1 Editors' Picks: 9 Art Events in New York

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1 Announcement 55 articles, :01 1 Editors' Picks: 9 Art Events in New York (2.04/3) Mark your calendar for a talk with Laurie Anderson at the New York Public Library, the Museum Mile Festival, exhibition openings, and a new downtown gallery :58 7KB news.artnet.com 2 What to Watch For at Art Basel 2016 (1.08/3) From massive sculptures to performances and an ocean of blue chip art, here's a look at what international dealers are bringing this year :01 5KB news.artnet.com 3 swarovski designers of the future award winners at design miami/ basel (1.03/3) at design miami/ basel 2016, swarovski unveils three installations made by this year's designers of the future award winners :39 5KB 4 Art World Responds to the Orlando Attacks (1.03/3) The world mourns the loss of 49 innocent people killed by a lone gunman at an Orlando nightclub. Despite the tragedy, a message of peace prevails :42 3KB news.artnet.com 5 Emmanuel Perrotin Moves to Lower East Side (1.02/3) Dealer Emmanuel Perrotin, who also has venues in Paris, Seoul, and Hong Kong, is quitting his Madison Avenue location in favor of the Lower East Side :56 2KB news.artnet.com Tony Awards Sends Message of Love, Unity (1.02/3) The annual awards ceremony was a celebration of art in the wake of tragedy :04 2KB wwd.com 7 The Best of Manifesta 11 (1.02/3) In curator Christian Jankowski's edition of Manifesta, expectations often differ from reality with sometimes comical, sometimes magical, results :37 3KB

2 (0.03/3) 8 Live Then, Live Now Magazine Walker Art Center August 15, 1981 was a Saturday with temperatures in the 70s on the cool side for the height of summer in Minneapolis. Diana Ross :26 11KB 9 la strana officina cellini uomo bicycle from tuscany-based bike builders, the la strana officina cellini uomo, is based on a sleek and sporty steel frame with luxury details that make it truly unique :05 1KB 10 A First Look at Antonio Lopez: Future Funk Fashion at El Museo del Barrio The exhibit features more than 400 works :24 5KB wwd.com 11 Kazumi Sakata s Tatazumai Concept to Debut in Muji Fifth Avenue Store in New York Muji will be showcasing the handmade work of six artists including textiles designer Akiko Ando in its Fifth Avenue store :54 2KB wwd.com 12 venice architecture biennale: across chinese cities promoted by beijing design week at the 2016 venice architecture biennale, the exhibition across chinese cities - china house vision is part of an international program launched two years ago at the 14th edition of the event. venice architecture biennale across chinese cities :29 6KB 13 Borsalino Taps Fouquet for Capsule Hat Line The men s and women s hats will be previewed in October :21 883Bytes wwd.com 14 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker's Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this :26 966Bytes blogs.walkerart.org

3 15 Audition Announcement! Choreographers Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers Evening. Rosy Simas, an enrolled member of the Seneca Nat :26 885Bytes blogs.walkerart.org 16 An Opening Reception for Lee Kit s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Ki :26 972Bytes blogs.walkerart.org 17 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, :26 6KB designawards.core77.com 18 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman who passed away May 9 at age 90 oversaw the construction of a new Walker building, spearheaded the creation of the Minneap :26 867Bytes blogs.walkerart.org 19 Erasing the Photographer s Hand: Phil Collins s Free Fotolab Phil Collins's free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27 October 9, In his work free fotolab (2009), British artist Phil Collins presents 80 pho :26 874Bytes blogs.walkerart.org 20 Inside Last Night s Brutal 'Game of Thrones Chase Scene Here's how Maisie Williams helped plan the episode's most painfullooking stunts :00 4KB thecreatorsproject.vice.com 21 Rachel Harrison at Kraupa-Tuskany Zeidler, Berlin Pictures at an Exhibition presents images of one notable show every weekday :41 1KB

4 22 the k.o.t project inserts functional box into duplex apartment in tel aviv the owners requested functional and spacious spaces, as well as ample storage resulting in the main piece of carpentry that arranges all different uses around it :30 3KB 23 These Vintage Melting-Face Portraits Will Trip You Out Monday Insta Illustrator Dramsjel casts women in cosmic floral hues, and the results are mind-bending :30 1KB thecreatorsproject.vice.com 24 Mike Bouchet Brings The Zurich Load" to Manifesta 11 Mike Bouchet's contribution to Manifesta is an 80-ton sculpture made entirely of human waste, which, he claims, "has a seductive side." :05 3KB 25 Flying Suitcases, Mimes, and a Collector s House: A Quick Spin Through the Unlimited Section at Basel Paul McCarthy's Tomato Head. The Unlimited sector of Art Basel is devoted to large-scale installation and works that "transcend the classical art show stand :32 4KB 26 Total Exposure: George Henry Longly at Red Bull Studios We All Love Your Life, the London-based artist George Henry Longly s first solo exhibition in the United States, presents space travel is an act of both connection and removal :29 4KB 27 Skarstedt & Almine Rech's New London Spaces It's expansion time for Almine Rech, which will inaugurate a second London location and a first US outpost, in New York, while Skarstedt upgrades in London :29 2KB news.artnet.com 28 London Auctions Preview, Part 3: June 27 20th-Century & Contemporary Art Sale at Phillips In the days leading up to the London s June sales, we ll be previewing the works in each that have piqued particular interest. Here's what to look for at Phillips on June :25 2KB

5 29 Short Film Combines Rock Climbing, Brazil, and Sebastião Salgado-Style Visuals Nicolas Cambier's dialogue-free 'AutoQuartz' follows an escaping miner, telling his tale through body language, sound design, and scenography :20 3KB thecreatorsproject.vice.com 30 zai shirakawa: N village in japan after being destroyed from the earthquake, zai shirakawa architects have developed a pre-fabricated scheme that hosts programs such as a cafe and surf shop :18 2KB 31 The Body Bakery Gives a New Meaning to Eating Face Forget macabre-looking cakes Kittiwat Un-ar-rom's been baking bodies out of bread :15 2KB thecreatorsproject.vice.com 32 These Photos Will Put Your Voyeurism to the Test If 'Rear Window' was a Norwegian photography series :05 2KB thecreatorsproject.vice.com 33 A Music School Teaches Blind Youth to Find Their Voice From Ray Charles and Stevie Wonder, to blind youth musicians in Los Angeles County, David Pinto fosters a love for music in those without sight :05 5KB thecreatorsproject.vice.com 34 Kylie Minogue, Nicole Scherzinger Perform at One For The Boys Ball Tinie Tempah, Robert Konjic, David Gandy and Eva Herzigova were among the guests :04 3KB wwd.com 35 In Art, a Terminally-Ill Artist Finds Infinity Ghosts and organza silk unveil Kaylin Andres' take on her own mortality, in a new exhibition :00 5KB thecreatorsproject.vice.com 36 CGI and Stone Short Film Takes You Inside an Artist's 'Head' 'Once Upon an Artist' finds Rubén Fuentes Fuertes sending a sculpture into the stratosphere :55 2KB thecreatorsproject.vice.com

6 37 5 Can't Miss Gallery Shows in New York Must-see shows in NY this month include Ken Price, Colliding Alien Cargo, CLOSER: Lenz Geerk/Jordan Kasey/Anthony Miler, Bobo, Julie Benjamin, and Hanna Liden and Jimmy DeSana :50 4KB 38 Humans Battle Electricity in a Williamsburg Brownstone Exhibit For a five-night opening reception, 'Electrique' transforms a building into an electrical and mechanical light and sound art installation :50 11KB thecreatorsproject.vice.com 39 stelios mousarris' rocket coffee table blasts off on plumes of smoke in continuation of his creation of surreal and sculptural art objects, stelios mousarris has realized the nostalgia-inducing 'rocket coffee table' :45 2KB 40 A Literal Ring of Light Will Hang Over the Brazilian Rainforest Perched atop a Brazilian waterfall, Mariko Mori s brilliant installation will make its debut before the 2016 Rio Olympics :35 3KB thecreatorsproject.vice.com 41 Muhammad Ali's Paintings & Johnny Depp's Basquiats: Last Week in Art Also last week: Helen Mirren and Ted Cruz teamed up for the sake of art, a SFMOMA visitor damaged a Warhol, and controversial Russian performance artist Pyotr Pavlensky was released :30 4KB thecreatorsproject.vice.com 42 benjamin hubert + layer: wireless charge tray with a design language informed by crafted homewares, the charge tray minimizes the visual impact of technology in the home and enables easy wireless charging of technology devices, including both mobile phones and tablets :12 2KB

7 43 Edvard Munch s The Scream Lithograph May Fetch $1.7 Million at Sotheby s A rare graphic version of one of the most famous art images of all time, Edvard Munch s The Scream, is coming up for sale at Sotheby s :47 2KB 44 VIDEO: Live From New Orleans: Rock, Blues, and Cajun Zydeco Local musicians riff on blues, rock, zydeco and life after Hurricane Katrina :42 1KB 45 Aitor Throup s Self Portrait This high concept presentation unveiled Throup s collection of trans-seasonal prototypes :34 1KB wwd.com 46 Real Art Welcomes Eli Flannagan Real Art welcomes Eli Flannagan as the newest addition to our team. He is a Print Intern working out of Real Art s Dayton Headquarters :28 1KB realart.com 47 HAO design transforms historic dwelling in taiwan conceived by HAO design as an experimental living studio, the property has been designed to host workshops, lectures, and hands-on cement work :00 4KB 48 TEFAF Reveals Exhibitors for New York Fair Renowned Old Master and antiquities fair TEFAF has published the list of exhibitors for its inaugural New York fair, taking place in October :56 4KB news.artnet.com 49 In Basel, Liste Gets Older, But the Artists Stay the Same Age Liz Craft, Me Princess, NATE FREEMAN/ARTNEWS Liste, the satellite fair that had its VIP opening this morning in Basel, Switzerland, calls itself :48 4KB 50 British Council Launches "2017 UK-India Year of Culture" Campaign 2017 UK-India Year of Culture Campaign Launched by British Council :14 4KB

8 51 mazzanti evantra millecavalli inside mazzanti evantra millecavalli, italian engineers combined a specifically developed six-speed sequential gearbox push the car from zero to 100 km/h in only 2.7 seconds followed by a top speed of 402 km/h :00 2KB 52 The Index: Top 100 Collectors, Part One With established collectors and newer faces like Leonardo dicaprio and Nita Ambani, this is artnet News's Index of collectors shaping the art world :45 39KB news.artnet.com 53 DCA studio wuzhen north silk factory renovation the design includes extensive refurbishment and reinforcement of original structures, retaining original layout and spatial features -- albeit adapted to fit its contemporary program :45 2KB 54 Nahmad Denies His Modigliani is Nazi Loot David Nahmad had spoken out in defence of his disputed ownership of Modigliani's "Seated Man with Cane," stating he does not believe it is Nazi loot :49 4KB news.artnet.com 55 Ai Weiwei Signs With Hollywood Talent Agency Ai Weiwei has signed a deal with the Fine Art division of Hollywood's United Talent Agency to help him with the distribution of his upcoming documentary :31 2KB news.artnet.com

9 Articles 55 articles, :01 1 Editors' Picks: 9 Art Events in New York (2.04/3) Tuesday, June " Antonio Lopez: Future Funk Fashion " at El Museo del Barrio Puerto Rican fashion illustrator Antonio Lopez got his start as an artist when he was a child, drawing flowers for his mother, a seamstress, to embroider. During his prolific three-decade career in New York, Lopez was instrumental in bringing visibility to women of color in the fashion world. El Museo el Barrio brings together over 300 works by the artist, who died in 1987 of complications from AIDS, including clothing, shoes, drawings, and photographs. Location: El Museo del Barrio, 1230 Fifth Avenue Price: $9 general admission Time: Wednesday Saturday, 11:00 a.m. 6:00 p.m.; performance on Wednesday, July 20, 6:30 p.m. Sarah Cascone 2. The 38th Annual Museum Mile Festival The plaza in front of the Metropolitan Museum of Art will host the opening ceremony for the annual festival that unites the stellar string of museums along Fifth Avenue from 82nd Street to 105th Street. (In case of inclement weather, the ceremony will be held inside in the Great Hall.) Admission is free at all museums the Met, the Neue Galerie, the Guggenheim, Cooper Hewitt, Smithsonian Design Museum, the Jewish Museum, the Museum of the City of New York, and El Museo del Barrio. Location: Fifth Avenue between East 82nd and 105th Streets

10 Price: Free Time: Opening reception June 16, 6:00 p.m. 9:00 p.m. Eileen Kinsella Wednesday, June 15 Wednesday, July Melissa Brown, "Past Present Future" at Magenta Plains Artist and tarot enthusiast Melissa Brown's latest exhibition, "Past Present Future," features a new double-sided aluminum painting series inspired by chance. Later on this summer, the artist will perform a public divination reading, so prepare to have your fortune revealed. (The artist is also participating in a group show at Gavin Brown's Enterprise this summer, launching at 291 Grand Street on June 30.) Location: Magenta Plains, 94 Allen Street Price: Free Time: Opening reception June 15, 6:00 p.m. 8:00 p.m.; Wednesday Sunday, 11:00 a.m. 6:00 p.m.; performance on Wednesday, July 20, 6:30 p.m. Kathleen Massara Thursday, June Laurie Anderson in conversation with Paul Holdengräber at the New York Public Library Musician, artist, director, and writer Laurie Anderson discusses her artistic inspiration, multidisciplinary practice, and upcoming projects with the Public Library's Paul Holdengräber. Location: Stephen A. Schwarzman Building, Celeste Bartos Forum, Fifth Avenue at 42nd Street Price: $40 Time: 7:00 p.m. 9:00 p.m. Sarah Cascone Thursday, June 16 Wednesday, August 31, " Tim Cantor: Sweet Favour & Fiend " at AFA Surrealistic painter Tim Cantor 's oil paintings offer a disquieting remix of historical Renaissance canvases. The artist, who creates album art for

11 the Las Vegas rock band Imagine Dragons, will be on hand at the opening to sign copies of his book. Location: AFA, 54 Greene Street Price: Free Time: Opening reception June 16, 6:00 p.m. 9:00 p.m.; book signing June 18, 12:00 p.m. 2:00 p.m. Sarah Cascone Friday, June Fragments of the Peculiar Institution: A conversation with Dread Scott and Brian Boucher at Printed Matter New York artist Dread Scott has for years been researching slavery in the US in preparation for a project in which he will reenact an 1811 slave uprising. His new book, Fragments of the Peculiar Institution, the inaugural title of CPinPrint, presents documentation of his findings, ranging from period documents to pop-culture renditions of this history, along with one man's slavery museum, near New Orleans. Scott will discuss the book and his research, which he describes as "my effort to grapple with our present by looking at America's past," with artnet News' senior writer Brian Boucher. Location: Printed Matter, 231 Eleventh Avenue Price: $40 Time: 6:00 p.m. 8:00 p.m. Brian Boucher Friday, June 17 Sunday, September " Danny Lyon: Message to the Future " at the Whitney Museum of American Art The first comprehensive retrospective of the career of photographer Danny Lyon to be presented in 25 years, this exhibition organized by the Fine Arts Museums of San Francisco premieres at the Whitney before heading west. Consisting of some 175 photographs as well as films and ephemera, the show highlights the American street photographer's concern with social issues and the lives of the marginalized. Location: Whitney Museum of American Art, 99 Gansevoort Street Price: $25 general admission

12 Time: Sunday Thursday, 10:30 a.m. 6:00 p.m. (closed on Tuesday in June and September); Friday and Saturday, 10:30 a.m. 10:00 p.m. Christian Viveros-Fauné Saturday, June 18 Wednesday, July 6 8. " Others Tell the Story Differently " at the Rubber Factory, 29c Ludlow Street The pitch for this brand-new Lower East Side space, focused on experimental photo practices, is that it aims to "to provide entry points to viewers beyond framed, final pieces. " Intriguingly, this apparently means that the gallery is broken into "three distinct segments which act as spaces to explore documentation of the artist's process, personal reference points, a prior body of work or simply an installation which contextualizes and personalizes the work. " The gallery's debut outing previews six artists who will occupy this experimental set-up in its first six months: Anna Yeroshenko, Daniel Mayrit, David Samuel Stern, Jordanna Kalman, Moira McDonald, and Tal Barel. Location: Rubber Factory, 29c Ludlow Street Price: Free Time: Opening reception June 18, 6:00 p.m. 9:00 p.m. Ben Davis Sunday, June 19 Wednesday, August 31, " Meriem Bennani: FLY " at MoMA PS1 Moroccan-born, Brooklyn-based artist Meriem Bennani is showing a new multimedia work in her first solo museum exhibition at MoMA PS1, involving a mischievous animated fruit fly who finds its way into private homes in Rabat and Fez. You can also catch Bennani's work on Instagram, where she posts absurdist videos. Location: MoMA PS1, Jackson Ave. at the intersection of 46th Avenue, Long Island City Price: $10 general admission Time: Thursday Monday, 12:00 p.m. 6:00 p.m. Kathleen Massara Follow artnet News on Facebook :58 artnet News

