Cameron Platter, Black up that white ass II, is a 26 minute animated video work, is a good vs. evil story of contemporary life in South Africa weaved through erotic pornography, historic battle stories, biblical parables, and physcadelic dream sequences.
Influenced by the tradition of storytelling in the medium of woodcuts, slasher gore, z-grade gangster films, local politics, witchdoctors, kids cartoons, mtv, penis extension machines, arcadia, strip clubs, tabloid horror stories, and the lure of casinos, this film speaks to us about the universal themes of sex, love, violence, beauty, and things falling apart.
With the meticulous appropriation of John Muafangejo, Big Wet Asses III, The Battle of Rorkes Drift in Kwazulu-natal, The Parable of the Good Shepard, and the Coen brothers’ Big Lebowski, Platter creates an ultra primitive, anti-aesthetic take on what it means to be alive in South Africa today.
Platter works with the time–consuming medium of animation, each sequence laboriously digitally handmade. the film’s soundtrack is specifically composed by Platter’s frequent collaborator Captain Asthma, and includes shades of death metal, Rozalla Miller’s Everybody’s Free, Kenny Rogers, South African Maskanda, and New Age Afro Blues Physcadelica.
Nils Norman, Exhibition view, Surrounded by Squares, 2009
For ‘Surrounded by Squares’ Dave Hullfish Bailey and Nils Norman have each constructed elaborate sculptural installations. Both relate to education and ecology, design theory and the creative industries, as well as to the site of Raven Row.
Dave Hullfish Bailey has generated polygonal sculptural forms by feeding patterns of information about Spitalfields’ history of dissidence into 3-D design software used by contemporary architects to model high-rises. Under the shadow of the encroaching financial district, Bailey suggests that alternative models may exist for the ordering of space and information.
Nils Norman is interested in the way corporate culture absorbs what is outside itself, aping innovations from the ecological movement and the playscapes of alternative education, and transforming ideas about collectivism and sustainability into those about management of people and quick profit. For his installation, Norman has designed ‘a prototype workspace for the creative classes’, a hybrid object using amongst other things, aquatic filtering systems, a rocket oven and an arid garden.
Dave Hullfish Bailey (1963, living in LA) has had solo exhibitions at Secession, Vienna in 2006 and CASCO, Utrecht in 2007, as well as at Mesler & Hug Gallery in LA, where he also teaches at Art Center.
Nils Norman (1966, living in London) has exhibited in major museums internationally including Tate Modern and Kunsthalle Zurich. He is Professor at the Royal Danish Academy in Copenhagen and currently has an exhibition at SculptureCenter, New York.
Katja Novitskova, Cha City flag, Ba City flag, Tu City flag, 2010
Expo 2020 is a project by Femke Herregraven, Katja Novitskova, Matthias Schreiber, Chris Lee, Henrik van Leeuwen and Mikko Oustamanolakis.
“Finding Your Place in the World
The impact of global climate change is upsetting the balance of the world in a multitude of ways. Seasonal weather patterns have become erratic and animal migratory patterns confused. Vast areas land and entire islands have disappeared into the rising oceans. Displaced people are compounding economic and political pressures on the world’s governments as they try to accomodate these so-called climate refugees. Some states have fallen all together in the process and we are also beginning to see organized masses of displaced people operating as nomadic states. It is in this context that many of our conventional markers of certainty have vanished, and we are forced to reevaluate the meaning of where we are now and where we are going. Next to this dark picture however are the governments and corporations of the world who are trying to outrun this tragic scenario by boldy stepping out towards a future that sets humanity on the right path again. The Expo 2020’s Finding Your Place in the World theme is all about this journey. Through the pavilions being presented here, visitors will discover the unprecedented way in which they operate as an interconnected web of service and infrastructure to convert one of the most remote and empoverished areas of the globe into a model for the future of sustainable human habitation. The essential message here is that finding your place is also about making your place.
Expo 2020 Gbadolite will exist within a network of pavilions with Gbadolite in its heart. Pavilions is almost a symbolic title for projects that range from power plants and icebergs to temples and traditional medicine. Out of an immense variety of proposals countries and corporations had to select one project that would both express their most forward-thinking concepts and ideas, and serve the development goals of Expo 2020.”
