia?” below. Obviously, the experience won’t be the same as being there but still, if you’re curious at least you’ve got an option!

Whose Utopia (Cao Fei, 2006) from Melvin Furnau on Vimeo.

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His long-term projects focus on the margins of society in Hungary, Romania and other parts of Eastern Europe. His upcoming exhibition at the Photographer’s Gallery in London (this mid-April) named Notes for an Epilogue and Here, Anywhere , depict a time of transition in rural Romania and across Hungary following the fall of Comunism in the late 1980s. The project imbues a gloomy atmosphere, comprising images of a society that in its run for becoming more modern and western has abandoned its factories and in effect led to the formation of a society at the outskirts that is no longer part of the economy. According to the thephotographersgallery.org.uk ”With these series Dezso is not offering portraits of a nation but rather a careful examination of the decaying ruins of the Soviet era, their effects on villages, communities and individuals and the slow disappearance of centuries-old traditions. ”

Tamas Dezso has twice been awarded the Hungarian Press Photo’s Photographer of the Year (2005 and 2006), and has received awards from organizations such as World Press Photo, Pictures of the Year International, NPPA’s Best of Photojournalism, and PDN. His photographs have appeared in TIME magazine, The New York Times, National Geographic, GEO, Le Monde magazine, and many others. Dezso has been nominated for the 2012 Prix Pictet.

The exhibition is scheduled to open on the 17th of April and will run until the 13th of June this year.

Images courtesy of tamas-dezso.com

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Starting from February this year, the Centre Pompidou in Paris has hosted the latest exhibition by HERVÉ TÉLÉMAQUE. Maybe you’re already a fan or maybe you’re just lucky enough to bored in Paris and don’t know what to do, either way, you can investigate the artist a bit in the below extract taken from the museum’s official page and also glance at a few of the works which will be present in the exhibition.

25 February 2015 – 18 May 2015

from 11h00 to 21h00

”With 75 works in the form of paintings, drawings, collages, objects and assemblages, the retrospective devoted to Hervé Télémaque is one of the most significant ever devoted to the Haiti-born French artist. It reveals for the first time at the Centre Pompidou all the diversity and consistency of a challenging body of work with undeniable visual power. 

After spending three years in New York, where he became familiar with the abstract expressionism that influenced the assertive gestures of his first paintings, Télémaque settled in Paris in 1961. At this time, he became close to the Surrealist group. On canvas, he orchestrated the meeting of objects from consumer society and popular culture, which led to joyous visual short-circuits. Soon a follower of the “clear line” style, Télémaque produced paintings with a strong autobiographical element. These were constructed as metaphorical sequences with a definite critical import, half-way between counter-culture and anti-colonialism, while exploring the complex relationship between image and language. However, between 1968 and 1970, the artist stopped painting to produce intriguing assemblages of objects, where the white stick, symbol of blindness, took on a major role.

When he returned to painting, Télémaque tackled collage for the first time, profoundly reworking its current techniques.During the Nineties, Télémaque also executed drawings in charcoal, whose dark forms and sophisticated cut-out effects dialogued with a large number of reliefs in salvaged wood covered with coffee grounds. The 2000s were a period when he cast a fresh eye on the world, after returning to his African roots. His works at this time were notable for their frequent allusions to “negritude”, and their more precise comments on current French politics. In the middle of the decade, he made an unexpected and highly productive return to a striking new pictorial form. ”

Images & text courtesy of centrepompidou.fr

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In this landmark work from SFMOMA’s media arts collection, Doug Hall traverses the technologically mediated modern landscape in pursuit of what he calls a “technological sublime.” The Terrible Uncertainty of the Thing Described (1987) incorporates multiple channels of video showing extreme weather and industrial machines into a large-scale sculptural installation that features a functioning Tesla coil. The coil’s unexpected flashes of artificial lightning jolt viewers into a sudden awareness of their own vulnerable presence amid the turbulent stream of media images — the rupture, in Hall’s words, “between the world as representation and the world as fact.” This presentation at the San Francisco Art Institute’s Walter and McBean Galleries marks the first time The Terrible Uncertainty of the Thing Described has been seen in the Bay Area since it was last presented by SFMOMA in 1989. More than 25 years later, at a time when the boundaries between physical experience and the media landscape are even more uncertain, Hall’s work is still electrifying.