13 2 What to Watch For at Art Basel 2016 (1.08/3) Switzerland. Is the mood in the art market more sober? Coming off a spring auction season that saw a steep plunge in volume evening sales at Christie's and Sotheby's alone plunged roughly 60 percent, from $2.3 billion in May 2015 to $924.8 million last month the art world is now gearing up for the next major art event on the annual calendar, Art Basel in We got an emphatic "yes" from virtually every dealer, expert and collector we spoke with. The good news? That's not a bad thing. Jean-Paul Engelen, Phillips worlwide head of contemporary art, insists that the overall market is "very healthy," noting the auction house's 92 percent sell through rate at the recent major evening sale in May. Looking forward to Basel, he said "clients are always keen to see what is in Basel. It's still by far the most important fair and therefore a barometer of the market. I see that a lot of clients are really interested in engaging with galleries in the primary market. " "I think it's actually going to be a great Basel for me," art advisor Lisa Schiff told artnet News. "The last time I had an exceptional Basel was in 2009 when the mood was so bad and not so many people went. There were so many artists that we had tried to get before that we couldn't get access to I think there will be opportunities. " The fair and its packed roster of activities and special sections, including "Statements" (new solo projects by emerging artists), "Unlimited" (massive sculptures, paintings, video and live performances), and "Parcours" (sitespecific sculptures and interventions throughout the city), officially opens to the public on June 16 and runs through June 19. The main anchor of the show, of course, is the galleries section that takes over the Messeplatz. We spoke to some of the top dealers exhibiting at Basel this year to find out what they're bringing and why. Schiff was particularly enthusiastic about dealer Dominique Lévy's booth for

14 the upcoming show. Levy is dedicating the booth to"revolutionary postwar artistic practices in the US and Europe, demonstrating an international spirit of radical rebirth, innovation, and transformation. " Artists on view will include Alberto Burri, Jean Dubuffet, Yves Klein, Piero Manzoni, Robert Motherwell, Gerhard Richter, and Pierre Soulages. The vibrant selection of works at Hauser & Wirth includes an arresting untitled painting (above) by Lee Lozano, along with works by Mary Heilmann, Philip Guston, Vija Celmins, Eva Hesse, Roni Horn, Rashid Johnson, Louise Bourgeois, and Mark Bradford. Gallery artists Isa Genzken, Paul McCarthy and Dieter Roth all have presentations as part of Unlimited and Hans Josephsohn will feature in the Parcours programme, with a display of 16 bronze sculptures on the central Münsterplatz. Joseph Kosuth 's presentation in "Unlimited" is co-presented by Sean Kelly and Sprüth Magers, a recreation of his very first gallery show in LA in 1968 when he was 23. It features 10 dictionary definitions of the word nothing. " David Zwirner Gallery, which recently began representing the estate of Josef Albers, will be showing the legendary abstractionist's iconic square paintings alongside other works by the gallery's stable of stars including Francis Alÿs. Mamma Andersson, Michaël Borremans, R. Crumb, Marlene Dumas, Marcel Dzama, Kerry James Marshall, and Lisa Yuskavage. Further, Zwirner is presenting the work of Stan Douglas (co-presented with Victoria Miro Gallery ), John McCracken, and Wolfgang Tillmans in the "Unlimited" section. Galerie Gmurzynska will curate two areas in their booth this year at Basel. At one entrance, three sculptures by Joan Miró will be on view near his paintings and collages. The opposite side of the booth will be focused on celebrating the 100th anniversary of Dadaism including works from "Kurt Schwitters: Merz" with a reproduced digital backdrop of the late Zaha Hadid's Merz Bau installation. This was an interpretation of Schwitters's Merzbau, the name given to the Hanover house he transformed with grottolike forms in the 1920s and 1930s. Gmurzynska will also show works by Fernand Leger, Wifredo Lam, Yves Klein, and Robert Indiana. Rosemarie Schwärzwalder, of Galerie Nächt St. Stephan Rosemarie Schwärzwalder, told artnet News via "Our booth at Art Basel this year will have a strong focus on painting, showing different generations and styles of artists beside one another which will uniquely highlight common features between artists such as Josef Albers and Imi Knoebel and Helmut Federle's 'Cornerfield Painting'. The single gesture of Lee Ufan 's painting will be juxtaposed with Katharina Grosse's multi-layered images. Jessica Stockholder's large-scale installation and a table filled with shreds of painted paper by Adrian Schiess take our booth into the third dimension. "

15 Los Angeles gallery Regen Projects is bringing work by a wide range of artists in its stable including Anish Kapoor, Doug Aitken, Theaster Gates, and Liz Larner. Follow artnet News on Facebook :01 Eileen Kinsella 3 swarovski designers of the future award winners at design miami/ basel (1.03/3) swarovski's designers of the future propose crystal living at design miami/ basel swarovski s designers of the future propose crystal living at design miami/ basel at design miami/ basel 2016, swarovski unveils three installations made by this year s designers of the future award winners: anjali srinivasan, yuri suzuki, and studio brynjar & veronika. the laureates visited the crystal brand s historic base in austria to explore its legacy of creativity and innovation, drawing from the company s archives, design centers and innovation programs. for their presentation in basel, the creatives were asked to interpret the theme of betterment as it relates to the interaction between people and the built world around them. the resulting projects offer a proposal for future living, ranging from a touch-sensitive illuminating wave, to a sound installation and an exercise in the conversation between crystal and light. highlighting the importance of bringing light to people s lives and making it tangible, dubai-based designer anjali srinivasan has realized unda for swarovski as a shimmering, rolling wave. the installation s surface is made up of glass elements developed with touch-sensitive technology. upon human contact, the work responds with glowing illumination: following the finger s trail, light travels across the crystal façade and slowly fades when the human element is taken away. at design miami/ basel, unda spans 1.6 meters in width and 6 meters in length and features a labyrinth of 3,000 swarovski crystals and 5,000 glass pieces blown in srinivasan s studio in dubai. the crest comprises 1,500 touch crystals containing LED technology that activate when touched,

16 producing a gradient effect of earthy colors that run through the piece. behind each swarovski touch crystal lies a specially developed printed circuit board with LEDs, which upon contact transfers human touch to the circuit board and illuminates. srinivasan s glass casting technique has been designed to emulate the earth s lithosphere the geological formation and layering of igneous, sedimentary and metamorphic rocks. minerals were added to clear glass to create the strata, and melted under the conditions of each respective rock formation. crystal is a highly engaging material because it is a solid object that creates visual effects that you cannot touch, srinivasan says. I m looking forward to continuing to explore this crossroads between physical and optical phenomena in my work. I m also fascinated by the challenge of creating human-centric design, so I m excited to further explore this relationship between material, data and people. exploring the use of crystal as an acoustic medium, japanese sound artist yuri suzuki has created sharevari, a mechanical, interactive crystallophone. the instrument comprises 16 brass mechanical structures or notes that each feature a handmade crystal form, ranging mm in diameter and representing tones from C1 to D3. when brass hammers hit the crystal, the vibrations are translated into sound. my audience can be quite wide-ranging, from very tech-focused people to musicians, but this is a precious opportunity for me to show and exchange ideas as part of a global design platform, suzuki says. I was very excited to investigate how the vibrations in crystals can be interpreted as sound. exploring the swarovski archives to look at past innovations was invaluable research. created in collaboration with a team of swarovski s engineers, sharevari has been realized by the calculation of possible harmonic frequencies, where each note is defined by the diameter of the crystal object. the instrument has been fine-tuned through a process of rigorous acid-polishing and frequency testing. at design miami/ basel, original compositions by suzuki can be experienced alongside audience-conducted harmonies. compositions by suzuki can be experienced alongside audience-conducted harmonies forming unexpected moments of beauty using natural light and crystal, studio brynjar & veronika has realized currents as three distinct elements that bring a sense of the natural world into domestic spaces. ordinary blinds have been made in crystal with 30 bespoke prismatic slats. the fully functional blind creates a rainbow effect when hit by light, bringing reflection and refraction into the home.

17 reflections of water is a series of crystal tiles that transform light into reflections. made using a 3D scan of water, the tiles look like liquid crystal and reflect light in the same manner as fluid matter. the third element is a series of decorative crystal sticks, which illuminate shadows and explore the transparency of the material. the elements range from cm and come in a range of color configurations. it s a sort of a form of alchemy, the way swarovski creates this really beautiful substance from natural materials, yet using these high tech processes, the designers say. it s a mystical, magical place, and it left us feeling really inspired for this project. we love to dive into new mediums and crystal is a whole new challenge. the elements bring a sense of the natural world into domestic spaces a set of decorative crystal sticks illuminate shadows and explore the transparency of crystal installation view of the swarovski designers of the future award winners at design miami/ basel :39 Nina Azzarello 4 Art World Responds to the Orlando Attacks (1.03/3) The deadliest mass shooting to take place on American soil has left 50 people dead, including gunman Omar Mateen, at Pulse, a gay night club in Orlando. The world has reacted to the senseless tragedy with shock and grief, holding vigils and offering artistic tributes to the victims, many of whom were young Latinos. Landmarks around the world, from One World Trade in New York and Los Angeles City Hall to the Story Bridge in Brisbane, Australia, and City Hall in Tel Aviv have been lit up in rainbow colors to commemorate victims of the shooting, while New York's Empire State Building went dark "in sympathy for the victims of last night's attack," as announced on Twitter. The Eiffel Tower has announced plans to follow suit on June 13. In Red Hook, Brooklyn, Pioneer Works turned its regular Second Sunday

18 event into a last-minute benefit concert for Orlando, featuring performances from the US's first LGBTQI choir, the Stonewall Chorale, which began in 1977 and now has 150 member choruses. They were followed by Alsarah and the Nubatones, who joined "out of a collective love for Nubian music and a genuine belief that Soul transcends all cultural and linguistic barriers," as they state on Second Sundays' Facebook page. At New York's Japan Society, where curator Michael Changnon was giving the final tour of " In the Wake: Japanese Photographers Respond to 3/11," which closed June 12, he encouraged visitors to hang a message of peace and hope on Yoko Ono's Wishing Tree. On social media, the hashtag # TwoMenKissing has sprung up, in defiance of the homophobia that led to the attack. Artists have also rallied in support of the victims and their families, with Indian sand artist Sudarsan Pattnaik taking to the beach in his native country to create a graphic sculpture with the message " OneWorld, One Message, End Terrorism. " In West Hollywood, ChadMichael Morrisette recreated the carnage in a shocking piece titled " No One Is Safe," covering the roof of his home with 50 mannequins. Hank Willis Thomas updated his Instagram account with an image of a work in progress titled Thirteen Thousand, Four Hundred and Twentynine, created for gun violence victims who died in the US in He appended his message with the hashtag #stopthekilling. Elsewhere, many have gathered to mourn at candlelight vigils. "In the face of hate and violence, we will love one another," said President Barack Obama, addressing the country from the White House. "We will not give in to fear or turn against each other. Instead, we will stand united as Americans to protect our people and defend our nation, and to take action against those who threaten us. " See more photos of the world's response to the tragedy below. Follow artnet News on Facebook :42 Sarah Cascone 5 Emmanuel Perrotin Moves to Lower East Side (1.02/3) A resident of New York's Upper East Side for three years, Galerie Emmanuel Perrotin is pulling up stakes and heading downtown. Perrotin will open in 2017 at 130 Orchard Street, on the Lower East Side, in a space eight times as large as its present digs.

19 The gallery, which also has venues in Paris, Hong Kong, and Seoul (the latter announced in March ), has occupied two floors of the building at 909 Madison Avenue, which it shared with dealer Dominique Lévy and which she is now taking over entirely. Perrotin will be there through October. Perrotin works with a range of artists, including populist figures like KAWS and JR, video artist Jesper Just, fashion photographer Terry Richardson, and sculptor Xavier Veilhan. On the Upper East Side, he organized attention-getting shows like a multimedia installation by Elmgreen & Dragset in 2015 and the 2013 debut show by Paola Pivi, which included sculptures of a celebration of polar bears in various day-glow colors. Not allergic to celebrity crossovers, Perrotin invited the musician Pharrell Williams to curate an exhibition at his Paris venue in Perrotin's new spot spans some 25,000 square feet over five floors, which, he says in an announcement, will allow him to mount several large exhibitions concurrently. The space will boast ceilings as high as 20 feet, he says. The 1902 building will be overhauled by New York architects Peterson Rich Office, overseen by principals Miriam Peterson and Nathan Rich, both veterans of the firms Tod Williams Billie Tsien and Steven Holl Architects. His new location is between Rivington and Delancey Streets, about 10 minutes' walk from the New Museum. That institution provides an anchor for the growing number of galleries in the neighborhood, now hosting more than 200, up from just 69 in 2007, according to a report by Crain's. Later this month, the International Center of Photography will join the herd when it opens its new home on the Bowery. Follow artnet News on Facebook :56 Brian Boucher Tony Awards Sends Message of Love, Unity (1.02/3) The 2016 Tony Awards ceremony was a celebration, not only of Broadway s best talent, but of the power of theater and art in the wake of tragedy.

20 Sunday s event took place less than a day after news of the worst mass shooting in American history, at a gay nightclub in Orlando, Fla. The Tonys awards ceremony was dedicated to the victims of the shooting, which left 50 people dead and at least 53 injured: many attendees wore a silver ribbon pin in recognition, winners spoke to the tragedy and offered words of love, and the cast of Hamilton left the muskets out of its live performance. My heart goes out to the families and victims, said Brandon Victor Dixon, nominated for best featured actor in a musical for his role in Shuffle Along. At this point, we have this conversation so much you start to feel like nothing will change our intransigent bums representing us in Congress, but my hope is that in this political climate, in this election year, that we can really unite together as a community and demand that our leaders are doing their jobs. Dixon came wearing a blue David Hart suit picked out by Anna Wintour, who has adopted the role of raising the fashion profile of the annual event. [Hart] actually happens to be a fellow hometown boy I m from Maryland as is he, so I m happy to be wearing him tonight, Dixon remarked. Laura Benanti, nominated for best leading actress in a musical for She Loves Me, picked a long sleeved Oscar de la Renta gown for the ceremony. I m just wearing a bodysuit underneath instead of a slip to make it feel a little bit more daring and modern, she said. I love that it s romantic, I love that it s the colors of our show, and I love that it s really comfortable. Although clouded with sadness, this year s ceremony was testament to the importance of art as a tool to unify and uplift. And for the winners, it was also a chance to celebrate the highest honor for working on Broadway. The Color Purple star Cynthia Erivo, who won best leading actress in a play, walked into the Plaza Hotel after-party clutching her hard-earned trophy. The crowd let out a prolonged celebratory cheer :04 Kristen Tauer 7 The Best of Manifesta 11 (1.02/3)