Tom Burr, Sentence, 10 September – 24 Oktober 2009
Bortolami, New York
There was no single work in Tom Burr’s recent exhibition “sentence” that was truly emblematic of the whole, but one pair at least came close. The two sculptures his personal effects (White) and (Natural) (both 2009) demonstrate a bold juxtaposition of randomness and precision and a fascination with the aura of ephemeral objects that united all the pieces here. Enclosing two pairs of worn-out sneakers in Plexiglas cases, one per shoe, and placing them atop wooden pedestals of differing heights colored according to the works’ subtitles, the New York- and Norfolk, Connecticut-based artist seems to have framed his exhibition as a meditation on entropy and loss, a series of forward steps that cohere only with a backward glance.
Tom Burr entered the picture then, back in the early 1990s when he started showing at Colin DeLand’s American Fine Arts in SoHo. AFA had already presented the fences and aluminum panels of Cady Noland and the domestic-object based installations of Jessica Stockholder; across the street and around the corner, Felix Gonzalez-Torres put out strings of light and Jack Pierson hung tinsel. Within this context, Burr was an important new voice in the dialogue of institutional critique, exploring the politics of minimalism and politics at large that were at the forefront of artistic and social concerns—notably identity, society and the body, often dealing with issues of sexuality, war and the structures of public and private spheres.
One distinction of Burr’s work that persists is his consideration of the ephemeral. This interest extends beyond time to all sensory experiences, which must be transitory by nature. He describes individual sculptures as ‘moments’ and thinks of their varied qualities in terms of musical notes, temperatures, and moods—qualities that cannot be trapped into the permanency of an object, but may be somehow suggested.
In Numbers: Serial Publications by Artist Since 1955, 25 January -25 March 2012
ICA, Institute of Contemporary Art, London
In Numbers: Serial Publications by Artists Since 1955 is a survey exhibition of the often-overlooked genre of serial publications produced by artists around the world from 1955 to the present day. From the rise of the small press in the 1960s, to the DIY zine culture in the 1980s and early 1990s, professional artists have always seized on the format of magazines and postcards as a site for a new kind of art production.
In Numbers does not claim to be an exhaustive survey of serial publications since 1955, but aims to provide the contours of the genre. An extensive collection of artists’ serial publications is arranged into different groupings of periodicals in the Lower Gallery at the ICA, proving a diverse array aesthetically and globally, and requiring close inspection. Although periodicals first appeared in Europe around the end of 18th century, this exhibition features periodicals by avant-garde artists working within the last 60 years who adapted the format in their own ways, coming from movements such as Dada and De Stijl. There is no typical publication on display, although a commonality between the artists featured is that they are outsiders. There are general themes of subversion, resistance, evasion and innovation running through works in the survey.
Maria Grazia Chiuri and Pier Paolo Piccioli for Valentino, Menswear, Fall 2012
Once upon a time, women had a dressmaker; men had a tailor. The law of supply and demand elevated those services into haute couture and bespoke, which have, ever since, been the summit of human achievement when it comes to cut and cloth. But they’ve also remained a Venus and Mars-style proposition, which gave Maria Grazia Chiuri and Pier Paolo Piccioli’s proposals for the latest collection of Valentino’s menswear a twinge of subtle subversion. Inject the spirit of couture into the traditions of menswear?
Well, Chiuri and Piccioli felt it was worth a try. They were, after all, the special invitees of the 81st edition of Pitti Uomo in Florence, and that honor usually inspires designers to stretch their creativity. In their case, there was an added impetus. Valentino staged his first fashion show in Florence 50 years ago, and the designers who carry on his name wanted to give their menswear a sense of his legacy. “Memory is very important to innovate,” said Piccioli. “We wanted the same language in a different moment: the sharpness of shape, the belief in workmanship. We wanted to sculpt lightness.”