The exhibition is jointly curated by Hesse McGraw, vice president for exhibitions and public programs at SFAI, and Rudolf Frieling, curator of media arts at SFMOMA and visiting faculty at SFAI. Hall is professor emeritus at SFAI, where he taught from 1980 until 2008.

Source: http://www.sfmoma.org/exhib_events/exhibitions/587#ixzz3WEwfqeof

San Francisco Museum of Modern Art

ABOUT THE ARTIST

San Francisco–based Doug Hall is professor emeritus at SFAI, where he taught from 1980 until 2008. Hall is currently a visiting artist in graduate fine arts at California College of the Arts. His internationally acclaimed work spans performance, video, and photography.

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But still, Philadelphia-based artist Alex Da Corte manages to bring a different type of scare to the surroundings of the bourgeoise neighborhood through his bizarre exhibition ”Die Hexe” (meaning, ”The Witch”). According to Curbed, the exhibition incorporates the work of three other artists: Bjarne Melgaard, Mike Kelley and Robert Gober, in a five-room show that is reminiscent of David Lynch’s Twin Peaks X The Shining X random dodgy 70s strip club.

To me, the revealing nature of each room is what contributes most to this startling feeling of uneasiness you MIGHT get when you are part of the show. And if you ask me, that orange gingham check patterned wallpaper is enough to make you want to flee in terror and never turn back. Still, the artist probably felt like it wasn’t enough and also managed to add a screechy-creepy old rocking chair to make sure he gets the point across and give the room some feng shui.

If you are that lucky to be in New York this spring, then consider going to see this thing rather than go to, let’s say, a park or a conventional museum because hey, you’re crazy and fun (just like you said you were on tinder)

that gingham check, man. too much. it’s too much for me.

Images courtesy of timeout.com

More information over here: luxembourgdayan.com

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Zin Helena Song’s visually complex sculptural paintings are rooted in both Western and Asian art influences melded with modern societal concepts of order and multiplicity. Her process incorporates hard-edge abstract paintings on top of meticulously hand-fabricated three dimensional geometric forms that are mounted to the wall. Each piece is painted with precision, using a subdued and boldly contrasting color palate to accentuate the lines and angles of the shapes. Ultimately the pieces push the boundaries of paintings into the architectural realm by activating space. The series titled Polygon in Space feature sharp edges that imply movement, while the Origami series hover as if hollow and weightless despite the strong and dominating, protruding structure.

Song moved from Seoul to New York in 2009. She completed her MFA at Long Island University Post in 2014. She received the O’Malley Scholarship in 2013 and the Eleanor Lockwood Memorial Award in Sculpture (2014). Her work has been acknowledged in numerous publications including MOMA PS1 Studio Visit, The Jealous Curator and The Brooklyn Rail.

Images and information via carlesmithgallery.com

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The existing roof geometry is accentuated creating a language of faceted surfaces. The articulated volume of the building’s front facade extends indoors to define the interior spaces, resulting in a dematerialization of the roof, wall and floor planes. A forced perspective is created, framing the extraordinary views out to the Santa Monica Bay.

The minimal, gallery-like living space is designed to accommodate the client’s extensive collection of contemporary art. Display niches, lighting and the configuration of the spaces are planned to enhance the experience of viewing the art.

The stair has cantilevering steel treads, each with a custom laser-cut pattern. Light from the skylight above filters through the perforated stair to project an ever-changing texture of shadow and light, enlivening the walls and floor.

A grand entry door made of a stainless steel tube frame marks the threshold into the relatively small house. The 10’ high door makes use of a hydraulic pivot and a concealed magnetic locking device.

All iamges from contemporist.com

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Images and text courtesy of Tate Modern

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With photographs from rich and poor schools, numerous middle schools, and some high schools in countries from all over the world, Mollison also provides access for readers of all ages to issues of global diversity and inequality.

James Mollison was born in Kenya in 1973 and grew up in England. After studying Art and Design at Oxford Brookes University, and later film and photography at Newport School of Art and Design, he moved to Italy to work at Benetton’s creative lab, Fabrica. His work has been widely published throughout the world including by Colors, The New York Times Magazine, the Guardian magazine, The Paris Review, GQ, New York Magazine and Le Monde.

The photographs will be published under the form of a book, called ‘Playground’ and the official launch will be held at the Aperture Foundation, in New York, which will also feature an exhibition of the series.