21 Related Events Manifesta 11 Artists Maurizio Cattelan Jon Kessler Christian Jankowski When it comes to making art, expectations often differ from reality, Manifesta 11 curator Christian Jankowski told ARTINFO during the European biennial s opening this weekend. Take the untitled performance by Maurizio Cattelan, freshly returned from retirement. The artist had meant to launch Swiss Paralympic wheelchair-racing champion Edith Wolf- Hunkeler onto the waters of Lake Zurich, where she would gracefully glide over its surface on a magically floating chair. What spectators actually witnessed was an equipment glitch, a well-dressed male assistant dislodging Wolf-Hunkeler from a track leading into the water and awkwardly setting her adrift, falling into the water in the process. Undeterred, Wolf- Hunkeler took her pontoon-rigged chair for a lap around the lake amid the swans. The sailing conditions that day were sublime. Jankowski s edition of Manifesta parallels his own art, albeit on a much larger scale. The German artist, known for employing non-artists as living components of his pieces (exemplified most recently in his appointment of German actress Nina Hoss as curator of his panned CFA Berlin retrospective), enlisted 30 local Zurich professionals to work collaboratively with artists to create the central exhibition, What People Do for Money: Some Joint Ventures. (He also curated the historical exhibition Sites Under Construction.) JON KESSLER partnered with a watchmaker, the quintessential Swiss artisan, while Torbjørn Rødland was paired with a dentist. Under the direction of an art-world joker, the partnerships, unsurprisingly, produced a series of punch lines, some of which landed better than others. For starters, there was Cattelan s literal failure to launch with Wolf-Hunkeler. Then there s Matyáš Chochola s Ultra Violet Ritual, a collaboration with a local Muay Thai fighter. The hanging assemblage of punching bags, gym shorts, and hunks of ceramic sculpted by punches fails to rise above cliché. Chochola s process, meanwhile, is much more appealing. It involved the artist taking a few fighters out for an anarchic nighttime bonfire ritual in which they punched, painted, and glazed artworks to pop music. All of this is

22 being shown at the biennial: For each Joint Venture, Jankowski made a short making-of film that documents the artist s trial and error. In the case of Rødland s collaboration, the camera shows the dentist visibly appalled by the grotesque images of teeth the photographer wants to hang in her office as an employee tries to look enthused while describing how art and dentistry can come together. These making-of films play on a massive LED screen on Manifesta 11 s Pavilion of Reflections, a timber structure designed by English architect Tom Emerson and more than 30 of his students at ETH Zurich. The pavilion is the best part of the biennial, floating serenely on Lake Zurich, with a centrally installed kiddie pool of actual lake water reflecting the screen above it. The videos it plays squarely address the reality-tv appeal of Jankowski's video work, which hinges on his unique talent to contrive situations where awkwardness and tension unfold for the participants as well as the viewer. In this case, making art overshadows the art itself, which is great when art doesn't live up to expectations :37 Janelle Zara 8 Live Then, Live Now Magazine Walker Art Center (0.03/3) August 15, 1981 was a Saturday with temperatures in the 70s on the cool side for the height of summer in Minneapolis. Diana Ross and Lionel Richie s Endless Love was at number one on the Billboard Hot 100, and MTV had been on the air for precisely two weeks. This was uninteresting, though, to the crowd pushing into 7th St. Entry, a one-year-old, black-box annex to Sam s Danceteria (months later to be rechristened First Avenue), a downtown music club in the former Northland-Greyhound bus depot fast becoming one of the Twin Cities premier music venues for emerging talent. They were here for punk rock,

23 and for the homecoming of three young musicians from St. Paul: Grant Hart, Bob Mould, and Greg Norton collectively known as Hüsker Dü returning to town at the end of a tour they named the Childrens Crusade. The tour marked Hüsker Dü s international breakout, as it began in Calgary and Victoria. It then meandered from Seattle to Portland to San Francisco and Sacramento and back to the Midwest through Chicago and Madison. But here at the Entry (as it was called by its regulars), Hüsker Dü was a fixture, having played the venue on at least 50 occasions sometimes several times in one week since January The cramped Entry capacity 250 had been hewed from the bus depot s former cloakroom and cafe. In its corner was the low-ceilinged stage, swathed in peeling black paint and scattered with plastic beer cups. It barely accommodated Hart, Mould, Norton, and Hart s Ludwig drum kit, inherited at age 10 from his older brother, tragically killed by a drunk driver. The crowd in the smoke-filled room was partying, restless, waiting to experience the contagious energy that by now they knew well. Touring had tightened up the material, and new songs had been written on the road, so the band knew it was a moment to capture.

24 Short on funds for a studio album, they had cobbled together $300 to record the show with the intent of releasing it as a live LP. From the moment Hüsker Dü took the stage, the first set was unrelenting. It began with All Tensed Up and proceeded to compress 17 songs into less than a half hour, kept on pace by Hart s ferocious, high-speed drumming: insistent, decisive, with clear purpose. The LP would be called Land Speed Record and was released shortly thereafter with assistance from Mike Watt of the Minutemen and his label New Alliance. The jacket, like those of many hardcore punk and ska records of the time, was requisite black and white, its DIY graphics (designed by Hart via his pseudonymous Fake Name Grafx with Xerox copier and Sharpie marker) advocating the same urgency and immediacy as the music within. While less melodic and textured than Hüsker Dü s subsequent albums, this one was special in its unruliness: it not only revealed a band on the verge of its collective potential, but also captured the essence of the venue that had been its incubator. For 26 minutes and 35 seconds within its enveloping black walls, 7th St. Entry became a creative tinderbox, encapsulated within Land

25 Speed Record. Eighteen years later, Hüsker Dü had disbanded, as had Hart s subsequent band, Nova Mob. By the channels through which artists and performers often discover shared sensibilities, Grant Hart, now a solo performer, met Chris Larson. Both were from St. Paul, both had a fascination with a certain history of American culture, both understood music s relationship to art. Their friendship through the years became a collaborative one: Hart appeared in Larson s live performance work Shotgun Shack and his film Crush Collision (both 2006), and Larson provided album art for Hart s independent release Good News for Modern Man (2014). A musician in addition to being a visual artist, Larson has broad interests. His roots in sculpture have led him to explore film, video, photography, performance, drawing, and painting. His most memorable projects have stemmed from architecture from vernacular building types (coal mine tipples, shotgun shacks) to imaginary, illogical structures which inspire sculptural or filmic environments rooted in his skilled carpentry. These structures are layered with a strong narrative armature; he often lays plans within

26 them for some unexpected action, such as the rural shack in Deep North (2008) encrusted inside and out with ice and housing a strange, human-powered machine, or the floating house adrift on a lake in the film Crush Collision (featuring Hart among its performers), in which a rough-hewn machine, a gospel quartet, and a drummer share parallel narratives and spaces within. Larson s works are often linked a sculpture becomes a film set that then becomes a photograph, for example and are also regenerative, as an element used in one piece has the potential to appear again in another. While his earlier works embraced archetypal structures and improvised apparatus, more recent endeavors have investigated specific architectural sites. For Celebration/Love/Loss (2013), he meticulously constructed a full-scale wood-and-cardboard facsimile of the only Marcel Breuer designed modernist home in the Twin Cities, then proceeded to torch it in a grand spectacle of flame. For Larson, the process of replication is a route to new meaning. With Land Speed Record, his latest video installation, he focuses on the objects (and memories) left behind when their context and

27 architectural enclosure have disappeared. In 2011, Hart s childhood home in South St. Paul caught fire and partially burned. The smoke-blackened contents furniture, appliances, antiques and collectibles, Studebaker parts, ephemera from gigs, art supplies, clothing, master tapes, guitars, and drums had to be quickly cleared from the home, and Larson volunteered his studio as a storage space. For almost two years, the accumulation occupied the studio, itself a former warehouse for furniture in transit from factory to home. Hart would occasionally rearrange things on periodic visits, but Larson lived with and contemplated the items as they sat dormant, without framework or circumstance, unmoored from the house in which they had been collected, where Hart had learned to play the drums used at 7th St. Entry on August 15, Larson did not focus on the house. Instead, he began to build another machine, this time a motorized track for a camera that could provide new perspective and capture a slow, methodical pan across the 85-foot-long drift of Hart s possessions. This became a pair of films one in color, one black and

28 white each mirroring the 26:35-minute duration of Land Speed Record. At first the films, at once reverential and haunting, were silent. But the work wasn t finished. Larson began a new sculptural element, this time using the less physical materials of sound, memory, and place. He bought drums from Twin Town Guitars ( Keeping your life loud & local since 1997 ) a crystal-clear Ludwig Vista- Lite kit in mint condition. He commissioned a young musician with a passion for hardcore punk to learn the drum track of Land Speed Record, in its entirety and to meet him at 7th St. Entry when he was ready. The empty venue was unlocked, lights turned on, and the transparent drum kit arranged on the stage. Quietly placed alongside it was a Ludwig snare, unearthed from the pile of burned objects. After recording equipment was set up, the musician, sticks poised, donned headphones. Seven seconds passed, during which one could faintly hear through his headset the sound of a crowd, a squeal of feedback, and the opening chords on Land Speed Record. Then he began drumming, playing with surgical precision alongside the recording of Hart. Live then and live now. This time, distilled and stripped away from band and crowd,

29 Larson s recording captured just two things: the crystalline syncopation and the walls of 7th St. Entry that carried its sound. In Larson s installation within the dark gallery space, this pure and specific sound is layered with sculpture (based on the venue s black room divider/drink rail) and with the films. The sound interrupts, then fades through the filmed images, wrapping Hart s inert and orphaned belongings in the moving image with the liveness of August 15, Recorded by the camera and scaffolded by sound, the charred objects are no longer ruins but are emancipated they no longer require the enclosure of the house, the studio, or specific recollections. When Land Speed Record hit stores just before Christmas 1981, a local critic admiringly called it a repository of strength and horror ( City Pages ). For Larson, the notion of the repository remains rich and spacious, filled with the possibility for reinvention. Likewise, the vestiges of what a space has once held, whether objects, sounds, words, or memories, can perpetually be re-embodied. In Larson s Land Speed Record, these remnants layer to form a larger narrative.

30 Hüsker Dü was named after a family board game that tests one s ability to recall images: a childhood home, a music venue, a furniture warehouse. The words are Norwegian for Do you remember? This essay will appear in the Chris Larson: Land Speed Record exhibition catalogue. To be released in August in commemoration of the 35th anniversary of the release of Hüsker Dü s album of the same name, the catalogue will take the form of a clear vinyl LP bearing a new drums-only recording of the entirety of Land Speed Record, accompanied by four essays that appear as liner notes. Chris Larson: Land Speed Record is on view June 9, 2016 January 8, Photo: Larry Smith Photo: Gene Pittman Photo courtesy the artist Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist Photo: Jordan Rosenow Installation with color digital video, black-and-white Super 16mm film (each 26:35), sound, and sculpture. Photo courtesy the artist. Photo: Jordan Rosenow :26 By Siri 9 la strana officina cellini uomo bicycle from a tiny factory in tuscany italy, la strana officina creates prestigious bicycle designs that become more like pieces of art work then daily commuters. their latest creation the cellini uomo is based on a sleek and sporty steel frame with aggressive details that make it truly unique. the painting process is done in stages, with matte black covering the final bronzing so the paint does not intervene with the luster and finish. to highlight the gold details, the team decided to adopt a galvanic 24 karat

31 gilding. the drop down track handlebar is half gold plated and the remaining covered in faux snakeskin as well as the saddle. the brake lever is based on a joystick design that slows down the front wheel. the pair of pedals use a titanium central axis paired with bearings that expose the anodized gold details. the la strana officina cellini uomo is designed for both the velodrome or the roads ready for anything type of riding :05 Piotr Boruslawski 10 A First Look at Antonio Lopez: Future Funk Fashion at El Museo del Barrio More Articles By El Museo del Barrio s latest exhibit calls attention to a fashion illustrator from its own neighborhood. Antonio Lopez: Future Funk Fashion, which opens June 14, has been 15 years in the making. Curators in the past had gone to the archive but nothing developed until just last year, explained cocurator Rocio Aranda-Alvarado. The show incorporates work from the Antonio Lopez estate in New Jersey and from private collectors, including designer Narciso Rodriguez. It s the most comprehensive exhibit of Lopez work to date, featuring over 400 of his illustrations and creative projects. Lopez was born in Puerto Rico in 1943, but grew up in East Harlem after his family moved to America when he was seven years old. He attended P. S. 107, before moving on to The High School of Art and Design. He lived in East Harlem pretty much his whole life, noted Aranda-Alvarado. Lopez passed away in 1987 at the age of 44 from AIDS complications. While attending FIT, Lopez met Juan Ramos, who would become his

32 lifelong partner and creative collaborator. It was always really collaborative, said Aranda-Alvarado. I don t think people realize how much Juan was kind of the idea man. He would go and buy the books. He would say OK, we need an idea for a commission that we got for a particular store, and they d go to Rizzoli and buy books. The young fashion illustrator was given his first job while still attending the Fashion Institute of Technology he was hired by John F. Fairchild, then editor in chief of Women s Wear Daily. In addition to illustrating for many publications WWD, The New York Times, Interview during Andy Warhol s reign Lopez was also frequently commissioned by fashion brands. Many of those projects are on display in the exhibit, including a series of campaign images drawn for YSL (spelled out by illustrated bodies), Versace and Chloé the latter images commissioned by Karl Lagerfeld in the early Eighties. Lopez and Ramos were longtime friends of the designer, and were put up by Lagerfeld when they moved to Paris in He found a place for them to stay, explained Aranda-Alvarado. There were two different addresses in Paris. I think one of them was Karl Lagerfeld s mother s building, and their studio space was there. Lopez is well known for his drawings of female models, coined Antonio s Girls, and he developed close relationships with many, including Pat Cleveland, Grace Jones, Tina Chow and Carol Labrie. He was particularly interested in representing women of color, who were often marginalized within the fashion world, and aimed to highlight them from an angle of strength. He was working on these really powerful figures of women, said Aranda- Alvarado, gesturing to a wall of black-and-white illustrations. He met many of his muses in context of his daily life. He met Grace Jones on the subway, and they started talking. It usually began with a conversation, with him asking if she could come pose with him at his studio, she explained. He met Jerry Hall out dancing at a club called Club Sept in Paris, and she was wearing a crazy gold lamé outfit that her mom had made for her specifically to go dancing in. He was immediately attracted to her, he asked if he could draw her and she came back to the studio. So that was sort of the way it always developed, and they became really good friends. Lopez culled much of his inspiration from music, notably disco, and a wall showcases records from his private collection. A playlist compiled by Bill Corderjo, who was his regular DJ, will play throughout the exhibit. The musical references carry over into Lopez work. The fashion images show hip-hop and urban style influence, said Aranda-Alvarado, gesturing to a series drawn for Missoni in the Seventies. You can see the hands are making the popping moves of breakdancing, she continued. Who knows if they even knew. You would have to know popping as a style of dance and

33 what it looks like. The back room of the exhibit showcases the future aspect of Lopez work. By the early Sixties, he and Juan were interested in Science Fiction and they had a series they called Space People, explained Aranda-Alvarado. Throughout the Seventies and Eighties they kept returning to this theme of the future world. So there are a lot of women that have these radical hairdos or these contraptions that they re wearing, she continued. They listened to a lot of R&B. That coupled with his interest of people who are marginalized from the fashion industry made him think about this utopian future where science fiction and racial equality sort of mixed. Antonio Lopez: Future Funk Fashion is on view through Nov :24 Kristen Tauer 11 Kazumi Sakata s Tatazumai Concept to Debut in Muji Fifth Avenue Store in New York More Articles By With next week s opening of its Tatazumai collection, Muji will be letting the participating artisans speak for themselves. Upending the in-store appearance concept, Muji will be flying in the Japanese designers, who will be onsite in the Fifth Avenue store June 23 to 26 during normal business hours. This will be the first time that Tatazumai, which translates to appearance, shape or atmosphere will be shown outside of Europe. The exhibition has been selected by Kazumi Sakata, the influential antique dealer who raised everyday design into an art form, winning over fans like Takashi Murakami in the process. A selection of clothes given to the artist by Sakata were featured in Takashi Murakami s Superflat Collection at the Yokohama Museum. In an interview earlier this year with an art outlet, Murakami said, In Japan, Sakata was a revolutionary figure: He created this bizarre zone of connoisseurship by lowering his gaze to the level of the common man, and prizing a certain beauty to be found in poverty and an austere lifestyle. Tatazumai was first introduced by Muji in Japan, and then in Paris last fall.