Their mood board told the tale. Monochrome images of Mastroianni and Delon in the early sixties, at the pinnacle of their male gorgeousness, were echoed on the catwalk in leanly tailored jackets and narrow trousers cropped over sockless shoes. The sharpness of white shirts and skinny black ties amplified the sixties feel, but at the same time, they had the new-wave flavor that niggles at the edge of so much that Chiuri and Piccioli do. Not darkness or danger, insisted Chiuri. “It’s something private. This is not a show-off collection. You need to look inside.” That in itself is a criterion of traditional couture—that a garment could be so perfectly crafted that it would look just as good when it was turned inside out. And here that challenge was met with thermal sealing—or bonding—rather than seaming. Not only was the result surprisingly light, but the internal structure of jackets bonded with traditional horsehair linings was a joy to behold. Same with a black leather jacket bonded with cashmere or a peacoat bonded with shearling. The notion of life on the inside peaked with a green leather jacket that had a perfect little coin purse zipped into its interior. So perfect, in fact, that there was something obsessive bordering on fetishistic about the detail.
Piccioli did indeed acknowledge that “obsessive perfection” is a spur for him and his design partner. At the same time, they insist they understand how a confident mix of sportswear casual and tailored formal is the essence of modern menswear. Here, their version of the mix was evident in the way a coat was thrown capelike over a suit (it was “sportiest” in a glazed denim). The look had an almost sinister precision that felt like the very opposite of casual. On the contrary, the fact that Chiuri and Piccioli have faith that there is a young man who will follow them where they want to lead is reassuring in the current climate.
Go Figure, Curated by Eddie Martinez, 6 October – 13 November, 2011
Dodge Gallery, New York
People say “painting is dead” and within that figure painting is mummified. Since painting began, we have used the figure to let people after us know that we existed before them. This is clear when we look at cave paintings wherein the “painted” people and animals and other symbols represented life. Looking at where figurative painting is today, there is more room for creativity and imagination. Take for instance the approach of artists in this show from Erik Parker’s weirdo psychedelic melting faces to Jamison Brousseau’s take on the figure represented by R2D2 from Star Wars. Gina Beavers current approach to the figure looks like studies that would have been done by someone enrolled in the “art students league” in New York City in the 1950’s. Another interesting component of the work in this show are the materials used and the execution of the works. For example Allison Schulnik’s technique is to use paint sculpturally to create her figures. She lays on thick impastos, whereas Daniel Gordon uses photography and collage to manipulate the look and feel of his work, often leaving the figures disfigured and mangled. Denise Kupferschmidt’s drawings evoke a re-imagined historical feel with paired down, Egyptian-meets-sci-fi characters.
Joshua Abelow, Derek Aylward, Gina Beavers, Brian Belott, Katherine Bernhardt, Jamison Brosseau, Ted Gahl, Daniel Gordon, Joseph Hart, Denise Kupferschmidt, Jose Lerma, Erik Parker, Allison Schulnik, Michael Williams
Chris Moore, Catwalking 2 December-10 February 2012
Kings Place Gallery
Born in Newcastle, Chris Moore moved with the rest of his family to London when he was four years old. He entered the world of fashion at the age of 18 and became a Vogue photographer’s assistant, working with luminaries such as Henry Clarke, Norman Parkinson and Cecil Beaton. His early career was spent documenting the intimidatingly exclusive Paris couture shows in the late 60s and continued with the advent of the Ready to Wear Collections in Milan, London and later New York in the 80s. By the mid 90s, with the expansion of the circuit to include menswear in Paris and Milan, photographing the catwalks became a full-time occupation.
Moore moved on, was represented briefly by the Camera Press Agency, but became a freelance photographer and has worked independently ever since. As a person he is extremely grounded and in appearance is unobtrusive, almost invisible. This ability to ply his craft unobserved might indeed, be part of the secret of his becoming ‘King of the Catwalk’, as he has been dubbed by the fashion industry. During his phenomenal career he has captured images of every conceivable catwalk event from the Paris
Couture houses of the sixties with Yves Saint Laurent, Pierre Cardin and Courrèges to the extravagant, theatrical spectacles staged by Hussein Chalayan and Alexander McQueen.
In 2000, Moore launched www.catwalking.com the successful online photographic library which is used by all major fashion and broadsheet titles internationally during the fashion week circuits. His photographs appear regularly in every major newspaper and magazine including The Guardian, Observer, The Times, and Independent as well as Vogue and Harpers Bazaar and the International Herald Tribune.