Photographs by James Mollison taken from theguardian.com

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Fashion and portrait photographer Ollie Grove shoots international campaigns for the likes of Bulmers; album covers for platinum selling artists such as Rudimental, and regularly produces works for high profile brands and music artists. He has a slight obsession with dogs.

Photographer and filmmaker Will Robson-Scott splits his time between London and New York an has achieved notoriety with a series of books and films documenting the global underworld of illegal graffiti writers. In 2014 he won 2nd place in the Best European Short Film and Young Director Award categories at Cannes Lion.

Images courtesy of indogswetrust.net

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The Gold Medal is the Institute’s highest individual architectural honor and is made in recognition of most successful services by an individual architect who has created buildings of exceptional merit or highly distinguished himself in the profession of architecture.

Peter Stutchbury, born 1954 in Sydney, is a multi-award-winning Australian architect. He is a professor in architecture at the University of Newcastle, Stutchbury, and also a founding director of the Architecture Foundation Australia, having also taught at the foundation’s Glenn Murcutt International Architecture Master Class since its inception in 2001.

His clients include some of the world’s most renowned designers, such as Issey Miyake for which he designed a house in a breath taking location on top of a cliff in Japan.

The 61 year old architect recently sparked controversy when publicly showcasing his new home, a 45 square metre ”tent house” which was aimed to challenge the convention of living in suburban Australia.

light house by Peter Stutchbury

wall house by Peter Stutchbury

wall house by Peter Stutchbury

light house by Peter Stutchbury

land house by Peter Stutchbury

land house by Peter Stutchbury

invisible house by Peter Stutchbury

invisible house by Peter Stutchbury

All images courtesy of peterstutchbury.com.au

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She believes that forests are potent symbols in folklore, fairy tale and myth, places of magic as well as of danger and mystery and you can clearly see hints of these qualities and descriptions being brought out in her images.

The altered landscapes become a reflection of her personal relationship with the forest that call into question the idea of landscape as a social and cultural construct.

Cyril Foiret via Trendland.com

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Claudia Legge, a London-based photographer with a passion/addiction for shooting underwater, found out about this creepy tranquil sculpture park when she was in Mexico and wasted no time in getting below the surface with her camera to check it out.

Claudia works and exhibits worldwide and has upcoming exhibitions in New York and London.

Liv Siddall via itsnicethat.com

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Photo: Marcus Tondo / Indigitalimages.com

Backstage, designer Giambattista Valli explained that the horsey milieu—from traditional British hunting attire to stylized jockey-esque uniforms—provided a more tailored template for Moncler’s elevated range. Traditional tweeds, tartan, and mohair checks were transposed onto tech fabrics or spliced with luxe tinted skins. Despite additional constants—black knee-padded leggings, tightly tied scarves, bowl-shaped helmets—no two looks showed the same mix of layering, shearling patchwork, and skirt volume, as if defiantly countering the brand’s core offering. Heraldic prints, mixed-material camouflage, fox panels like fluffy pony hair, and even a trompe l’oeil gold chain belt with a stable key ticked off any remaining tropes—minus an actual horse.

Photo: Marcus Tondo / Indigitalimages.com

Photo: Marcus Tondo / Indigitalimages.com

Photo: Marcus Tondo / Indigitalimages.com

Amy Verner, via style.com

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In van Herpen’s collections, science fiction often meets science fact, and perhaps here was the most literal expression of the combination. “The whole concept of terraforming started in science fiction, but it has become a reality,” said the designer after her show. “It made me think about what is our space? Should we do it? The collection is mainly my fantasy of what we would do.”

Photo: Kim Weston Arnold / Indigitalimages.com

With that in mind, she “terraformed” her materials and in the process invented new terrains in terms of fabrications. This was done through a combination of the man-made and the natural, and at times formed new geologies in the fabrics themselves. One incredible material was a combination of stainless steel in the warp and silk in the weft, producing a fine, fluid dress silk. Heat was applied throughout the collection—just as would happen in the case of that prime target for terraforming, Mars (NASA has even held conferences about this). The process provided a punch to meta-woven materials; this is what gave certain looks their distinct coloration and texture—like a boiling oil slick mixed with silk. Three-dimensionality was important again for van Herpen: Her signature 3-D printing was visible, especially in the shoes that resembled rock-crystal formations captured in a net of laser-cut leather. Also important was the notion of infinity, which gave the circle pride of place in patterning, particularly in handwoven textiles made with Aleksandra Gaca and in the architect Philip Beesley’s creations of digitally fabricated dresses, described as a “black garden of fractal-like geometries.”