34 Building off the momentum in the Japanese market, which accounts for more than 50 percent of Muji s overall business, the company decided to bring the concept to New York, said Muji USA president Asako Shimazaki. Muji, a 400-unit chain with 11 stores in the U. S., will open an 8,600-squarefoot store in the Westfield Garden State Plaza in Paramus, N. J., in August. The Tatazumai selection includes clothing from textiles artist Akiko Ando, glass artist Kazumi Tsuji, mixed-material wares artist Michiko Iwata, ceramic items by artist Keisuke Iwata, kitchen wares from the wood designer Ryuji Mitani and ceramist Masanobu Ando. Akiko Ando is the only Tatazumai artisan, who will not be available to travel to New York for this month s opening. Each artist will be traveling with some of their handmade creations in their own suitcases and will help to prepare their individual space in the flagship, Shimazaki said. Fuji was drawn to each artist for their individual aesthetic, philosophy and concept, Shimazaki said :54 Rosemary Feitelberg 12 venice architecture biennale: across chinese cities BJDW presents 'across chinese cities - china house vision' at the venice biennale promoted by beijing design week at the 2016 venice architecture biennale, the exhibition across chinese cities china house vision is part of an international program launched two years ago at the 14th edition of the event. named across chinese cities, the program aims to generate content and research relating to the country s contemporary urban condition. by engaging both professionals and academics, the display helps shape a new critical focus for architecture in china, envisioning new relationships with other fields and disciplines. overlapped living by wang hui of URBANUS and you+community curated by beatrice leanza of BJDW and michele brunello of DONTSTOP architettura, the exhibition is an iteration of the project house vision, a panasian platform of multidisciplinary research and development initiated by designer kenya hara and sadao tsuchiya in japan from occupying two floors of venice s palazzo ca tron, the exhibition premiers a body of

35 research produced by 12 architectural practices and relevant collaborating companies. the proposals are presented via newly designed installations specifically realized for the show, integrating research data, material archives, and conceptual renditions of their ongoing development. furniture by chang yungho for QM furniture see more of the project on designboom here grouped in five thematic clusters, these ideas cover the past 18 months of research expounding upon a wide geographic blueprint of contemporary china, from urban to rural areas. as one of these five, a special project dedicated to the 2016 guest city chengdu has been developed by the beijing centre for the arts under the title kitchen home project. micro garden in hutong toilet by MAD architects and ROCA the primary thematic contents are presented on the first floor, integrated in an installation of lightweight wooden structures and translucent surfaces designed by DONTSTOP architettura and omri revesz studio, with visual and graphic design by shenzhen-based sans practice. the proposals address the wider cultural and historic implications affecting the habitat and role of architectural practice in today s china as increasingly impacted by environmental factors, shape-shifting demographics and generational segmentation. (foreground) the bike house by yungho chang of atelier FCJZ and MUJI (background) micro garden in hutong toilet by MAD architects and ROCA the projects in the first section the hybrid unit consider the historical rapport between the private and public sphere, investigating the efficacy of vernacular forms of spatial thinking and resilient social formations in the contemporary city. these include: the bike house (atelier FCJZ/ chang yungho), hutong MINI house (ZAO/ standardarchitecture/ zhang ke), micro garden in hutong toilet (MAD architects/ ma yansong). micro garden in hutong toilet by MAD architects and ROCA the second section dematerialized space collates projects that examine transforming rituals of habitation and notions of the home often unhinged from traditional architectural forms. the schemes reference today s mobile techno-social lifestyles, typical of younger generations. these include: the house of belongings (atelier deshaus/ liu yichun), the house of spontaneity (trace architecture office/ hua li), i-living (crossboundaries architects), and the thousand hands house (atelier fronti/ wang yun). back home by liang jingyu and nong lin mu ye and tesla energy

36 proposals in the third section rural frontiers peruse the vernacular dimension of the rural. these projects seek to empower an alternative economy of sustainable habitation and productive co-dependency for the revitalization of endangered natural ecosystems. these include: pole house (AZL architects/ zhang lei) and back home (approach architecture studio/ liang jingyu). the house of belongings by liu yichun of atelier deshaus and fangsuo commune the section community plus tackles the new social demographics of so called ant tribes, the work-and-living habits of millennials, and the phenomena of collective housing in face of alarming pollution and unabated urban growth. these include: overlapped living (URBANUS/ wang hui), urban furniture co-living (B. L. U. E. architecture/ shuhei aoyama) and breathing home start-up home (NEXT architects/ john van de water & jiang xiaofei). a set of installations, presented on the ground floor, form a special project hosted by chengdu media group, developed by beijing center for the arts (BCA) in collaboration with kengo kuma (the floating kitchen), winy maas/ MVRDV (the infinity kitchen), and critic and food expert au yeung ying chai (kitchen home). the three schemes consider the cultural dimension of foodmaking, again investigating the relationship between public and private realms. these large scale installations include both object-based and multimedia presentations that form the first findings of this ongoing multidisciplinary program. (left) pole house by zhang lei of AZL architects and aranya (right) breathing home start-up home by NEXT architects the house of spontaneity by hua li of TAO entrance to the exhibition curated by beatrice leanza and michele brunello :29 Philip Stevens 13 Borsalino Taps Fouquet for Capsule Hat Line Borsalino has teamed with Nick Fouquet to launch two capsule collections for spring 2017 and fall Each capsule developed by the Venice Beach-based hat designer, known for his creative, eccentric creations, will include five men s and five women s hats that will be available in three color combinations. The project will be officially unveiled next September in Milan but two limited-edition felt styles will be previewed at the Borsalino flagships starting in October.

37 :21 Alessandra Turra 14 New Frontier at Sundance Film Festival: 10 Years of Changing Boundaries To commemorate ten years of innovation and experimentation at the New Frontier at Sundance Film Festival Program, the Walker s Sheryl Mousley and Shari Frilot, New Frontier chief curator, offer this illustrated survey. Celebrating its 10th anniversary, the Sundance Institute s New Frontier program has provided the highest level of curation in this emerging field since Virtual [ ] :26 By 15 Audition Announcement! Choreographers Evening 2016 The Walker Art Center and Guest Curator Rosy Simas are seeking dance makers of all forms to be presented in the 44th Annual Choreographers Evening. Rosy Simas, an enrolled member of the Seneca Nation in Western New York, creates dance from a Native feminist perspective. Simas current work disrupts Eurocentric cultural norms by creating dance [ ] :26 By 16 An Opening Reception for Lee Kit s Hold your breath, dance slowly On May 11th, Walker Contributing Members gathered in the Cargill Lounge

38 :26 By to celebrate the opening of Hold your breath, dance slowly, the first U. S. solo museum exhibition of Taiwan-based artist Lee Kit. The instillation combines Lee s paint-based practice and his object-based practice to explore the poetics of everyday materials and household items. Contributing Members were [ ] 17 Hippie Modernism: The Struggle for Utopia exhibition catalogue - by Walker Art Center design studio / Design Awards While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including: Gerd Stern of USCO; Ken Isaacs; Gunther Zamp Kelp of Haus-Rucker-Co; Ron Williams and Woody Rainey of ONYX; Franco Raggi of Global Tools; Tony Martin; Drop City; as well as new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life. The catalogue for Hippie Modernism: The Struggle for Utopia is edited by curator Andrew Blauvelt and contains new scholarship that examines the art, architecture, and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co, and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica, and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner, and John Whitney; posters and prints by Emory Douglas, Corita Kent, and

39 Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog ; books by Marshall McLuhan and Buckminster Fuller; and much more. While designing the publication, one of the tensions we were interested in exploring was the relationship of the hippie as popularized by the media and its authentic counterpart, if such a thing existed. As Andrew describes in his preface to the catalogue, "The hippie was and remains a highly mediated figure, one used rhetorically within this project as the same kind of empty signifier to which accreted many different agendas. Or, as the Diggers once said, the hippie was just another convenient "bag" for the "identity-hungry to climb in. " If the publication could illustrate both the hippie as utopic countercultural agent and the hippie as "devoted son of Mass Media," we might begin to emulate a Hippie Modernism. Typographically, we responded to lo-fi publications such as the Whole Earth Catalog, How to Build Your Own Living Structures, Be Here Now, and thefoundation Journal on one hand, and the iconic, corporate advertising language of the '60s and '70s on the other. Bridging these two registers came quite naturally to many of the artists and designers of this era, who understood that envisioning a utopia meant performing it, broadcasting it, projecting it, publishing it, and advertising it. Creating the future meant coopting the strategies of mass communication. One obvious example of this was "Advertisements for the Counter Culture," an insert in the July 1970 issue of Progressive Architecture magazine, in which representatives of the counterculture were invited to create advertisements for their various projects and efforts. In the preface, editor Forest Wilson wrote, "The following pages reflect deep discontent with things as they are. We should be concerned when such options cease to be advertised, for it is when those who seek change despair of its realization that violence becomes inevitable. The public notices that follow are put forth to offer alternatives to our way of life, not to destroy it. " In addition to reprinting the insert in our catalogue, we created a 16-page reimagining of it through the lens of Hippie Modernism, interspersed throughout the essay section. Some of these pages feature real ads, publication covers, and layouts from the period, while others are fictional recreations (the McLuhan ad, for example, required restaging a photoshoot in order to translate an ad that was originally black-and-white into full color). The pages are printed on Constellation Jade Riccio, a dreamy, pearlescent paper embossed with a wavy pattern that brings to mind the organic psychedelia of certain hippie projects such as Elias Romero's oil and ink light show experiments, while also reinforcing notions of mass production and surface, by way of it's highly artificial nature. (I first saw this paper used beautifully by Laurent Fétis and Sarah Martinon in the design of the

40 catalogue for the 23rd International Poster and Graphic Design Festival of Chaumont 2012.) The book also includes an extensive plate section, featuring images and descriptions of the projects featured in the exhibition. Finally, the image on the cover of the book depicts the US Pavilion for Expo 67 (Montreal), designed by Buckminster Fuller and Shoji Sadao, as it caught fire on May 20, As a signifer, the photo by Doug Lehman seems to perfectly encapsulate the friction implied by the term "hippie modernism" and, more explicitly, the counterculture's utopian agenda being subsumed and deemed a failure by the conservative era that was to follow. With each passing year, though, this reactionary characterization of the counterculture moment rings more and more hollow, as contemporary practitioners revisit the revolutionary strategies these artists, designers, and activists deployed :26 Donghwan Kim 18 Memories of Martin Friedman As director of the Walker Art Center from 1961 to 1990, Martin Friedman who passed away May 9 at age 90 oversaw the construction of a new Walker building, spearheaded the creation of the Minneapolis Sculpture Garden, and put the center on the map internationally for its astute curatorial vision, multidisciplinary focus, and artistcentric values. Following up [ ] :26 By 19 Erasing the Photographer s Hand: Phil Collins s Free Fotolab Phil Collins s free fotolab is included in the Walker exhibition Ordinary Pictures, on view February 27 October 9, In his work free fotolab (2009), British artist Phil Collins presents 80 photographs that exactly fill the standard 35mm slide carousel he uses to project the images onto the gallery wall. Although Collins is a photographer, he [ ] :26 By 20 Inside Last Night s Brutal 'Game of Thrones Chase Scene This article contains spoilers for Game of Thrones Season 6 Episode 8,

41 "No One. " Maisie Williams as Arya Stark, Photo by Macall B. Polay/HBO This week s episode of Game of Thrones, "No One," is a bit of a slow burn, but Arya Stark's adventures in Braavos deliver enough blood to the brain for the whole hour. Mark Mylod directs as Jaime Lannister (Nikolaj Coster-Waldau) negotiates with Brienne of Tarth (Gwendoline Christie) and avoids a siege with the Blackfish (Clive Russell) at Riverrun, Tyrion (Peter Dinklage) messes up in Meereen and sparks the beginning of a war, and The Hound (Rory McCann) is robbed of bloody vengeance by the Brotherhood Without Banners. The adrenaline-pumping highlight of the episode is Arya (Maisie Williams) in no-holds-barred sprint through the congested city streets with her murderous nemesis the Waif (Faye Marsay) in hot pursuit. The scene isn't your average Hollywood chase. Already injured from multiple stab wounds at the Waif's hands, Arya doesn't do glamorous jumps, dives, and rolls. She takes each fall hard, at one point re-opening her wounds. Williams tells Entertainment Weekly how she, Mylod, and the stunt team sought to preserve her fear of imminent death during the intentionally graceless acrobatics. "I wanted her to look like she was struggling," Williams says. "I didn t want [the chase stunts] to be unnecessary or superhuman. I got on set and they were [going to have Arya] rolling around, and diving, and I was like, That looks amazing, but no. I d be like, 'Why would she run over there? She d just duck under here and just get out.' It doesn t look quite as cinematic, maybe, but they ll have to find something else if they want cinematic. And I felt awful because the job of the stunt guys is to make everything look as crazy and cool as possible. Maisie Williams as Arya Stark, Photo by Macall B. Polay Faye Marsay as The Waif, Photo by Macall B. Polay

42 This sort of collaboration is fairly typical of Game of Thrones ' stunts. The show s chief stunt coordinator, Rowley Irlam, described his process in a behind-the-scenes featurette from Season 5. We start with the script, we ll step through the fight, and then work out what the journeys of the characters are, and how many people are involved. And then we ll just start playing with ideas," Irlam says. "Someone will have thought of a move or a disarm. And then basically its like you have a little melting pot of people. I bring the stunt guys in. We shoot the sequence. We ll cut a rough edit, with a rough idea of how it might look. But they show what the idea of the fight or the sequence might be. Its interesting to consider sequences like this as a sort of collective team effort, deliberated and worked through by the director and stunt specialist as well as the actors performing them. During the eighth episode of After The Thrones, the show s hosts Chris Ryan and Andy Greenwald suggest that if Arya is really finished with her Faceless Man training, she may want to consider enrolling in some parkour classes. We can t help but think they might keep her from breaking a bone. Arya's final moment in the episode is a hard-won, flashy victory speech in the Hall of Faces (which you can learn more about here ) complete with a Mr. Miyagi head nod from her teacher, Jaqen H'ghar (Tom Wlaschiha). Maisie Williams as Arya Stark, Photo by Helen Sloan/HBO ;Tom Wlaschiha as Jaqen H Ghar, Photo by Helen Sloan/HBO Game of Thrones airs on HBO Sunday nights at 9 PM EST. Related: How 'Game of Thrones' Designed Daenerys' Fiery Set Piece Peek Inside Game of Thrones' Haunting Set Design for "The Hall of Faces" How 'Game of Thrones' Pulled Off Melisandre's Shocking Twist :00 Nathaniel Ainley 21 Rachel Harrison at Kraupa-Tuskany Zeidler, Berlin Installation view of Rachel Harrison: Depth Jump to Second Box, 2016, at Kraupa-Tuskany Zeidler, Berlin. DEF IMAGE, BERLIN/COURTESY THE ARTIST, KRAUPA-TUSKANY ZEIDLER, BERLIN, AND GREENE NAFTALI, NEW YORK Pictures at an Exhibition presents images of one notable show every weekday. Today s show: Rachel Harrison: Depth Jump to Second Box is on view at Kraupa-Tuskany Zeidler in Berlin through Saturday, June 25. The

43 solo exhibition presents two new installations by the artist. Rachel Harrison, FCHEM, 2016, wood, steel, aluminum, stainless steel, gymnastic rings, straps, jump rope, chain, fitness ball, wood, polystyrene, cardboard, cement, burlap, and acrylic. DEF IMAGE, BERLIN/COURTESY THE ARTIST, KRAUPA- TUSKANY ZEIDLER, BERLIN, AND GREENE NAFTALI, NEW YORK Rachel Harrison, FCHEM (detail), 2016, wood, steel, aluminum, stainless steel, gymnastic rings, straps, jump rope, chain, fitness ball, wood, polystyrene, cardboard, cement, burlap, and acrylic. DEF IMAGE, BERLIN/COURTESY THE ARTIST, KRAUPA-TUSKANY ZEIDLER, BERLIN, AND GREENE NAFTALI, NEW YORK Installation view of Rachel Harrison: Depth Jump to Second Box, 2016, at Kraupa-Tuskany Zeidler, Berlin. DEF IMAGE, BERLIN/COURTESY THE ARTIST, KRAUPA-TUSKANY ZEIDLER, BERLIN, AND GREENE NAFTALI, NEW YORK Installation view of Rachel Harrison: Depth Jump to Second Box, 2016, at Kraupa-Tuskany Zeidler, Berlin. DEF IMAGE, BERLIN/COURTESY THE ARTIST, KRAUPA-TUSKANY ZEIDLER, BERLIN, AND GREENE NAFTALI, NEW YORK :41 The Editors 22 the k.o.t project inserts functional box into duplex apartment in tel aviv the k.o.t project inserts functional box into duplex apartment in tel aviv (above) the black iron entrance door leads into a small entrance hall designed by K. O. T project, the architecture of this apartment in tel aviv is home to a renowned fashion designer and his partner, a media figure. the design portrays an intersection between the rich aesthetic of the 50 s and 70 s with the cleanliness of current design. the owners requested functional and spacious spaces, as well as ample storage. the planning instigated many conversations regarding lifestyle, practical use, leisure, natural lighting, and work requirements. before the renovation, the apartment had