This exhibition celebrates Moore’s remarkable career with a collection of his iconic images.
Katja Novitskova, Post Internet Survival Guide , 272 pages, 180 x 230 mm, Revolver Publishing, 2010
You are holding a guide to the ecology of a severe ongoing merging of matter, social and (visual) information in the present world. The shift to a multi-polar, mobile, post-democratic, gated, real-time set of conditions effectively redistributes the global balance of powers. The existing structures of our (Western) mode of thinking and being, including the flows of energy and value, the domain of aesthetics, the currency of art, and our role in the process that is civilization are being reshaped and re-articulated. The scale of these changes are reflected in the dynamics of formats, files, gadgets, species, identities, ideologies, brands, styles, cultures, natural disasters, memes, technologies, entering the ultimate platform and player of dissemination: Internet.
Post Internet Survival Guide 2010 is organized into chapters according to the first page of Google search results for ‘survival guide’: Size up the situation, Use all your senses, Remember where you are, Value living, Improvise, Vanquish fear and panic, Act like the natives, Learn basic skills. It crosses streams of seemingly unrelated information flows, from art and news, to corporate stock photography, screenshots and scientific renderings. Post Internet Survival Guide elevates selected content from its original fragmented online environment and solidifies its temporary values and meanings in a collection of guiding narratives.
This book is a tool to assist in stepping above our daily online routine, to reach a realm that lies somewhere between reading a principal religious text, watching a colonial documentary on savages, or looking at yourself in the mirror. This is the space where we ask ourselves what it means to be a human being today.
The book features texts and works by AIDS-3D, Aaron Graham, Adam Cruces, André Carlos Lenox & Evan Lenox, Anne de Vries, Artie Vierkant, Brad Troemel (The Jogging), Brian Khek, Constant Dullaart, Chris Lee, Christian Oldham, Damon Zucconi, Daniel Chew, Emily Jones, Gene McHugh, Iain Ball, Jaakko Pallasvuo, Jack Latham, Jacob Broms Engblom, John Transue, Jon Rafman, Kareem Lotfy, Kari Altmann, Kate Steciw, Katja Novitskova, Lance Wakeling, Lauren Brick, Lauren Christiansen, Laurence Punshon, Lorenzo Bernet, Louis Doulas, Martin Kohout, Matei Samihaian, Matteo Giordano, Micah Schippa, Mike Ruiz, Orlando Orellano, Pierre Lumineau, R-U-INS?, Rachael Milton, Sam Hancocks, Sebastian Moyano, Sterling Crispin, Tabor Robak, Timur Si-Qin and Yannic Joray.
Benjamin Valenza at Salon 94 Freemans, New York, 2009 and Residue 01, 2011
Art Since the Summer of ’69 is proud to present Twice upon a Time, Benjamin Valenza’s first solo show in New York City. A large L- shaped yellow metal plate, deeply corroded by acid at four points, performs as an abstract panther in the show, or simply as an abstract painting. The work is the result of Valenza’s experiments with materials and carelessness, or rather of his love of ‘heavy duty’ materials.
One could describe Valenza’s method as working ‘ Hardcore Brancusi – ish’. From heavy duty, hardcore gestures to painstaking etching, Valenza will take his ‘trademark’ stones on legs to a new level, presenting a large black stone, engraved with a mysterious poem. The fifty-five pound heavy black alabaster rock will be presented on a large round pine tabletop and act as the center of the exhibition. Less anthropomorphic than the other stones Valenza has made, the black rock pays homage to Constantin Brancusi in its use of carving. Although Valenza does not carve the stone to let a form take shape and reveal the essence of an object or an idea. He simply carves words and leaves the shape of the stone intact.
Benjamin Valenza (b.1980 in Marseille, France) works and lives in Lausanne, Switzerland. He is a founding member of Galerie 1m3. He has exhibited at Fluxia Gallery in Milan, Castillo-Coralles in Paris, Hayward Gallery in London, Jan Winkelmann Gallery in Berlin, and Musee Cantonal Des Beaux Arts in Lausanne, among others.