Photo: Kim Weston Arnold / Indigitalimages.com

When you consider the distinctly sci-fi look of some of the clothing (most successful was a nod to the “sand suit” from David Lynch’s Dune) and the strange desirability of the 3-D grid and handwoven daywear (a distinct departure for the designer), the overriding impression was of a delicacy and finer tuning in the collection than has ever existed before. The power of the casting and stripped-back styling was also tighter than ever.

Photo: Kim Weston Arnold / Indigitalimages.com

At the same time, the presentation itself had a feeling of pared-back flatness, accentuated by the unyielding, plain square of the Palais de Tokyo venue and in the heavy-going music. And van Herpen needs to convey her ideas through the metaphor of the show as much as anything else, otherwise her incredible research and material processes will be lost in translation. This is where one of the great show producers could help marry it all—van Herpen should indeed make things slicker and yet that does not mean bowing to convention. Fashion doesn’t have to be about theatrics, but in this designer’s case the terrain of the catwalk needs to be terraformed, making things come to life as much in the mind of the audience as in the materiality of the clothing.

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Jo-Ann Furniss, via style.com

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Installation view of the exhibition Laurie Simmons: How We See, March 13, 2015 – August 9, 2015. Photo by: David Heald. Art © Laurie Simmons, courtesy the artist and Salon 94.

Simmons first discovered this particular “doll girl” make-up trend, a facet of the kigurumi culture she explored in her previous series, through YouTube tutorials. “One of the things I think is interesting is how many young women have found a voice on these YouTube tutorials or explanations,” she said, recounting an informational video she found about a liquid eyeliner that ran at least 15 minutes. “I just imagine all these girls in their rooms, finding importance in this one piece of make-up, this eyeshadow glitter or this one lipstick, and feeling — is it confidence?”

Laurie Simmons, How We See/Look 1/Daria (2014).
Courtesy the artist, Salon 94

Of course, on one level, the desire to look like a doll feels like a worst-case consequence of our post-Barbie society — a byproduct, perhaps, of a lifetime spent soaking in visual culture that tends to treat women like set decoration. It’s not hard to look into these models’ vacant, painted stares and glean a grim fascination with this sort of willing self-objectificaion, their eyes quite literally clouded by make-up. But on the other hand, in thinking about YouTube and the myriad options today for self-curated self-presentation, the savvy, even illusory use of make-up feels almost triumphant.

Laurie Simmons, How We See / Ajak (Violet), 2015, Pigment print, 70 × 48 inches (178 × 122 cm). © Laurie Simmons, courtesy the artist and Salon 94.

“I think when people first started taking pictures, they thought that there was this fantastic new medium for telling the truth, and now we’re all so sophisticated that we know pictures lie like crazy,” Simmons said. What if this, in the age of Photoshop, is just “how we see” now — through a lens of presumed artifice? And aren’t these women then all the more canny for being able to manipulate that to their liking?

“I think a lot about modes of self-transformation — make-up tutorials, ‘how-to’s on the Internet, even apps where you can give yourself pink cartoon hair,” Simmons said. “Initially, it’s all about having fun, but there’s a place where fun and a horrorshow sort of collide.” And one such place, it seems, is in these photographs, all the more disconcerting for their bright colors and beautiful faces.

“I’m not in any position to judge at what point any of these things become unhealthy — I’m just watching it all appear and evolve,” Simmons added, noting that this series is far from over, as these faux-eyes continue to inspire her. “My thought is, I just want to be around long enough to see where this all goes.”

Laurie Simmons, How We See/Lindsey (Beige), 2014, pigment print, 70 × 48 inches, edition of 5.
Credit: © Laurie Simmons, courtesy the artist and Salon 94.

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photo ropac.net

Brecht’s great aesthetic and intellectual affinity with Chinese poetry and its inclination towards demotic, unsentimental, didactic expression corresponds to Slominski’s sympathy for the non-exclusive quality of Brecht’s writing.

Slominski’s works evince an extremely democratic view of the subjects he uses. He finds beauty in objects that are generally perceived only casually, and fondly adopts them in his works.