44 two bedrooms, a living room, and a separate kitchen; the rooftop floor had a 10 m2 attic. the design concept for downstairs led to the creation of one unrestricted and functional space by perceiving the structure s enveloping walls as an outer shell for a domestic hub. the closet is constructed with natural bamboo boards, separated from both floor and ceiling by an aluminum profile custom-made carpentry and welding units added by K. O. T project structure the inner space, as each function has a unit that contains it. in addition, 40 m2 of lightweight construction (steel frame and aluminium roof) were added to the rooftop floor. the 74 m2 first floor now consists of an open space for the living room, kitchen, dining table (with a closed guest bathroom), as well as the master bedroom unit with a walk-in closet and bathroom. the 64 m2 rooftop floor holds an additional lounge, kitchen and small dining table, as well as a guest bedroom and washroom. a paved balcony of 24 m2 is annexed to the parameter. the living room is furnished with checkered missoni armchairs and a grey couch during the planning process, an emphasis was placed on natural lighting, the relationship between the outer public spaces and the inner private spaces, as well as interior. every item in the apartment was carefully selected: leather chairs on an iron frame from the 1970s, glass tables, vintage lamps found in athens, hand-woven carpets,missoni textile, andrew martin upholstery, an earthenware pot from tibet, an original oil painting from a private collection and more. the washrooms and bathroom serve as blue and turquoise focal points that break the wood and black theme exposed to the main space once the door is opened. the main piece of carpentry arranges all different uses around it: hall, guest bathroom, living room, dining area, kitchen, bedroom and closet room the kitchen was planned as different units set side by side, each of which has its own defined purpose a black marble surface sits on a custom-made wooden unit with legs, which contains cupboards, drawers, and an oven a concealed door in the same large closet leads into the master bedroom

45 the front of the closet leads to the dressing room and ends as a ceiling-high open storage unit for shoes the closet ends at the constructive cement pillar, from which plaster was peeled and roughly the balcony was paved with cement tiles, and is mainly used as a green terrace for growing vegetables and herbs every item in the apartment was carefully selected designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here :30 Kfir Galatia 23 These Vintage Melting-Face Portraits Will Trip You Out Monday Insta Illustrator The twin joys of perusing other people's photos and imaginging fictional universes meet in the surreal illustrations of Pierre Schmidt. Under the moniker Dromsjel, the Berlin-based artist shares characters decked out in vintage clothes and color palettes and twists them with psychedelic portals and warped anatomy. His subjects are largely women, captured in a wide range of situations from lounging with friends to posing nude. Despite the gorgeous colors and smiling subjects, his drawings have a dystopian affectation. The vision's tendancy to overtake a human's identity is too reminiscent of a bad trip to simply be whimsical. Aside from selling prints of his work, Dromsjel designs album art and tour imagery for bands like Team Dead and Crash Casino. See more of his work here, and find your next favorite artist on The Creators's Project's Instagram feed. Related: Adventure Time-Worthy Psychedelics Monday Insta Illustrator NeoWave Posters Resurrect Psychedelic Space Art

46 Trip The Light Fantastic With This Cosmic Digital Artwork :30 Beckett Mufson 24 Mike Bouchet Brings The Zurich Load" to Manifesta 11 Related Events Manifesta 11 Artists Mike Bouchet It smells, but the smell has been reduced a lot, artist Mike Bouchet says of the 80- ton sculpture made entirely of human waste he is presenting at Manifesta 11, which opened this past weekend in Zurich and runs through September 18. I m not interested in entirely erasing the smell but I didn t want it to be a total turnoff. Reactions to the work, titled The Zurich Load, have been mostly positive, Bouchet notes. Some of his gallery neighbors in the Migros Museum of Contemporary Art, where the piece is installed, expressed concerns about the smell lingering in the hallways, where they will be greeting clients and curators throughout the biennial. They told him, It s not our favorite thing to deal with, Bouchet says, adding that, overall, however, they were willing to work with me. You imagine most museums would say, No way, are you kidding me? But they didn t give me that at all, Bouchet says of the Migros staff. Visitors, too, often have immediate reactions of revulsion once they discover the work s content from the wall text or the farm-like aroma. But they re not necessarily put off by it, he says. The shape has a seductive side the scale, color, and materiality. The whole presentation. It reminds him of Mayan architecture, or constructions of other ancient civilizations that combined shit and mud to make bricks. To create the blocks of hand-pressed waste, arranged into a minimalist grid of 23-by-100 feet, Bouchet worked closely with the Zurich sewage-treatment facility. Many of the biennial s artists collaborated with local workers on joint ventures as part of Manifesta s curatorial theme, What People Do For Money. Water treatment workers were not on the list of possible professionals supplied to artists, but Bouchet was struck by how clean

47 Zurich was and began to wonder where the waste ended up. He took a tour of the plant and realized, wow, the volumes of material we produce every day is staggering, he says. When you see so much of it all together you don t think of it as something that s so dirty. It just seems so much more natural and elemental. Bouchet worked with a team of specialists to preserve the brown color, prevent mold and bacterial growth, and reduce the smell. They mixed together Portland cement, pigment, and calcium oxide into an amalgam that Bouchet says is reminiscent of the one used by Renaissance fresco artists. He considers the work a collaboration between himself and the 400,000 residents of Zurich, who supplied the eight tons of raw material on the day he collected it, March 24, If that sounds like an impressive amount, Bouchet notes that New York City produces 1,600 tons a day. And already he s imagining the possibilities: You could probably fill up Yankee stadium with that :05 Rachel Corbett 25 Flying Suitcases, Mimes, and a Collector s House: A Quick Spin Through the Unlimited Section at Basel Paul McCarthy s Tomato Head. The Unlimited sector of Art Basel is devoted to large-scale installation and works that transcend the classical art show stand. The name is a hyperbole as it does contain walls at some points but it can really appear endless when you first walk in. And the works inside are very, very big. That is the point of the whole thing! Which is why it s a little futile to try and see it all in a matter of minutes, but I did it anyway. There is a lot to see. The curtain opens to what seems to be an appropriate opening set piece: Thomas Bayrle s Flagzeug (Airplane), last seen towering over the offerings at Documenta 13 in 2012 and Dan Graham s bent-glass door to the rest of Unlimited, Two V s Entrance Way (2016). Beyond that came Davide Balula s Mimed Sculpture (2016), a performance where mimes in purple gloves were making air-recreations of works by Bourgeois and Giacometti, and then a massive work by Chiharu Shiota, Accumulation: Searching for Destination (2014) in which hundreds of beat-up vintage

48 suitcases are suspended from the roof at different heights. Ai Weiwei, White House. A William Pope. L performance had the artist walking around the fair in a white gorilla costume, while Ai Weiwei perhaps the ur-unlimited artist, given his fondness for bigness, both in work and in statements gave us White House (2015), a structure painted white and then set on some Koons-y glass orbs. Collages by Ciprian Muresan took every ad from certain issues of Artforum and combined them the works get denser as Artforum becomes more ad-heavy, with a particular departure once Knight Landesman came on board as the magazine s publisher. Alison Knowles s legendary performance Make a Salad, which is what it sounds like, was staged here 54 years after its debut. It started at 4:00 p.m., with a line of performers chopping the salad and tossing it in a giant bowl, ready to serve it to passersby. The performance completed just after 6:00, nearly 45 minutes earlier than expected. People wanted salad, I guess, someone said. It was a salad-loving crowd in a bratwurst city. Alison Knowles, Make a Salad. The James Turrell wedgework Cross Cut (1998) had such a long line that I didn t bother to even try to see it, and I expect that come tomorrow, the same waits will be the case for a work by Tracey Emin: The More of You the More I Love You (2016) is set in a small mirrored room where all you can do is bask in the glow of the Tracey Emin purple neon, and maybe take a selfie or eight. What you rarely see at Unlimited is the artist actually hanging out in the booth, taking in the enormity of it all, greeting guests. But such was the case with Joseph Kosuth, who had restaged his first-ever L. A. gallery show, which consisted of text-based works that aimed to define the word nothing. I did it when I was 22, and it went up when I was 23, said Kosuth, who was sitting in a chair in a corner with his dealer, Sean Kelly. I asked if it held up. Actually, it s better than I remember! Kosuth said. Chiharu Shiota, Accumulation: Searching for Destination. (Also, there was a conversation between artist and dealer regarding the death of the artist Dieter Roth, whom Kosuth claims to have been drinking with on his last night on earth. But we ll leave it at that.) And while it s hard to sell the really big works here in the opening minutes of Unlimited, we heard that one of the quite big works on view did indeed find a buyer: Paul McCarthy s Tomato Head (2014) was sold to Art Agency, Partners on behalf of an American client. There certainly were advisors and dealers buying on behalf of absentee billionaires, but the place was also crawling with genuine collectors, which makes one particular work even funnier: Hans Op de Beeck s The Collector s House (2016), which painstakingly recreated the lounge of a rich art maven, down to the piano, the library, the

49 sculptures but all in unsettling grey plaster, which press materials liken to Pompeii, frozen in time. I heard it was completed in six weeks, which is pretty remarkable. But I haven t yet heard if it s been sold if it does sell, where in the house will the collector put it? :32 Nate Freeman 26 Total Exposure: George Henry Longly at Red Bull Studios Related Venues Red Bull Studios New York In We All Love Your Life, the London-based artist George Henry Longly s first solo exhibition in the United States, space travel is an act of both connection and removal, of being seen and disappearing. When you think about it, astronauts were the original reality stars, Longly said in a recent conversation. Everything they did was observed and documented. We had access to these people in a bubble. When those things arise, there are questions of downtime that are interesting. Occupying two floors at the Red Bull Studios in New York City, the exhibition is divided into zones, each with a distinct purpose. When you enter the show, you are immediately drawn toward what Longly calls the living space. The walls and floor are painted chroma key blue, as if the room were a movie set for a scene in which special effects will be added later, and safety bars are positioned at odd angles to evoke the way astronauts use all available space due to a lack of gravity. A deconstructed sculpture based on a scan of the British Museum s statue of Dionysus lounges high up against one of the walls, adding to the disorientating effect of the space, at once calming and exciting. On the ground, a small orb with a webcam inside watches you. You re resting and being observed, performing even when you re not working. Longly said the idea for the show grew out of his reading of Henry S. F Cooper s 1976 book A House in Space, about the Skylab space station. Cooper, who passed away in February of this year, was a longtime writer for the New Yorker best known for his reporting on space travel. Longly found the book in a thrift store around 2008 and has used bits and pieces of its text in previous works. It had a real impact on me, he explained. It

50 demystified the process of space travel, but it s also about power relations, issues of labor, overwork, and downtime. The rest of the first floor contains mirrors printed with text from the book including a prose poem authored by Skylab astronauts that they claimed was the first such work written in space and a kitchen area, which Longly said was meant to be the focal point of human activity within the different zones. I was thinking of continual distraction, which affects my life and many people I know, he explained. One thing I do in the studio is cook, to clear my head. But at the same time, the layout of the kitchen, adorned with overhead lights and a microphone that make it resemble a studio, blurs the boundaries between work and leisure. Is there off time when you re constantly being observed and recorded? I think you can look at this whole show as a metaphor for artistic production, Longly said. But I m using it to represent a contemporary condition that we re all faced with. With cell phones, and live streams, and constant surveillance, everything turns into a performance. That s what we do now. People put on live sex shows for free with their partners, and anyone can tune in. Literally, total exposure. Downstairs, the exhibition features what Longly calls the performance space. A giant screen plays a 12-minute video of snakes crawling around Longly s studio. Music, created by the musician David Maclean, pulses around the room, a stuttering shuffle of chords with little rhythmic backbone. It slows time down, draws you in. As the video ends, the focus shifts to a mysterious costume, designed by James Long, that hangs on a mannequin on the other side of the space and is spotlighted as chopped-up pop music plays. This area is the most important, celebrating the performative aspects of contemporary life. It complicates the other zones critique of our mediated existence, provoking contemplation through sensory overload. Space, Longly explained, is a place where these existential questions can happen far enough away from earth but spinning, orbiting the earth several times a day :29 Craig Hubert 27 Skarstedt & Almine Rech's New London Spaces Both Skarstedt Gallery and Almine Rech Gallery have announced the opening of new London locations in October 2017, just in time for Frieze London. Skarstedt, which was founded by Per Starstedt in 1994 and has two New

51 York galleries, expanded to London in 2012, while Almine Rech did so in Almine Rech's eponymous gallery, which opened in 1997, also has locations in Paris and Brussels. For Rech, the London expansion is just one of two new outposts she plans to debut come October, while still retaining her current UK location on Savile Row. The dealer is also crossing the Atlantic, to New York's Upper East Side, to an East 78th Street space designed by architect David Bucovy. Rech's first US location will open with "Calder and Picasso," an exploration of the connection between modern masters Pablo Picasso and Alexander Calder curated by the artists' grandsons, Alexander S. C. Rower and Bernard Ruiz-Picasso. "The exhibition is not only an exploration of the creative dialogue between these two formidable artists, but an insightful and intimate story shared from the families' perspectives," Almine Rech's New York operations head Paul de Froment said in a statement. In London, Rech will kick off programming at her forthcoming 65 Grosvenor Hill home with a show of Jeff Koons 's much-hyped gazing ball works, according to the Financial Times. For Skarstedt, the new London location is a move, not an expansion, into a larger, 4000-square-foot space at 8 Bennet Street. Formerly occupied by the Portland Gallery and next to the Ritz Hotel, the gallery is being renovated by Thomas Croft Architects. The space will open with Cindy Sherman 's "History Portraits" ( ) and David Salle 's "Tapestry Paintings" ( ), two art historicallyinspired bodies of work selected to appeal to Frieze Masters attendees. "The elegant galleries will afford us the ability to present more comprehensive historic exhibitions and will provide an exciting platform for our primary program," Bona Montagu, director of Skarstedt's London gallery, told artnet News in an . Follow artnet News on Facebook :29 Sarah Cascone

52 28 London Auctions Preview, Part 3: June 27 20th-Century & Contemporary Art Sale at Phillips Related Adrian Ghenie Venues Phillips Artists Jean Fautrier Leon Kossoff Mark Bradford Early lots of note include the richly impastoed abstraction Ba Be Bi Bo Bu, 1958, by Art Informel giant Jean Fautrier, in oil and pigment on paper laid on canvas. The work, the title of which was seemingly inspired by a nursery rhyme, is pegged at 200,000 to 300,000 ($ ,000). Fautrier is a real master of postwar European art, says Hugues Joffre, the house s worldwide head of contemporary art. But he has not been accepted as yet on the international market. In February, Phillips sold the artist s Construction rectiligne, from the same year, for a rousing 266,500 ($385,500) against an estimate of 120,000 to 180,000 ($ ,000). Joffre characterized the current offering, which was last exhibited in 1964 in the artist s retrospective held at the Mus é e d Art Moderne de la Ville de Paris, as joyous and full of spirit. Phillips is also offering the rare-to-market Portrait of Chaim II, 1987, Leon Kossoff s intensely rendered, angst-filled likeness of his bespectacled brother, which carries the same estimate as the Fautrier. Another version of the subject, dated , sold at Sotheby s London last July for 365,000 ($573,000). A selection of contemporary works by recent market favorites are going on the block as well. Among them are Mark Bradford s 2007 The Father s 'NO' and Adrian Ghenie s Untitled, from 2009, each of which is estimated at 350,000 to 450,000. Works by both painters have achieved artist records recently: Bradford s Constitution IV, 2013, sold for 3,778,500 last October at Phillips London, and Ghenie s 2014 The Sunflowers in 1937 sold at Sotheby s London in February for 3,117,000, more than five times the high estimate. Discussing the current market, Joffre observes that discretionary sellers are definitely not in the mood, so