The Tomb, a large-scale work derived from the Tomb of Philippe Pot. Attributed to Antoine LeMoiturier, in the collection of the Musée du Louvre in Paris, the Tomb of Philippe Pot is considered one of the masterpieces of the Burgundian style of the late 15th century.
Jackson replaces the eight hooded monks who carry Pot’s effigy with astronauts that are rendered from scraps of wood and plastic. They are then compressed into a block and cut with a CNC (computer numerical control) process.
The astronauts shoulder a steel and glass box that holds a skeletal structure based upon Jackson’s own body. The hands and feet are cast from either Jackson’s own extremities or handles from tools. Other elements of the skeleton incorporate biomedical prototypes, various industrial materials, and found wood. Viewed through a one-way mirror, which allows the viewer to simultaneously see one’s own reflection and the effigy’s contents, Jackson’s skeleton provides both autobiographical reference and explores the interconnectivity of disparate forms and narratives.
The Tomb can also be seen as Jackson’s exploration of the “Horriful”—his belief that everything one does has the potential to evoke both beauty and horror at the same time. For Jackson, the allusion to death is not a “Memento Mori,” but a claim to “Carpe Diem.”
Timur Si-Qin, Untitled, and Installation view of Legend, 2011
Timur Si-Qin speaks about his work in the 2014 Taipei Biennial.
I try to make work that doesn’t believe in the separation between culture and biology. To view humans as occupying a special role in the universe—and therefore as outside of nature and separate from other animals—is a theological belief that has no evidence. There never has been nor will there ever be anything “outside” of nature. Of course, just saying that something is natural doesn’t mean that it is morally correct or that we shouldn’t work to change it. Nature is inherently dynamic and chaotic, and life has always been about a two-way interaction with the environment. The environment changes life, and life changes the environment. The universe is a dance between entropy and complexity. Fortunately, and mysteriously, matter has a tendency to self-organize and determine its own being.
I’m interested in the way commercial images reveal the processes by which humans interpret and respond to the world around them—these are the fingerprints of our cultural image-search algorithms. The interesting question is no longer whether or not the image is a construction, but rather in what ways this process is structured. Common and repeated “solutions” to commercial imagery—cheesy stock photos, pop music, and formulaic Hollywood movies—are all ingrained modes of culture that can tell us something about its materiality and tendencies. When one understands the tendencies of a material—like a blacksmith who grasps the tendencies of metals—one can use that knowledge to activate the item’s capacities. In that way, a greater understanding of the materiality of culture may lead us toward unlocking its unrealized capacities.
Nicolas Bourriaud’s book The Radicant (2009) probably falls closest to the context he’s laid out for the biennial. In both, he emphasizes the importance of a globalized network, and it’s an idea that others often miss when they focus on the impact of technology. The digital-native generation is different from previous generations because of the exponential access and confrontation with other cultures that the Internet allows, which facilitates a deprogramming or reverse engineering of one’s own culture.
Ann Cathrin November Høibo, Christopher Burden On My Shoulders, 2012
Ann Cathrin November Høibo, Christopher Burden On My Shoulders, 20 January – 18 February 2012 Standard (Oslo)
Having graduated from the Oslo National Academy of the Arts last year, Høibo has made herself known for installations that rely on a layering of disparate elements and combining among others sculptures, framed works and textile works. While starting off studying the craft of tapestry weaving, her first solo exhibition aims at diffusing the distinction between that which is industrially, mechanically, or manually produced.
In 2002 the Belgian actor Olivier Gourmet was given the award for Best Actor at the Cannes Film Festival for his role in the movie “Le fils”. Directed by Jean-Pierre and Luc Dardenne the film had Gourmet portraying a carpentry teacher in a training school for troubled teenagers. With the camera entirely in synch with his pace we would follow him around the workshop and with an equally extreme attention to details we would learn of the trade and manual labour of woodworking – the grain of timber, the density of various wood types, and the mundane, yet meticulous, work of cutting and carrying planks. The result was a sheer ordinariness where matter-of-factness turns materials into facts.