In combination with Brecht’s poem Die Freunde, the vehicles [Gefährte] are reinterpreted as friends [Gefährten]. One could perhaps make the association with a couple who are sometimes separated, sometimes together, and the common expression “to have someone in tow”, probably also plays a role. The trivial information that Brecht was a keen if rather reckless car-driver seems to be an allusion on a further level of meaning.

photo ropac.net

The artists of the Cologne Progressives – a group that came together during the inter-war years, from 1920 until 1933, and worked with pictograms – could serve as an art-historical link between Brecht’s poetry and Slominski’s reduced symbolic language. In accordance with their self-conception as political artists and their claim to combine politics and art, the predominant artistic substance of the Cologne Progressives (protagonists were Gerd Arntz, Franz Wilhelm Seiwert, Heinrich Hoerle) concerned themes such as revolution, social and political events, or man and his place in society. The figures are not so much individuals as schematised beings exemplifying specific types. Their preferred genres were painting and graphic works, since – in keeping with their socio-political aim – these would reach a large target group. In both painting and graphic works, the realistic element receded in favour of the geometric.

photo ropac.net

Boris Groys remarked on Slominski’s work: “I thus have the impression that everything Andreas Slominski does is a reference to something else. This is where the actual power lies. Fundamentally, the power to direct attention is absolute power.”

photo ropac.net

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photo haworthtompkins.com

By removing existing floors, extending the roof space and re-planning the circulation routes, the new facility yields a double height rehearsal room of a similar size to the main Donmar stage, a street fronting green room, administration offices, a large education studio in the roof rafters and a new attic apartment for visiting artists.

photo haworthtompkins.com

Stripped back and partially demolished walls and ceilings have been left raw as a suitably theatrical backdrop to the Donmar’s working life, with a new polychromatic staircase, hand painted by Haworth Tompkins’ regular collaborating artist Antoni Malinowski, as the warm heart of the building. Scenographer and production designer Lucy Osborne has collaborated closely on finishing and furnishings, reinforcing the collective sense of a theatre production as much as a construction project.

photo haworthtompkins.com

As for many of Haworth Tompkins’ creative working spaces in existing buildings, the personality of the historic architecture has been allowed to set the tone, with a provisional, loose-fit language of new additions setting up a fluid, adaptable relationship of new and old. Materials added have been simple and straightforward – whitewashed plywood, painted timber beams and wall coverings, waxed mild steel – to complement the richly patinated texture of the found surfaces. The aim is very much for a benign occupation rather than an obliteration of the original fabric.

photo haworthtompkins.com

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photo © Cristobal Palma / Estudio Palma

photo © Cristobal Palma / Estudio Palma

Completed in 2012, the Solo Pezo holiday house is set atop a hill overlooking a landscape of olive groves, vineyards and rounded rocky peaks. More of a sculptural tribute to M. C. Escher than a house, the building consists of a rectangular volume that sits atop a much narrower pedestal-like base. After entering through a bifurcated staircase into a dark corridor, you arrive at the main part of the house by climbing a spiral staircase. Designed to offer a 360-degree panorama, the house’s living areas are basically a continuous portico that has no exterior walls, but instead is lined with columns; almost invisible sliding glass walls and doors can be closed or opened, depending on the weather and the tenants’ wish for privacy. At the very centre of the whole structure is a square pool, itself nestled inside a ‘‘room without a ceiling’’ as the architects say, that interconnects the other rooms of the house. The overall effect is one of geometry made manifest – a play of light, volume and movement.

photo © Cristobal Palma / Estudio Palma

photo © Cristobal Palma / Estudio Palma

photo © Cristobal Palma / Estudio Palma

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“Oru” originates from the Japanese worlds “to fold”, and each of the pieces takes inspiration as if the idea behind the design began as a flat, two-dimensional sheet of paper that was then folded into a functional, three-dimensional object. You can almost imagine each of the finished pieces folding up to a flat piece of paper, can’t you?

photo design-milk.com

The collection is made from teak wood, polished copper, and felt fabric.

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The UP Balloon Table is a playful trompe l’oeil, giving the impression of a glass table top being suspended by red, gold and silver balloons.

photo duffylondon.com

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Baled Truck began with an old pick-up truck compressed into a rectangular block. As Ray has pointed out, “Baled Truck is a sculpture that commemorates solidity and compression — as in memory, what seems assembled from the past is in reality carved from the present.” Reflecting the artist’s meticulous process, Baled Truck took more than six years to complete. Machine-carved from solid stainless steel, it is nearly ten feet long and weighs thirteen tons.