53 the ü ber-collectors will have less to sink their teeth into. Source: Blouin Art Sales Index / BASI :25 Judd Tully 29 Short Film Combines Rock Climbing, Brazil, and Sebastião Salgado-Style Visuals Image courtesy of Nicolas Cambier The glimmering yet darkened environment of a quartz mine is the setting for a new short, AutoQuartz, by London-based French filmmaker Nicolas Cambier. The dialogue-free black-andwhite film follows a miner as he clambers from the depths of the quartz mine up a cliff, his body shimmering with the quartz crystals that are his life. The audiovisual narrative relies entirely on body language, sound design, and scenography to tell the tale of the daring escape, with the miner almost like a dancer as he makes his bid for freedom. "From the very beginning, the desire was to create a character, with a story and a world as vivid as possible, with as little as possible," notes Cambier. It's a world that he describes as "stark, sun-less, where hard labor and mystique mix seamlessly. " Image courtesy of Nicolas Cambier Two of the director's previous films Ruff, Synapse have concentrated on biomorphic wearables created by architect Behnaz Farahi. And this piece looks to continue with the concept of the augmented human body, albeit this time with crystallized minerals. Unlike those previous films, though, which documented experimental uses of 3D-printed technology, AutoQuartz takes inspiration from Latin-American music and culture, photographer Sebastião Salgado, and rock climbing, which Cambier recently took up. "Brazil hit me as an amazing maze of sounds and body language, as if the culture was in constant motion," Cambier explains to The Creators Project. "Then I discovered the fiercely evocative work of Sebastião Salgado in an exhibition in Paris, more particularly his mine series in the 1980s Serra Pelada, with these thousands of termite-like miners climbing up and down

54 the deep carved landscapes. Finally rock climbing, which I started about a year ago, taught by my friend Jake and who I spent hours observing from below, working his way up with (apparent) effortless grace. The idea of blending these three elements together started to grow, I imagined this young Brazilian miner who one night decides to climb his way out incognito, by covering his body with the sparkly soil of the mine he works in. I ended up mentioning the idea of the film straight to my climber friend, he seemed keen, so we went ahead. " Image courtesy of Nicolas Cambier Because of its unusual subject matter and unconventional approach Cambier has decided to crowdfund the project on Kickstarter. More traditional approaches art grants, competitions, residencies, partnerships would simply take too long. If the goal is reached and the film is finalized, the project might not end with just a cinematic version, either. Because of the visual nature of it, future ambitions could include a possible live version, too, But at the moment, much like that escaping miner, Cambier and his team are taking it one step at a time. Image courtesy of Nicolas Cambier Visit Nicolas Cambier's website here. Visit the Kickstarter for AutoQuartz here. Related Skiers Become Black-and-White Abstract Art in PBK1' An Experimental Horror Film Marries Grotesquery and Feminist Poetry Stark Geotagged Photos Shed Light on American Poverty :20 Kevin Holmes 30 zai shirakawa: N village in japan zai shirakawa organizes shingle-clad N village by the coast in japan N village is a japanese architecture project shown as a collection of archetypal huts set by the ocean edge of east coast japan. designed by zai shirakawa architects & associates, the series of five varying sized structures individually host different programs including a cafe, surf shop and a meeting space, all of which located in otsuchi a place renowned for surfing. the architecture sits on a raised platform and the uniform proposal adopts a pre-fabricated approach making the structures easily configurable to different programs. the original site was damaged from the devastating

55 earthquake a few years ago and after winning a competition, N village was realized. the tokyo-based architects chose to wrap the buildings with a timber shingled envelope. furthermore, three of the five pavilions are organized purposely with a spacious gap in-between to encourage an outdoor terrace and socialization between neighbors. orientated to face the sea and receive maximum daylight, the larger two of the structures is connected and organised across two levels with the architectural element centrally located, thus directing light, circulation, and movement throughout. the original buildings were damaged by the earthquake each building is arranged with a space in between to encourage interaction between neighbors one side of the buildings faces the ocean the uniform and consistent design blends yet stands as a recognized scheme in the city timber construction has been used throughout with the adaptable spaces used as a cafe and surf shop seating has been placed outside :18 Natasha Kwok 31 The Body Bakery Gives a New Meaning to Eating Face All images courtesy of Whitespace Gallery, Bangkok This sculpture studio isn t your average workspace: Looking at Ratchaburi, Thailand-based artist Kittiwat Un-ar-rom's work, you d think the flesh came from either a forensics lab or a prop store. But these severed limbs, haggard faces, and fleshy lumps are actually made entirely out of dough. In his Body Bakery works, every single bun is edible for years, the artist has kneaded and mixed his way through hundreds of flesh-like rolls that would put even the hungriest off of their lunch. He displays them as if they were in a butchery, the starchy designs all wrapped up in cling film and suspended

56 from metal meat hooks. Each baked body part is made with meticulous detail; each feature constructed out of raisins, nuts and other edible toppings. After they are sculpted and baked, a bloodlike glaze is swept over each loaf, making for a creepy, stained lump of stodge. To add to their realistic effect, each head hasn t got any hair, resulting in the macabre illusion that they've been decomposing for some time, not fresh from the oven as they actually are. Engaging with a long line of sculptors who eschew ordinary mediums, Unarrom first started working in 2003, winning gold prize for a piece in a competition at Bangkok s Silpakorn. Two years since that competition, he d crafted more than 200 unnerving faces out of his carb-y medium, and these days he's represented in Bangkok by Whitespace Gallery. His work questions material use; why choose an expensive medium, when equally impressive results can be made from mere dough? In observing these baked bodies, Unarrom asks us to be critical with our own judgements; to question if what we see is actually what we think. It also reminds us of the link between humanity and the simple bread loaf. Historically, bread has had an inextricable tie to civilizations and cultures, from religious offerings to political revolutions. Thus, with its subversion via dead bread faces, Body Bakery bears the visage of many simple truths. Click here to visit Whitespace Gallery's website. Related: These Tasty-Looking Foods Are Actually Sculpted Paper Artist Finds Zen Through Wax Sculpting Hyperrealistic Sculptures Blur the Line Between Clay and Flesh :15 Anna Marks 32 These Photos Will Put Your Voyeurism to the Test Behind the curtains. Images courtesy of the artist

57 Sometimes, when I m stuck in traffic, I ll look over at another driver, a complete stranger, and try and guess where they might be going. I ll ask myself things like, What are they doing this weekend? " or, "What did they have for breakfast? These are the sorts of itching questions Norwegian photographer, Ole Marius Joergensen, wants viewers to ask of his cinematic photography series, Behind the Curtains. It s clear that the subjects of Joergensen s photographs aren t aware they're being photographed. They're caught off-guard, through open windows, engaged in something. The more we gaze, the more we interpret. But are these conclusions truths, or rather, projections? Each image is taken from the perspective of someone outside looking in, the viewer in its uneasy sense of surveillance. One can t help but feel like they re invading private spaces then again, maybe that's the secret to their irresistible allure. Every tiny piece of information gives birth to another question, reminding us of the still image s ability to tell as many stories as it does creat unanswered questions. Stormy Night Joergensen writes, Norwegians like their privacy and yet some peoples curiosity can be obsessive.. This sort of fervor has been the subject of television shows and movies including Disturbia and its predecessor, Rear Window, and penetrates Behind the Curtains. Peeping Tom The letter You might think of voyeurism is some whacko sex fetish reserved for perverts and lonely old men, but I think most of us have experienced some sort of urge to people watch, making Behind the Curtain a relatable and perhaps self-reflecting piece for all of us. Gunhild in the night The phone call Bad news

58 Hiding Ole Marius Joergensen has had numerous solo exhibitions in Oslo, as well as in Amsterdam and London. His work has been shown in group shows and art fairs all over the states. He s been included in a handful of award shows and contests, and is nominated for this year's 9th Annual International Color Awards. Click here to check out more from Ole Marius Joergensen. Related: Play Voyeur Inside an Artist's 3D Selfie Archive Shadowy Nudes Give a Face to Internet Voyeurs (Meaning, YOU) Original Creators: Alfred Hitchcock :05 Nathaniel Ainley 33 A Music School Teaches Blind Youth to Find Their Voice Photo courtesy of AMB David Pinto began working with blind musicians as if by fate. In 1996, he was a professor at Pierce College in Los Angeles. During his Audio Computer Recording Class, he encountered a blind music student and realized that the software required for the course was unusable for those with visual impairments. Soon after, he created an audio recording software that blind musicians could utilize, and began working with greats such as Ray Charles and Stevie Wonder, among others. Now, Pinto is the Founder of The Academy of Music for the Blind (AMB), a school just outside of LA with the mission to enhance the physical, cognitive, and social development of blind children through an education in music and the performing arts, no matter their economic or geographic circumstances. AMB strives to ensure that blind musicians are fully integrated into the music culture of modern society, both professional and personal. For over 12 years, AMB has been encouraging and promoting music and performance art for blind youth. Through one-on-one instruction, children

59 who attend the one-year comprehensive program flourish. Unlike many traditional conservatories, AMB encourages creativity and technique, rather than forcing its students to learn traditionally through limitations and specific guidelines. Photo courtesy of AMB The benefits of music on learning in general have been thoroughly documented, and Pinto noticed similar effects when working with blind music students. "Cognitive development can be challenging for the blind," he tells The Creators Project, "because concepts tend to remain more abstract than for the sighted. But music develops cognitive skills, including math, language and memory, by making abstract concepts concrete through rhythm, harmony and melody. " He goes on to list the social benefits of musical study for the blind as well, noting that it allows students an avenue to connect with others in a world where the lack of vision often creates a barrier to everyday social interactions that sighted individuals take for granted. Photo courtesy of AMB One of the most interesting concepts at the heart of AMB has to do with the way the students process music. "Most blind music students use their ears more intensively than their sighted peers," Pinto says. "Just as children learn to speak before they learn to read, the blind almost always learn music before learning how to read Braille music. This is not true for most sighted music students. They tend to be the victim of notes [...] going at the pace dictated by their ability to read. "This allegiance to the page stunts the development of sighted musicians ability to really 'hear' music," Pinto continues. "Most sighted students cannot play by ear. Even the greatest classical musicians in the contemporary world cannot play the Happy Birthday in any key without music. Whereas this is a cinch for any blind music student. Because of the blind students' big ears, teaching the blind is an extraordinary pleasure to music teachers: the blind connect directly to the music, while the sighted have the intermediary of notes on a page. " Tactile Art Documentary Song from Cantor Fine Art on Vimeo. Beyond music education, AMB students travel around California performing at a variety of events, including singing the national anthem at Lakers games. AMB also collaborates with other organizations in order to broaden the creative opportunities for the students at their school. Recently, Cantor Fine Arts, a gallery in Los Angeles, commissioned AMB to write and perform the soundtrack to their new documentary about tactile art which features a sculptor who creates physical images for the blind.

60 AMB is a place for students to learn and grow, both as musicians and as people. From the one-year program for youth, to student counseling and computer literacy, to social and living skills classes, AMB offers blind youth more than a musical education; it offers them a safe space in a world that is not always kind to those with disabilities. Some of our multiple-impaired students were thought to not be educable, Pinto recalls, but through music, they learned to read Braille, to speak coherently, to perform and entertain others with their musicality, and to move with grace. For more information about The Academy of Music for the Blind, please visit their website. Related: Please Touch the Art: 3D-Printed Masterworks for the Blind Artist Crafts Tactile Portraits the Blind Can See A Blind GIF Artist Visualizes His Lost Sight :05 Abby Ronner 34 Kylie Minogue, Nicole Scherzinger Perform at One For The Boys Ball Held at the Victoria and Albert Museum, the ball was hosted by Samuel L. Jackson and Stanley Tucci, who along with the charity s founder, Sophia Davis, assembled the likes of Bon Jovi drummer Tico Torres, Chinese actor and model Hu Bing, Eva Herzigova, Oliver Cheshire and Haley Joel Osment, who took to the catwalk after dinner and hammed it up in examples of British men s wear. Torres was feeling confident about his catwalk turn. Why would I feel nervous about walking [on a catwalk]? I ve been walking my whole life, he joked. By contrast, despite his professional modeling qualifications, Bing was squirming after his walk. That was embarrassing, he cringed. Performances by Kylie Minogue, Nicole Scherzinger and Tinie Tempah were also part of the night s entertainment, alongside a tear-jerking short film by Sarah Walters aimed at encouraging men to talk about their health

61 concerns and gain the support of loved ones when suffering from all forms of cancer. Men think because we are men we don t have to go to the doctor but it s very important to get yourself checked out. If not for yourself, then for the people around you, said actor Anthony Mackie, who recently played Martin Luther King Jr. opposite Bryan Cranston s Lyndon B. Johnson in the HBO film, All The Way. When I turned 30, I woke up one day my back hurt, my hip hurt, my head hurt and I went out partying with my friends and the next day I didn t recover the same and I was like, I m getting old. I realized my mortality. After that I started going to the doctor every six months. Scherzinger had arrived late in a white leather strapless dress by Nicholas Oakwell and a towering pair of Louboutin pumps, which she promptly removed when she was ushered behind a marble pillar and up to the dinner. After singing a mash-up of The Pussycat Dolls Don t Cha and Maroon Five s Moves Like Jagger, she dedicated a performance of Purple Rain to the memory of Prince, whom she had spent time with shortly before his death in April. I didn t want to sing this song but Mr. Jackson asked me to, so you ll have to bear with me because I ve never sung this song before, she said to the audience. It had taken over a year to get Minogue to the stage. All those s paid off, she joked to Davis in the audience, before she sang a moving rendition of I Believe In You, also requested by Jackson. The singer, who had survived her own battle with cancer, wore a green DSquared2 gown. Robert Konjic was thinking of his own musical abilities, ahead of a karaoke party set for Monday night, a second One For The Boys event in as many days. I m a terrible singer. I might just have to find five people and shout a song into a microphone, he said. I usually choose something really flat and toneless like Iggy Pop s The Passenger, but I can t sing that, it s fiveminutes long, everyone will hate me if I sing a song that long. After dinner, Tempah lifted the mood and people off their seats with an energetic performance of his boisterous hit, Pass Out. Tinie Tempah is the most important artist of our generation, Jack Guinness intoned gravely, adding an arch wink for effect :04 Julia Neel 35 In Art, a Terminally-Ill Artist Finds Infinity Installation view of Viaticum. Courtesy of Jenn Singer Gallery On her deathbed, artist Hannah Wilke shot a series of self-portraits to document the toll cancer had taken on her body. Far removed from the

62 girlish charm of her famous S. O S. Starification Object Series, where the artist adhered gum wads to her naked figure, these images showed the once nubile Wilke marred and bedraggled by treatment just before her death in Published posthumously as the Intra-Venus series, this body of work actualized the body artist s claim that, To strip oneself bare of the veils that society has imposed on humanity is to be the model of one's own ideology. This sentiment comes to mind when processing Viaticum, Kaylin Andres solo show at Jenn Singer galley, co-curated by Ricardo Kugelmas. An archaic term used for the provisions one takes on a journey, Viaticum alludes to the 31-year-old s own terminal prognosis as well as a journey she took to see a Brazilian healer. Composed of photographs from her trip and sculptures woven from hair she lost during chemo, the exhibition forms an abstracted portraits that is more poetic and reflective than Wilke s bleak presentation of illness. Andres Viaticum III, Courtesy of Jenn Singer Gallery Andres self-portraits are printed on silk, and they flap in the wind every time the door opens. A fashion designer by trade, her sensitivity to material comes out in the purposeful juxtaposition of textures, translucent silk pinned to heavy felt frames. In the photographs, Andres plays a ghost of herself. Obscured by a veil of organza, Andres haunts the lush backdrop of the jungle-bound healer she sought out. The thing I remember most wasn't a particular event, but the energy in the room as hundreds of pilgrims gathered to see the healer. It was a very somber, solemn atmosphere, one of grave silence and respect, Andres explains. I realized that every person around me, hundreds and hundreds of people, were all suffering immensely, emotionally or physically. And I was suffering, too. That was a powerful realization, and it was then that I really understood the value of seeking healing. Andres Viaticum X, Courtesy of Jenn Singer Gallery Joseph Beuys belief in the artist-as-shaman is central to understanding Andres vision. The felt in the show, taken from emergency blankets, is a direct nod to Beuys, who Andres credits for inspiring the show s philosophical underpinnings. I agree that the role of the artist in society is that of a shaman, a healer the artist has a foot in two separate worlds,