Høibo’s choice of objects, such as instant noodles, synthetic leather and IKEA shelving units, have in common that they fit the description of ‘inferior goods’. The term stems from consumer theory and refers to a good that decreases in demand when consumer income rises (as opposed to normal goods, for which the opposite is observed). Inferiority would here apply to an observable fact relating to affordability rather than a statement about the quality of the good. “As a rule, these goods are affordable and adequately fulfill their purpose, but as more costly substitutes that offer more pleasure (or at least variety) become available, the use of the inferior goods diminishes”. These make-shift industrial materials objects serving during times of less, could not be at a further distance from the trade that Gourmet’s character is teaching in “Le Fils” or the trade that Høibo learnt herself. The textures and rhythms of manual labor, whether it be weaving and carpentry, are at once irreducibly physical and saturated with an almost spiritual significance. Contrasting in both method and matter are four framed fragments of tapestries.The work process allows Høibo a material and methodical research that in itself pushes towards permutation. Here, the four weaves are stripped down beyond structural foundation towards disintegration, willingly accepting the category of fragment. Juxtaposed with the bronze sculptures and synthetic leather monochromes they make an odd conversation about a renewed relevance of ‘arte povera’; not necessarily true to stylistic traits of the original movement but true to a time of actual poverty. If a term as ‘recessional aesthetics’ ever had a sense of purpose, there never was a more apt sculptural response than a cast of instant noodles.
Mark DeLong, born 1978 in New Brunswick, is a self taught artist working in a variety of mediums including drawing, painting, sculpture and video.
His work has been displayed at Colette, Paris; Bee Studios, Tokyo; Spencer-Brownstone Gallery, New York; Abel Neue Kunst Gallery, Berlin; Perugi Art Contemporenea, Padova, Italy; Museum Of Contemporary Canadian Art, Toronto; LES Gallery, Vancouver; Little Cakes, New York; and Cooper Cole in Toronto. Delong has collaborated with such artists as Paul Butler, Jason McLean, Jacob Gleeson, and Geoffrey Farmer. His work has been seen in Border Crossings and Canadian Art Magazine and he has published books with Nieves, Switzerland; Seems Books, and TV Books in New York. DeLong currently lives and works in Vancouver, Canada. DeLong will be participating in a two person exhibition at Cooper Cole in March 2013 with artist Joseph Hart.
Dan Colen, No Sex No War No Me, 2011 and Rama Lama Ding Dong, 2006
Dan Colen was born in New Jersey in 1979. Exhibitions include the 2006 Whitney Biennial, Whitney Museum of American Art, New York (2006); “USA Today,” Royal Academy, London (2006); “Defamation of Character,” PS1 Contemporary Art Center, Long Island City, New York (2006); “Fantastic Politics,” National Museum of Art, Architecture and Design, Oslo (2006); “Skin Fruit: Selections from the Dakis Joannou Collection,” New Museum, New York (2010); “Peanuts,” Astrup Fearnley Museum of Modern Art, Oslo (2011); “In Living Color,” FLAG Art Foundation, New York (2012); “Meanwhile…Suddenly and then,” 12th Biennale de Lyon (2013); “Dan Colen: The Illusion of Life,” Inverleith House, Edinburgh (2013); “Help!” The Brant Foundation Art Study Center, Greenwich, CT (2014); and “The L…o…n…g Count,” The Walter De Maria Building, New York, NY (2014).
Paul Berger have been working in the photographic medium since 1965, and in digital electronic media since 1981. He earned a BA degree in Art at UCLA in 1970, studying with Robert Heinecken and Robert Fichter. Berger completed MFA graduate work at the Visual Studies Workshop in Rochester, New York, in 1973, studying with Nathan Lyons. His photographic work has always involved multiple images in structured sequences, often with texts.
This interest in sequence and narrative transitioned to one based in digital manipulation of electronic imagery beginning in the early 1980’s. Paul Berger had a book version of the series Seattle Subtext published in 1984, and a catalog to the Seattle Art Museum exhibition “The Machine in the Window” published in 1990. Berger have exhibited photographic and digital artworks widely, both nationally in America and in Europe, including major exhibitions in New York, Chicago, Los Angles, San Francisco, Paris and Cologne.