Baled Truck, 2014
photo matthewmarks.com

Girl on Pony, shown here for the first time, is a sculptural relief machined from a solid block of aluminum. Seven feet high, five feet wide, and four inches deep, it depicts a young girl on horseback with reins in her hand, but it does not reveal the head, tail, or legs of the animal she rides. Ray made his first relief in 2007, and Girl on Pony is his fifth sculpture in this format. “The conventions inherent in a relief are both interesting and useful to me,” Ray explains. “An illusion is maintained by careful orchestration of both pictorial and sculptural elements.”

Baled Truck, 2014
photo matthewmarks.com

Baled Truck, 2014
photo matthewmarks.com

Installation view of Charles Ray
photo matthewmarks.com

Installation view of Charles Ray
photo matthewmarks.com

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Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

If that soundtrack sounds a little arch and postmodern, well, it was; it was also fantastic and fun, as was the latest Miu Miu offering. It provided clues to that little bit of disconcerting intent in this collection. As is often the case in Pradaland, there is always a drop of poison with the sugar-candy consumer desirability of this clothing—and that is what makes it all the more addictive, of course.

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Today Prada decided to revel in fabricating the absolute fake—something better than the real thing. This wasn’t just a collection of animal prints and patterns, rich, dense, and delightful in plastic croco skirts and shifts, embossed artificial leopard print—all built in that old-fashioned, layered, ’50s way of fabrication—with thick tweed houndstooth-check coats and perverse backless pinafore dresses with big, white cartoon buttons. No, this collection also featured acres of real python in permutations so artificial in hue they looked plastic: You can have any color you like as long as it isn’t natural.

Photo: Monica Feudi / Feudiguaineri.com

“Instinct? I like that word,” said Miuccia Prada after her show. For indeed, like all great designers, she is led by her instincts, and these were animal ones on display today. “I wanted to put things together in a naive way, not caring, always wrong, with that attitude of instinct. It started with the mutation of ostrich in Prada, the genetic modification, the idea of a new species.”

Photo: Monica Feudi / Feudiguaineri.com

Eras were conflated—’50s-’60s-’70s-’80s-’90s-now—but it was a particular insane view of some sort of ’80s New Wave that came roaring through. Talking Heads’ Tina Weymouth might have been in a kind of crazed conversation with Lady Di in a valance yoked blouse, oversize flower jewelry, and globs of glitter and patent shoes. In anybody else’s hands this could have been a great, big mess, but in Prada’s it was postmodern perfection.

Photo: Monica Feudi / Feudiguaineri.com

While postmodernism now seems rather a nostalgic concept, as Miuccia Prada proves, it is actually more relevant than ever. Except it has mutated and become even more so, even more post, because brands like Prada have embraced this worldview and unashamedly and knowingly run with it, making hyperreality the only reality. Today’s collection reveled in the postmodern, the hyperreal, and became the post-pop. And yet, as always in the fashion industry, in fakery there is honesty. Pleasure is our business, indeed—ultimately it is Miuccia Prada’s.

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Photo: Monica Feudi / Feudiguaineri.com

Jo-Ann Furniss, via style.com

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photo ropac.net

The first exhibition space is occupied by the work Hole, a four-metre-high model of a house as a body. This work objectifies and internalises the relationship between a perceiving human body and its habitat by mining and perforating the normally closed body-volumes using the languages of cells, corridors, shafts and windows, presenting the subjective body as a mansion of many chambers.

photo ropac.net

This idea of the transmutation of the anatomical body into interconnected cells is continued in the second gallery space with the installation Expansion Field. The sixty sculptures that constitute this piece are arranged in four rows; a totalised environment constructed in Corten steel sheet from expansions of over twenty fundamental body poses. Each work has been evolved by applying regular increments of expansion to each of the constituent cells of a particular body stack. Together the group of sculptures form a field similar in appearance to the repeated units of a minimalist installation or the rows of megaliths at Carnac.

photo ropac.net

In the largest and highest space in the exhibition another field is installed. Here, well over life-size cast iron stelae immerse viewers in a forest of totemic presence, in which they are invited to intuit somatic gestalts evoking a variety of emotions, from resistance to delirium.