63 Andres says. To make art is to take from one's inner world and make it material, to give it life in the physical realm. and of course, there is some magic in that transition. Our thoughts and feelings are diaphanous and ephemeral, yet our creation can be sensed and shared. With this we can communicate what is otherwise unknowable and save what would otherwise be lost. And finally, through this communion we can facilitate healing, both within ourselves and others. Her words echo Beuys assertion that art is the science of freedom. Installation view of Viaticum. Courtesy of Jenn Singer Gallery The wall-bound sculptures add another dimension. Made from hair, wax, and religious paraphernalia, these morbid sculptures immediately invoke the work of Louise Bourgeois and Robert Gober. If one is to take the show s title literally, then these are the small personal effects that Andres has taken on her long journey. Needle-points, made from strands of Andres hair and post-chemo wigs, strike the balance between what is precious and what is sinister. A kind of dark joke, these handcrafted pieces reference the crafts ancient roots as well as its current reputation as a waiting room pastime. Andres Blessing, 2016 Like Bourgeois, Andres sculptures are autobiographical. They don t shy away from trauma; they face it head on and implicate the viewer in the tragedy. A contemporary memento mori, these images capture the artist s suffering but also invite self-reflection. Through her visual storytelling, one is forced to reconcile with their own body and its mortality. Cancer's life is a recapitulation of the body's life, its existence a pathological mirror of our own, wrote scientist Siddhartha Mukherjee in his Pulitzer prize winning book, The Emperor of All Maladies: A Biography of Cancer. At Viaticum, Andres looks directly into this dark mirror without fear. Leaving the exhibition, one feels a life-affirming jolt of courage no doubt the legacy Andres and her work will leave behind. Viaticum is on view until June 30th at Jenn Singer Gallery at 72 Irving Place. Click here for more information. Related: 'Thanks for the Mammaries' Battles Cancer with Contemporary Art Photographer's Final Project is a Moving Reckoning with Mortality These Surreal Paintings Should Make You Worry About the Earth :00 Kat Herriman

64 36 CGI and Stone Short Film Takes You Inside an Artist's 'Head' Screencaps via A beautifully surreal new profile series uses breathtaking visual effects to portray the physical and mental labors of the working creator. In the first chapter of Once Upon An Artist, "Head," filmmakers Marc Guardiola and Pepe Ábalos capture the process of Spanish sculptor Rubén Fuentes Fuertes as he builds Head, a five-foot-tall work of compact quartz. Through elegant camera work and use of blockbuster-grade special effects, Guardiola and Abalos reconstruct what they see as a visual metaphor : an imaginative digital projection of the artist s philosophical approach. Fuertes remarks, For me, sculpture today is a way of communicating, a passion, and my way of life. In one of these poetic visual illusions, Fuentes is pictured standing on a seaside cliff, looking on at a digitally rendered image of his developing sculpture. Head has been digitally pieced together by rocks and boulders from the nearby sea wall and floats in front of the artist in midair. The filmmakers write, We use the tool of visual metaphor to redraw what our artists tell about their work. All during their work s process. Some things just can t be expressed with words, though, so check out Once Upon An Artist: Chapter 1, below: ONCE UPON AN ARTIST. Chapter 1: HEAD from Marc Guardiola [ La Mafia ] on Vimeo. Check out more of Fuertes abstract sculptures on his website, here. Head over to the filmmakers vimeo page to keep an eye on upcoming chapters in the Once Upon An Artist series, here. Related: Here's a '90s Chicago Bulls Jacket Made of Pulverized Quartz Stone Goes Soft in These Mind-Bending Sculptures Surreal Sculpture GIFs Depict Artworks from Another Dimension :55 Nathaniel Ainley

65 37 5 Can't Miss Gallery Shows in New York Related Venues Matthew Marks Gallery Thierry Goldberg Gallery Salon 94 New Museum Park Avenue Armory Jack Hanley Gallery Artists Ken Price Bendix Harms Salvador Dali Nicole Eisenman Martin Creed The grand master of funkily biomorphic, vaguely psychedelic sculpture is arguably more interesting as a draftsman. This survey of works on paper many of which will be collected in a book of drawings due out this September captures a range of oddball fantasies. Horrific car crashes hang alongside rolling mountain landscapes and oceans agitating under tiedyed skies; a bevy of naked female revelers enacts some ecstatic ritual around a monster resembling an enormous pink tongue. Among the best pieces are Price s domestic interior scenes: superficially sterile, chic, and depopulated rooms, in which inanimate furniture is humanized. An anarchic, messily figurative German spirit hovers over this show, which tingles with thick paint, absurdity, and various obscenities. BENDIX HARMS contributes two simple but vital canvases, one of them the pigment smeared, scraped, and abused depicting an enormous ship at sea. Werner Buttner (who obliquely birthed the exhibition title) imagines an alleyway scene in which a fat bulldog guiltily embraces a cat. Nicole Eisenman has a tiny, gloppy still life of a pear and a cigarette. Tala Madani raises the overall discomfort level considerably with a painting, titled Son

66 Down, of a young boy with a horribly distended penis (the head of said penis being lassoed by some kind of, you know, penis wrangler) and a smaller, quietly horrifying piece depicting four Santa Clauses exposing themselves to a child in a crib. Speaking of figurative painting, this show features three very different exercises within its boundaries. Kasey who has a concurrent show up at SIGNAL, in Brooklyn presents humanoids engaged in ordinary activities, their skin oddly digital and unfleshy. (It d be interesting to see her hanging between, say, Austin Lee and Mernet Larsen.) Miler scrawls graphite on raw canvases, as if using his weaker hand to replicate Willem de Kooning s women from memory. Geerk s pieces are the least imposing, and perhaps the most stirring: weathered, worked surfaces in which common scenarios (a man swimming, someone tying his shoe, someone else taking a nude selfie in the mirror) fade in and out of legibility. Upstairs, Bobo Spanish slang for, roughly, dumbass, though I m not sure if the meaning is intentional here has an array of handcrafted sculptures augmented with Purell dispensers, political buttons, video screens, and satirical printed matter. The work reminds me of Ashley Bickerton s in its eager embrace of kitsch and its ability to push corniness toward something cool. One piece promotes the Velveteen Rabbit as a presidential candidate; others craft strange narratives from coffee culture, fashion, and Salvador Dalí. In Contemporary Azteca Hootchee Kootchee we get an array of posters advertising fictional cuddling parties as well as a consciousness-raising event: Ri-viv, touting piercings by Xiuhpilli ( FYI: We will roast an iguana and play deathball ). Downstairs, things are considerably more subdued. Julia Benjamin, who is also part of a three-person show up at Jack Hanley Gallery, seems to be painting her way through the same self-imposed abstract exercise, tracking its variations across several canvases sometimes in gray scale, sometimes in muddy color. The canvases are paired, mounted flush against each another, or, in one case, jutting out into space because the sliver of wall on which it is hung is too slim to hold it :50 Scott Indrisek 38 Humans Battle Electricity in a Williamsburg Brownstone Exhibit Photo courtesy of The Hollows Electrical and mechanical light and sound installations span all four floors of The Hollows, a multilevel gallery housed in a brownstone in Williamsburg, for the five-night opening reception of Electrique. Beginning on June 15, the 40-piece group exhibition features works both on the front and back

67 becoming one super-entity. facades of the building, as well as on all floors within. Each artist was restricted from using anything digital in their pieces, although the prevailing theme of Electrique explores the relationship between humans and electricity. Each level of the brownstone represents a different stage in the development of that struggle, beginning with the sub-theme "Electricity As Agent," in the basement, wherein visitors are introduced to electricity as an invading force. From there, subsequent floors highlight the increasing tension between humans and electricity until the final level, "Electric+Human," where the two merge, As an addition to every exhibit, The Hollows offers visitors an inside glimpse at the curatorial processes of its exhibitions in a recurring "Curator s Room" installation, now entitled, Electra s Remedy. It provides visitors with a behind-the-scenes experience of the making of Electrique. The Creators Project sat down with curator Pırıl Gündüz for a sneak peak at the ambitious exhibition. Photo courtesy of The Hollows The Creators Project: What inspired the concept for Electrique? Pırıl Gündüz: Electrique was inspired by nyctophobia, the fear of the dark, how to make it through the night to the morning when alone in a big empty house. Living with your demons and playing them until the dawn. Fear of the dark is regarded as an irrational fear, often only attributed to children but also valid for some adults. My father said the phobia of darkness emerged in our wiring due to the survival in the wild, at risk of the predator, and in modern living human finds some reciprocities to this impulse as the predator trigger is no longer valid. Surrounded by walls, we look into the abyss and we register the abyss, the onlooker, not through the trunks or branches but a more substantial and a vicious one. Night is easy for no one, but it can be fun. Also, Electrique as a human quality that can be achieved, obtained attractiveness, not by default but a braided one. Maybe it is a feminine better a girly exhibition, more girly, in the sense [of] accepting being minor, hence, the big dark empty house, yet standing tall to your height. Photo courtesy of artist Dave Rittinger

68 What is your definition of digital and why did you choose to restrict it from the artwork presented? I got to thinking more about the digital after reading Gilles Deleuze s writings, especially his books Cinema 1: The Movement Image and Cinema 2: The Time-Image and Henri Bergson s Matter and Memory. Deleuze brings forth the concept of the virtual and it is a fascinating concept to me, thinking in context of existence, evolution, archive and the human. Could it be claimed that the digital is the logistic of the technology and the virtual of the human and then there is the matter? I think it is important to dedicate an exhibition to pieces that have contemporary aesthetics but are of the technology of the 19th century. Contemporary art exhibitions had tended to jump from beaux-art conception to the digital, featuring novelties such as applications, interactive pieces, projections. You see, for example, in Édouard Manet s A Bar at the Folies- Bergère (1882), light fixtures being depicted, a novelty at the time. I think having an exhibition not based on the newness of a technology or the cleverness of a custom software but on a more thoughtful consideration of visual aesthetics with saturated and matured technologies, brings together pieces that think about their aesthetics rather than the groundbreaking aspect of a certain technology and creates a less hasty tone. I think of the pieces exhibited as being less didactic and more pleasing. On the side, I was lucky to be assisting a digital art curator Christiane Paul for three years and digital pieces require a lot of cabling, hardware, and mounting accessories, and for the production team to work on turning on/off all the pieces before and after public hours. For this exhibition, we ll just have to plug in the cords. Photo courtesy of The Hollows What facade installations can we expect? Some of the art works are installed indoors in such a way that they are visible from the street and the backyard on both facades of the building. Annesta Le s three neon glass pieces are installed on three windows on the second floor. From the outside, it appears to be a continuous piece, a giant bolt that dominates the entire floor. On the ground floor, there are two kinetic chandelier shaped disco balls by Kiichiro Adachi attached to the ceiling. We also have a piece by Randy Polumbo installed outdoors on the porch, a telephone booth in which his signature shaped glass fixtures are blossoming, as well as a more adult piece by him that is placed on a top floor window, considerate of children s height. It is a cast glass piece of a Hermès Birkin bag from which a bouquet of glass dildos pop out. Polumbo told me that he had to ruin the bag during the casting.

69 Photo courtesy of The Hollows What kind of sensory experience does Electrique provide? We re exhibiting interactive neon and xenon light pieces by Marco Guglielmino. One of his neon pieces responds to the human magnetic field. The viewer can pet the gas in the glass tube and the piece needs that touch to light fully. For this piece, we tried an installation on a mirror to amplify the visual and witnessed that the mirror blocked the flow. We ll be exhibiting this piece with on a pedestal with mirror tiles and the visitors can grasp the interplay of different magnetic fields and the channeling that occurs among them. With his xenon gas pieces, touching the glass allows you to feel a subtle amount of heat and your touch stabilizes the moving light to an extent. There is also a gallery with the sub-theme "With and Without," where there is a light piece with timer installed in a strategic area of the house, a place where you might depend on the electricity the most. Although there will not be a complete black out, it is an inconveniency piece that will be an experience. The interruption of light will also make you notice other things. There is also a sound piece dominating the basement as well as a "Cave" sub-theme gallery with illusions, between "Schizophrenia" and "Psychedelia"-themed galleries, and also a gallery dedicated to cracks in the walls. Photo courtesy of The Hollows In your opinion, what are the highlights of the show? The pieces do not steal spotlight from each other but they all stand out at dark. Lindsay Packer is exhibiting Compact 3, an analogue projection of a standard spiral bulb with a magnifier lens and it is a site-responsive piece. Her practice revolves around using the ingredients she finds at the space and using minimal hardware and structure, and achieving well thought-out imageries with good calculations even though the result seems like a spontaneous installation. Another piece is [from] Turkish Designer Merve Kahraman s Revitalizer series, in which she uses wax. The wax is heated by electricity and as it melts, the wax is accumulated in a lampshade at the bottom, only to be reversed and used again. Another highlight is by Gregory Barsamian, a zoetrope piece in a barrel, an example of pre-digital animation. There is also an intervention by the curatorial team, myself, Gina Mischianti and Anna Kamensky, a circular light piece that loops through the doorways on the third floor. Photo courtesy of artist Dave Rittinger Can you give us a sneak peek of Electra s Remedy, the "Curator s Room" for Electrique? "Curator s Room" is an installation project, for me, making philosophy and

70 creating context with objects, not dependent on technical skill but on that of the mind. Also, a project of convenience, too. There is almost always a bed placed according to the theme of the iteration, now [the] fifth. We re a live/work/exhibit artspace, an artist residency of a particular sort. There is a concept for each iteration but it is also a time-reliant piece there are places that are left blank for anticipated last minute souvenirs time brings and throws or props and tools such as hammers and nails and notebooks and pens I think being a curator is something deep in-between the literary and the visual and you need to be pleasantly efficient. Space is very important, what is hidden, presented and polished. It requires [one] to have a little bit more than the bare minimum. All the objects, from notebooks to containers should be with a functionality that suits your needs and I think it is interesting to display these, different each time, suggesting methods and potential as they are used more for planning rather than display purposes. Photo courtesy of The Hollows For a philosophy seminar I took, we also talked about how philosophers, Pascal, Nietzsche, or Lichtenberg wrote. For example, when Pascal passed away, they discovered that he was writing on long sheets of paper, binding them later on and sometimes rebinding them to change the orders. For it being the "Electric+Human" theme, Electra s Remedy is placed on the top floor. Some eerie rest is found even for a short time along the night. There is a neon chandelier by Marco Guglielmino, a feminine/masculine light piece by Dave Rittinger, and another Birkin cast glass bag with glass pieces, the Evil one this time by Randy Polumbo. And some things under the bed. The bed is important rather than the desk as the work space. Like Susan Sontag on the bed. It is a work space without doubt. Girl in the attic, electricity gotten under the thumb, garroted by its very cables. They will also be some clothing, music, books, reproductions and another cable piece by Dave Rittinger, Nest. Photo courtesy of The Hollows Electrique is on view at The Hollows through August 28th with a five-night opening reception June 15th through June 19th, from 9-11 PM. For more information visit The Hollows' website. Related: This Artist Crochets Sculptures from Cords and Controllers A Mini, Mechanical Metropolis Runs On Real-Time Urban Data Stunning Light Show Puts You Inside An Electrical Storm

71 :50 Abby Ronner 39 stelios mousarris' rocket coffee table blasts off on plumes of smoke stelios mousarris' rocket coffee table blasts off on plumes of smoke stelios mousarris rocket coffee table blasts off on plumes of smoke all images courtesy of stelios mousarris in continuation of his creation of surreal and sculptural art objects, cyprus-based furniture designer stelios mousarris has realized the nostalgia-inducing rocket coffee table. I have been collecting toys and action figures and anything nostalgic from my childhood until this day, mousarris remembers. every time I take a look at my collectibles, I remember my childhood, when I used to play for hours on end without a care in the world. I wanted to recreate that feeling of carefreeness and nostalgia with the rocket coffee table. the nostalgia-inducing rocket coffee table continues the designer s creation of surreal and sculptural objects the piece brings fluffy, cartoon-like clouds and aerial rockets from a personal toy collection to life in the form of a functional object. in its realization, rocket coffee table combines various techniques from lathe to 3D printing, resin casting and traditional hand carved elements. each of the individual rockets remain unattached to the glass, allowing the user to generate their own desired structure and configuration. the table is designed to tap into the playful minds of nostalgic adults and children alike. the piece brings fluffy, cartoon-like clouds and aerial rockets from a personal toy collection to life rocket coffee table combines various manufacturing techniques from lathe to 3D printing the individual rockets remain unattached to the glass, allowing the user to generate their own desired structure :45 Nina Azzarello