Berger was the subject of a 2003 retrospective exhibition “Paul Berger: 1973-2003” at the Museum of Contemporary Photography, Chicago, which was reviewed in Artforum that same year. Berger have been published in numerous books, including Seizing the Light: A History of Photography; Robert Hirsh, 2000; Nash Editions: Photography and the Art of Digital Printing, ed. Garrett White, 2007; and The Digital Eye: Photographic Art in the Electronic Age; Sylvia Wolf, 2010. Paul Berger have taught at the University of Washington’s School of Art for 35 years, having co-founded the Photography program in 1978.
Myrza de Muynck is a Dutch designer who graduated from the MA Fashion programme at Central Saint Martins London. Myrza de Muynck is based in London and was chosen as Vauxhall Fashion Scout’s One’s to Watch AW12-13. This enabled Muynck to have both a catwalk show and an exhibition space at the organisation’s prestigious Covent Garden venue of Freemasons’ Hall and also to be part of their Paris showroom. Her work has been featured in many magazine’s and blogs such as Vouge, Elle, Wallpaper, ID-online and POP magazine.
”Elsewhere, it was the very clever overhaul of a classic shell suit that caught our eye” – Says Myrza De Muynck. The womenswear designer added floral beading just beneath its knees and on to its blouson jackets – which came in pink, azure, lemon and plaid – to transform the humble sportswear attire like we’ve never seen. You could imagine wearing these and what’s more you could imagine wanting to – “striking the balance as they did between elegant, cool and casual’.’
La Carte d’apres Nature, published to accompany an exhibition curated by Thomas Demand at Nouveau Musée National de Monaco, takes its title from a short-lived art magazine created by René Magritte between 1951 and 1954. Magritte’s publication ran for just fourteen issues and each consisted of a postcard, featuring loosely connected poetry, illustrations and short stories. In a similar fashion,Thomas Demand has selected artworks by eighteen artists that are related to each other in an associative manner. The selected work is connected by two ideas: tamed nature and Surrealism as an artistic form fashioned by Magritte. Just as Magritte himself related ideas from different eras, Demand chose works by different generations of artists: Saâdane Afif, Kudjo Affutu, Becky Beasley, Martin Boyce, Tacita Dean, Thomas Demand, Ger Van Elk, Chris Garofalo, Luigi Ghirri, Leon Gimpel, Rodney Graham, Henrik Håkansson, Anne Holtrop, August Kotzsch, René Magritte, Robert Mallet-Stevens, and Jan and Joel Martel.
The book, designed by Thomas Demand and Naomi Misuzaki, takes Margritte’s notion of free association further, combining the wide range of works into an elaborate exploration of the disjuncture between the representation of art and the representation itself. Christy Lange’s engaging essay traces this idea that a representation of nature is always a simulacrum through the work of the different artists, for example, relating the surrealist resonance of Italian photographer Luigi Ghirri’s ‘impossible landscapes’ to Margritte’s playful canvases and Demand’s photographs of his paper sculptures. Texts by Tacita Dean, Rodney Graham, Luigi Ghirri and Thomas Demand are threaded through the segue of images and the object is completed with a second book housed in an envelope neatly built into the back endpaper of the catalogue, a facsimile of a Luigi Ghirri manuscript for a small book of photographs.
Scopophilia, which consists of over 400 photographs culled from Goldin’s career, pairs her own autobiographical images with new photographs of paintings and sculpture from the Louvre’s collection. Organized around themes of love and desire, Scopophilia, which means “the love of looking,” reflects on Goldin’s intensely personal photographs, as well as the unique permission given to the artist to photograph freely throughout the Louvre Museum. Of this project, Goldin explains, “Desire awoken by images is the project’s true starting point. It is about the idea of taking a picture of a sculpture or a painting in an attempt to bring it to life.”
Primped and adorned in Lanvin dresses, two gorgeous ladies are ready for a night on the town. Just as we believe they’re about to step out for the evening, they stand in position, fixate their eyes on their screen and on cue, start to groove to the music and sway their hips in sync.
Moving to the rhythm of the beat, the girls swing their arms in the air creating a visual show, as the audience catches glimpses of the chic evening clutch in one hand and a bejeweled cuff in the other, with wind in their hair. Suddenly, the scene switches up a bit and in comes their two male companions. At this moment, the party has begun. The rhythm of the night and the synchronized steps do not delay the revealing guest surprise.