photo ropac.net

The final work in the exhibition, Matrix II, is made specifically for the fourth space of the Galerie Thaddaeus Ropac Paris Pantin. It is virtual architecture, a three-dimensional drawing that identifies sixteen room-sized volumes that interconnect around a void space equivalent to two adjacent standing bodies. Using re-enforcing mesh, the skeleton of cast-concrete buildings, Matrix II interrogates the form and structure of the human habitat. This work reveals itself to the gaze of an ambulatory visitor and invites visual penetration, while denying physical access. The challenge of distinguishing foreground, mid-ground and background in the multiple layers of mesh is a vertiginous optical task. As the viewer circulates around the work it creates a disorientating perceptual field in which figure/ground relations become inverted and the accelerating effects of compressed perspective confuses the eye.

photo ropac.net

photo ropac.net

photo ropac.net

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Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

More often than not, Chiuri and Piccioli go to their Italian origins for inspiration. For Fall they looked at Emilie Flöge and Celia Birtwell, two women who were both artists and muses (Flöge to Gustav Klimt, and Birtwell to her husband, the designer Ossie Clark, as well as the painter David Hockney). The new perspective energized them. Flöge, who was a couturier in her own right and rejected her era’s de rigueur corsets, gave the designers the collection’s gentle A-line silhouettes and the gold leaf effects on fox-fur coats, as well as lit-from-within quilted velvet coats. Birtwell, who is still alive and kicking and collaborated with Chiuri and Piccioli on their Pre-Fall collection, supplied the dragon motif that decorated a black trapeze dress.

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

But there was much more at play here, from the casual new vibes of oversize fisherman knit sweaters worn with A-line midi skirts to the sensual efficiency of silk crepe dresses unadorned but for some subtle contrast piping. It’s a testament to Chiuri and Piccioli’s talents and experience that they’re as adept at an understated tie-neck blouse and wide-leg culottes, or an away-from-the-body black dress paneled in tonal strips of leather, as they are at their lovely eveningwear. Inevitably, though, it’s the gowns that get the attention. There were too many knockouts here to mention them all, so we’ll pick our favorite: a long-sleeve black net dress embroidered with gold and patchworked with geometric tufts of mink that could have stepped right out of a Klimt canvas.

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Photo: Yannis Vlamos / Indigitalimages.com

Nicole Phalps, via style.com

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photo design-milk.com

The goal for the pavilion was to “resolve and delineate structure, skin and ornamentation into a single unified system.” The skin’s colorful gradient is formed through the careful layout of the individual shingles. Each one is similar to the next, yet they’re all unique and made through digital fabrication. The shingles overlap each other, much like shingles do on a roof, creating double thickness and a more solid structure.

photo design-milk.com

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photo pacegallery.com

Although stars have previously appeared in Nara’s work, this exhibition and recent body of work marks his first focused engagement of the theme. Nara paints his distinctive adolescent figures interacting with or surrounded by sequences of golden four-point stars. The youthful nature of Nara’s figures conjures childish notions of the star, varying from from earning a gold star as a reward for good work in school to the optimism of childish bromides such as “shoot for the stars” and “wish upon a star.” The latter phrase highlights the way stars can be read as harbingers, auguring the fulfillment of a wish or something more sinister. The many facial expressions of Nara’s figures suggest these meanings, be it the hopefulness of a child gazing up at the stars or a more adolescent cynicism, chary of any sense of hope. The exhibition also features a 2011 acrylic and pen work on a wood panel shaped like the four-point stars in the more recent paintings, establishing the motif in his oeuvre.

photo pacegallery.com

Nara’s works on various surfaces such as cardboard and jute on wood create different effects for the paint. In several of his new works, he uses jute stitched together that is then stretched over a wood panel. The stitched jute creates a textural surface of irregular gridded lines that, coupled with the wood panel, lend the work an almost sculptural quality. Nara seeks to counterbalance these forces—the texture of the jute especially—by painting in flat blocks of color devoid of texture evocative of Japanese woodcuts. This technique of flattened paint distinguishes itself from the layering of diaphanous and airy pigments that characterize much of his work, yet finds precedent in his earlier billboard paintings.

photo junglekey.fr

photo artbaselhongkong-online.com

via pacegallery.com

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Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

Photo: Kim Weston Arnold / Indigitalimages.com

The post Chanel: Fall 2015 Ready-to-Wear appeared first on INHALE MAG.

In order to maintain the rural character of the location, the assignment came with strict regulations limiting the volume allowed above the ground level. These limitation eventually proved to give rise to a rather sophisticated design filled with spatial solutions.