72 40 A Literal Ring of Light Will Hang Over the Brazilian Rainforest All images courtesy of the artist and FAOU Foundation Amidst the tenuous circumstances and health concerns surrounding Rio de Janeiro s upcoming Summer Olympics, there is a beacon shining through the darkness literally. Japanese artist Mariko Mori is currently in the thick of installing a ring of light at the top of the 190 feet-tall Véu da Noiva waterfall. The suspended ring will appear to hover angelically, and its color will change from blue to gold depending on the angle of sunlight reflecting off of it. Culturally endorsed by Rio 2016 Olympic and Paralympic Games, Ring: One with Nature will finish installing at the end of July and will premiere officially on August 2nd, three days before the Olympic Opening Ceremony. But unlike the 17-day sporting event, Mori s illuminated ring is actually intended as a permanent installation within its surrounding landscape. I hope to create a unifying symbol of humanity and nature. Ring signifies oneness, eternity, and completeness. The installation is meant to extend our remote ancestors tradition of honoring nature, Mori tells The Creators Project. The permanence of the piece aligns perfectly with this philosophy: so long as it remains hovering over the waterfall, it will continue to serve as a symbol of unity. Mori herself is no stranger to large-scale light installations. In 2011, the artist erected Sun Pillar, a bright, metallic 14-foot-tall structure of layered acrylic on Japan s Miyako Island. Her shift from Japan to Brazil for Ring goes beyond the occasion of the Olympics: Seven years ago I had a dream in which a heavenly ring appeared above a waterfall, Mori recalls to The Creators Project. I was then invited to present a survey exhibition which traveled to three cities in Brazil in I decided to look for and found the waterfall that was in my dream during my visit for the exhibition, If you're in Rio de Janeiro for the upcoming Summer Olympics, or find yourself visiting anytime thereafter, Ring: One with Nature can be seen near the city on top of the Véu da Noiva waterfall near the city of Mangaratiba in

73 the state of Rio de Janeiro. For more information, visit the website of Mori s FAOU Foundation. Related: Olafur Eliasson Invades Versailles with Giant Mirrors and Waterfalls Immersive Dream Installations Ask Viewers to Slow Down Electro-Luminated Wires Light Up This Australian Gallery :35 Andrew Nunes 41 Muhammad Ali's Paintings & Johnny Depp's Basquiats: Last Week in Art Screenshot via A lot went down this week in the weird and wild world of Art. Some things were more scandalous than others, some were just plain wacky but all of them are worth knowing about. Without further ado: + You can buy a signed work of art by the late, great Muhammad Ali for a mere $400. The auction begins June 15th at Ro Gallery in New York. [ Time ] + In apparent preparation for his impending divorce with Amber Heard, Johnny Depp is auctioning off his collection of Jean-Michel Basquiat paintings. The Pirates of the Caribbean actor has elected for Christie s to manage the selling of the nine works. [ Hypebeast ] + Helen Mirren and Ted Cruz have formed an unlikely alliance over a bill that would expedite the return of art stolen by the Nazis to Holocaust victims and their families. [ Newsweek ] Via + Less than a month after its great reveal alongside a Nevada desert interstate, Swiss artist Ugo Rondinone s Seven Magic Mountains installation was spray painted with a penis, 666, and the words, HELLA SPIDER. [ artnet News via ArtFCity ]

74 + The latest in museum mishaps: a visitor to SFMOMA grazed Andy Warhol s Triple Elvis with his/her elbow, damaging the famed work (albeit minimally, conservators report). [ SF Gate ] + Police are investigating Moscow s National Center for Contemporary Arts' former director Mikhail Mindlin for suspicion of involvement in an embezzling scheme that has already placed a deputy culture minister behind bars. [ The Art Newspaper ] + Russian performance artist Pyotr Pavlensky has been released from prison after serving seven months for setting fire to the country s Federal Security Service building. [ ARTnews ] Via + Adding insult to the injury that was last week s flooding, on Monday, a fire ravaged a construction site right outside the still-closed Louvre Museum. [ The Telegraph ] + The upcoming exhibition of Cuban contemporary art at The Bronx Museum of the Arts has been postponed. Reportedly, the nation of Cuba fears that the valuable works, loaned to the museum from Havana s Museo Nacional de Bellas Artes, could be seized to satisfy part of the $7 billion in claims from former American property owners whose land was seized under the Castro regime. [ The Art Newspaper ] + Artist duo Gilbert & George are opening a nonprofit art space in Spitalfields, in London s East End. [ The Guardian ] + The revered Brazilian artist Tunga passed away at the age of 64. [ Artsy ] Via + Finally, an Election 2016 read that won t induce (as much) fear-induced vomiting: The Art History of Hillary Clinton & Bernie Sanders. [ Artspace ] + Alan Nakagawa, an artist-in-residence at the Los Angeles Department of Transportation (no, seriously), is investigating traffic deaths in L. A. through sound art and oral histories. [ Gizmodo ] + Moscow s Garage Museum is organizing the world's first triennial dedicated to Russian art, which is scheduled to launch in March of [ Artforum ] Screenshot via + Last but certainly not least, the Met s Director and CEO, Thomas Campbell, #keptitreal about his smelly dog on Instagram. [ Instagram ]

75 Did we miss any pressing art world stories? Let us know in the comments below! Related: How Brexit Could Affect Britain's Artists: Last Week in Art Shia LaBeouf Wants You to Pick Him Up: Last Week in Art Fake Art Heists and Big Ceramic Dicks: Last Week in Art $40 Jeff Koons, "Vagina Artist" Fined: Last Week in Art Art Fair Asses and New Radiohead: Last Week in Art NYC Art Activists Tackle Guns & the Guggenheim: Last Week in Art Prince: Tears and Tributes Last Week in Art Russian Museum Hires Cat, Snowden Makes Techno: Last Week in Art Poop Museums & Panama Papers: Last Week in Art Who Killed Trump?: Last Week in Art :30 Sami Emory 42 benjamin hubert + layer: wireless charge tray benjamin hubert adds wireless charging technology to ceramic tray (above) charge tray is a collaboration between experience design agency layer and italian ceramics brand bitossi all images courtesy of benjamin hubert / layer benjamin hubert of experience design agency layer has created charge tray, a collection of slip cast ceramic trays with an integrated induction charging system for renowned italian ceramics brand bitossi ceramiche. with a design language informed by crafted homewares, the charge tray minimizes the visual impact of technology in the home and enables easy wireless charging of technology devices, including both mobile phones and tablets. the trays can also be used to display and store small items.

76 at layer we are interested in humanizing technology and harmonizing it with the interior environment, comments the design studio. charge tray uses craft to softly and simply integrate smart technology withing the home and make it more desirable. a compression-molded silicone module on the underside of each tray houses the induction charging system designed by layer / benjamin hubert. the modular nature of the design provides the opportunity for bitossi ceramiche to update the charge tray collection with new charging technology as it becomes available. the result is a timeless accessory for the home. originally unveiled at salone del mobile and clerkenwell design week, the multifunctional trays are available in four sizes and four glazed finishes; salt, matte, crackle, and soba. as their name implies, the charge trays use high craft to seamlessly integrate smart technology within the home, creating a wireless charging station for your phone or tablet. the tray is able to charge both phones and tablets trays can be also used to store and display objects the multifuncional trays are available in four sizes the modular nature of the design provides the opportunity to be updated with new charging technology when available designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here :12 Benjamin Hubert 43 Edvard Munch s The Scream Lithograph May Fetch $1.7 Million at Sotheby s Related Venues Sotheby's Artists Edvard Munch A rare graphic version of one of the most famous art images of all time, Edvard Munch s The Scream, is coming up for sale at

77 Sotheby s. The work will be offered in Sotheby s Evening Sale of Impressionist & Modern Art in London on June 21, with a hammer-price estimate of 800,000 to 1.2 million (as much as $1.7 million.) Sotheby s is selling another Munch graphic, a self-portrait, in its September 27 prints sale, with an estimate of 50,000 to 70,000. Both works, never offered before at auction, date from 1895 when the artist was 31, and they come from the same Norwegian private collection. The Scream was first made in 1893 and was executed in paint, tempera and pastel forms over a period of time. The 1895 graphics were acquired directly from the artist around 1900 by Norwegian industrialist Olaf Schou ( ), a collector who was Munch s friend and patron, and owner of another version of The Scream. Both lithographs were later inherited by other members of Schou s family. The black-and-white lithograph of The Scream helped make it famous, even iconic, and it is as powerful as the tempera-and-crayon color version, according to James Mackie, Head of Sotheby s Impressionist & Modern Art Department in London. The offered version comes with the German inscription that Munch sometimes included: Ich fühlte das grosse Geschrei durch die Natur (in translation: I felt the great scream throughout nature ). It relates to the moment that Munch came to create the artwork at Ekeberg. The artist later explained how he was out working with friends in the hills, when he suddenly noticed the blue and black fjord contrasting with vivid blood-red clouds: the color shrieked at him. There has been endless debate on whether The Shriek is a more accurate translation of the title, and if the human figure is the one screaming, or holding hands over its ears to deaden nature s scream. The image contrasts with the calm poise of the self-portrait, which is a more conventional work. Sotheby s sold the 1895 pastel-on-board version of The Scream, from the Olsen Collection, for $120 million in 2012 in New York :47 Mark Beech 44 VIDEO: Live From New Orleans: Rock, Blues, and Cajun Zydeco Related Events The New Orleans Jazz & Heritage Festival 2016

78 You can usually tell where you re going by the people on your plane. Sure enough, French Creole speakers, Jazz Fest t-shirts and guitars in overhead bins signaled loud and clear: this JetBlue Airbus was headed to the Big Easy. Most of us were flying in for this spring s New Orleans Jazz & Heritage Festival, including my seatmate Nicole Brown, a young singer-songwriter who d recently moved to New Orleans, searching for a place to play. Freely, she offered a prelude: People really honor music here. When I sing, nobody s on their phones, planning where to go next. They re listening. It s no secret that New Orleans is deeply rooted in music, a historic stomping ground for blues and jazz legends like Fats Domino, Earl King, and Buddy Guy. But today, the tough, raw, resilient energy of the music in this city, just over a decade after Hurricane Katrina, is nothing short of amazing. It seems to pour out onto every sidewalk, rattle every rooftop, and drip right down into your steaming bowl of crawfish gumbo. In New Orleans, labeling music with rigid definitions is a fruitless exercise. It takes on a life of its own, and that s a great thing. To truly take part, just listen. Click on the video above featuring CC Adcock & the Lafayette Marquis to get started :42 Jennifer Parker 45 Aitor Throup s Self Portrait More Articles By Cue an eerie, suspenseful presentation called The Rite of

79 Spring/Summer/Autumn/Winter, held in a deconsecrated church in Marylebone. There, a steel puppet was animated by a troupe of puppeteers who were all clad in white, and wearing white masks. Modeled on a cast of Throup s body, the puppet was brought to life, paraded, exploded, and seemingly resurrected in the course of the performance. As for the clothes? The puppet wore utility-influenced pieces, such as a lightly padded nylon jacket, a papery parka, a dip-dyed hoody, skinny combat pants, and a bright white parka worn with a tulle underskirt. Since graduating from London s Royal College of Art with a master s in men s wear in 2004, the designer has directed music videos, and collaborated with Stone Island and Umbro on collections. I knew I wasn t interested in fashion, I knew I wasn t interested in seasons, Throup said after the show. I was interested in product design, product development, and I knew I was good at telling stories. So I worked on being a storyteller. Throup noted that the one-off pieces complete with the puppets would be sold as art works at London s Dover Street Market fromtuesday, June 14 through to July 6. The designer said that his aim was to re-imagine what men s wear looks like. Describing the designs in this presentation as concept cars, Throup said that he will manufacture a commercial collection based on the designs, to launch for January :34 Nina Jones 46 Real Art Welcomes Eli Flannagan Real Art welcomes Eli Flannagan as the newest addition to our team. He is a Print Intern working out of Real Art s Dayton Headquarters. Flannagan will be assisting the print design team in the preparation and execution of various design projects covering a range of applications. This past spring, Flannagan earned his Bachelor of Fine Arts degree studying Graphic Design at Ohio University. During his time at school, Flannagan cultivated a multidisciplinary skill set by taking classes outside of the graphic design curriculum and found his

80 footing as an illustrator working primarily in ink. Aside from ink illustration, Flannagan has experience, and love for, printmaking, painting, collage, and other traditional processes. Working heavily with analogue mediums and techniques has strongly influenced Flannagan s graphic design practice, which he looks to contribute to Real Art s print team this summer :28 realart.com 47 HAO design transforms historic dwelling in taiwan HAO design transforms historic dwelling in taiwan into an experimental living studio all images by hey!cheese this residential renovation in taiwan occupies a building originally built by the japanese army during world war II. as part of huangpu village, taiwan s first military settlement, the neighborhood quickly fell into disrepair after japan was defeated. rather than being demolished, the village was subsequently listed as a protected cultural landmark. in 2015, citizens were encouraged to apply for temporary residence within the neighborhood. a wooden sliding window that faces the garden has been remade from solid wood HAO design was asked to restore one of the site s dwellings retaining the original structure and keeping the historical context. conceived as an experimental living studio, the property has been designed to host workshops, lectures, and hands-on cement work. the scheme also provides an art residency, allowing members of the renovation project to practice their interior design skills. the structure of the ceiling was also preserved, but painted to echo the room s timber tones although renovating an old house was an exciting task, the house when we took over was falling apart, explains HAO design. there was no water or electricity. considering the historical significance of this building and its special cultural value, the design team sought to create a space that wasn t

81 in conflict with the existing architecture. for instance, the roof tiles were characteristic of a japanese building, however leaks were a serious problem. the team applied a waterproof coating before restoring the tiles. the red gate symbolic of a military village had already been replaced by a modern aluminum gate, so we decided to introduce the industrial feature of kaohsiung by presenting a red freight container gate which reflects the culture and landscape of kaohsiung city, adds HAO. the scheme has been conceived as an experimental living studio upon entering J. Y. studio one enters an enclosed courtyard that connects to each area of the plan. the patio contains tropical plants suitable for the climate of southern taiwan: succulents, japanese ivy, small cacti, agaves and crane flowers have all been planted. the courtyard also incorporates elements of playfulness a bright pink door and a large lego-style table. the design retains the original structure and its historical context internally, many of the original elements have been retained. a japanesestyle room forms the property s main space, hosting a preserved wardrobe that has been turned into a functional wall cabinet. the structure of the ceiling was also preserved, but painted in cocoa to echo the room s timber tones. a wooden sliding aperture that faces the garden has been remade from solid wood, while the lower part of the window was replaced with glass allowing natural light and views. an enclosed courtyard connects to each area of the plan an adjacent room retains its original ceiling, terrazzo flooring and brown walls. we arranged track lighting here and set it out as an exhibition space, says HAO. we decorated the space with taiwanese armchairs produced in the 50s using R-shaped wooden tenons; a classical japanese karimoku sofa popular in the 60s; taiwanese trumpet stools reminiscent of pop art from the 70s; and a yellow floor lamp symbolic of the space age. the patio contains tropical plants suitable for the climate of southern taiwan :00 Philip Stevens 48 TEFAF Reveals Exhibitors for New York Fair The European Fine Art Fair (TEFAF) has announced the lineup of exhibitors at its debut New York outing, to be organized in collaboration with ArtVest Partners. Major Old Masters and antiquities dealers such as Colnaghi (London and Madrid), Dickinson (London and New York), and Talabardon & Gautier (Paris) will bring their wares.

82 Slated to take place at Park Avenue Armory from October 21 October 26, 2016, TEFAF's first New York outing will feature 93 international dealers of art, design, furniture, and jewelry. Exhibitors will appear throughout not only the Armory's huge central hall, but also in the venue's firstand second-floor period rooms. The renowned fair announced its expansion in February, stating that it would grow not only to a new venue outside of Maastricht, the Netherlands, where it has held its annual fair for four decades, but also would deepen its emphasis on modern and contemporary art. It had been testing the contemporary-art waters with guest-curated displays in 2015 and in TEFAF has at times managed to get major contemporary-art players to sign on as exhibitors. The now-defunct Haunch of Venison showed there in 2008, as did Hauser & Wirth in 2009 and Gagosian in 2013, but the marriages were short-lived. In May, when the fair will host a second, more contemporary-focused New York edition (the former Spring Masters ), we'll see whether there was anything to speculation that TEFAF's Upper East Side location might entice major contemporary dealers away from Frieze New York, which happens at the same time on Randall's Island. See the full list of TEFAF New York exhibitors: A La Vieille Russie A. Aardewerk Antiquair Juwelier Adam Williams Fine Art Ltd. Agnews Alberto Di Castro Alessandra Di Castro Alexandre Reza Åmells