Architect Koen Olthuis / Waterstudio.n

With the volume limited, Waterstudio decided to make a floor under ground level, providing extra surface within the limited dimensions of the building-envelope. Solutions for allowing daylight in the lower floor turned out to be the main architectural highlights.

Architect Koen Olthuis / Waterstudio.n

The volume was taken up as a white frame outlining large surfaces of glass, making the whole villa rather transparent. Some touches of wood add subtlety and warmth to the scheme. The white frame curling along the facade closes off both ends of the house. In the middle the frame rises to mark the entrance.

Architect Koen Olthuis / Waterstudio.n

The concept of transparency was maintained throughout the house by creating an open layout where, almost no doors are used. Typical eye catchers in the interior are the kitchen situated in the center of the house.

Architect Koen Olthuis / Waterstudio.nl

Beside the exterior of the Villa, Koen Olthuis designed the interior and the garden what brings the total design of the plot in harmony. In the green sloping garden the water of the New water is literally brought into the plot.

Architect Koen Olthuis / Waterstudio.nl

Architect Koen Olthuis / Waterstudio.nl

Architect Koen Olthuis / Waterstudio.nl

Architect Koen Olthuis / Waterstudio.nl

via waterstudio.nl

The post Waterstudio: House Near Water appeared first on INHALE MAG.

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

This collection will doubtlessly prove as divisive as the rest. It started with a ceremonial rising of the catwalk. As the floor lifted, the audience got a view of flashing fluorescent lights and metal scaffolding. It looked like the underbelly of an arena stage, which made the models who strode out on top of it rock stars or rock-star groupies. Their mini crinis, cigarette pants with suspenders, and Siouxsie Sioux eye shadow placed us a few years further on from Slimane’s Sunset Strip-y Spring collection. More likely, the designer was merely picking up where his men’s show in January—the one he described as an homage to the young musicians of Paris—left off.

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Slimane’s Saint Laurent woman has always had an edge, but this season she’s unapologetically a bad girl, wearing leather leggings with cutouts all the way up the thighs; a black leather dress slit up to her undies, assuming she’s even bothered to wear any; and ripped and shredded tights above black leather ankle boots. The shoes were killer, but those tights veered dangerously close to cliché. And they distracted from the fine workmanship (one of Slimane’s secret weapons) that defined a lot of what we saw tonight. Numbers like a black and gold polka-dot beaded one-sleeve cocktail dress or a strapless style crisscrossed with zippers, a tulle crumb catcher frilling out from the bust.

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Alongside the haute stuff, of which there was more than ever, there were a good number of the kind of animal-print capes, navy peacoats, leather motorcycle jackets, and patchwork furs he’s been showing since his YSL beginnings two-and-a-half years ago, and that have been turning up with increasing frequency all over the crowds at fashion month and beyond. For a designer as disruptive as Slimane is, he sure sells a hell of a lot of merch. If some looks here were too familiar, even for his fans, there was also plenty to inspire lust in bad girls everywhere.

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Photo: Gianni Pucci / Indigitalimages.com

Nicole Phelps, via style.com

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After All

Our new project “Death by Diamonds and Pearls” is a conceptual mix between mythological symbols from the middle ages, mythology (from myth and metaphorical characters to cult objects and social status) and the cosmetized contemporary.
The stilistics is based on combining elements from different periods of time (armours, helmets, contemporary clothes, motocycles, accessories) and proposes the viewer an image of a temporal space where he is invited to meditate about the human and spiritual side.

Between Us

Evoking cultural references (Saint Sebastian), historical moments (medieval jousting), and social rebellion, the photos propose connections between old and new and bring into spotlight transformations that took place due to the passing of time. The photos explore notions like myth, violence, hypocrisy, lust for power, duality. The world presented in this space is corrupt, and the positive characters suffer. Above all there is a justice force, which comes to punish in order to reset the general equilibrium.
The artists question the idea of human condition during different time periods (from the Middle Ages until today) and the way we interact with this spiritual belonging. This makes the audience think of issues concerning the significance and presence of myths in our life in the 21th century. The world of our project is divided into characters that are abused and those that abuse.

To sum up, it is a melancholic episode about vulnerable beauty giving birth to metaphysical injuries.

Chastisement

Molotov Cocktail

Sebastian

Renaissance Stage 2

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