This weekend we did a small launch party for #Horst&Edeltraut magazine in Copenhagen at Studio Travel. #Horst&Edeltraut is a magazine about Berlin culture at large: arts, photography, design, and most of all about young creatives from all around the world. We had a trippy dj set by Colorful Mountain and a lot of friends visiting us. If you missed it, enjoy our photos!
Conceived for the former clothing factory Max Mara, now housing the Collezione Maramotti, the large installation Are We Still Going On? of Kaarina Kaikkonen follows the structure of the building, peculiar example of brutalist architecture and organicist fifties. I saw the work of Kaarina Kaikkonen in the streets of Helsinki, for the first time, but the shirt installation hanging from the buildings bizarely reminded me of Italy.
In Reggio Emilia, the old entrance to the factory – where the work was carried out – is ideally divided into two areas, the horizontal chains reinforced concrete pillars that connect not only give an architectural rhythm to the space, but become part of the artist’s work. The installation consists of two symmetrical structures that evoke the skeleton of a large boat. The simple hull is sectioned into two parts that develop from the ceiling down to the floor, with the same compositional rhythm semicircular realized with clothing knotted together.
For the selection of colors that define the two complementary structures, the clothes suggest a symbolic dialogue between the masculine and the feminine: light on one side, the other cooler tones. Everything emanates from a combination of coloristic harmonic beauty.
The project brings forward the cultural collaboration between Italy and Finland. The artwork for the Maramotti Collection is the first stage of a project that involves the construction of a second installation Towards Tomorrow, conceived for the square of the MAXXI-National Museum of XXI Century Arts, which will open April 14, 2012. As a large sail, the work will move with the wind, connecting one of the gaps that characterize the external profile of the museum and remodeling the building by Zaha Hadid.
Private view invitation: February 25, 2012, in the presence of the artist
Selected by Ingrid Melano
Let’s restart the year with an artist the world is totally going crazy for: Liu Bolin. Liu Bolin is a Chinese artist known for his photographic self-portraits in which it is difficult to distinguish the artist from the background. Before taking the photo, Liu Bolin work on a makeup to blend perfectly with the surrounding environment, after studying closely the lines and lights.
Liu Bolin began working on the concept of mimicry and transparency in Beijing in 2005, after the decision of the Chinese government of demolition of Suo Jia Cun district, an area that was home to the largest community of artists in Asia. In protest against the lack of consideration of the government towards the artists and their contribution to the Chinese company, Liu Bolin has been photographed in various areas of Beijing after getting to be practically invisible.
After Beijing, Liu Bolin created several series based on the same principle, but set in Venice and New York. In collaboration with the magazine Harper’s Bazaar, he then, met the designers Jean Paul Gaultier, Erber Albaz (Lanvin), Angela Missoni, Maria Grazia Chiuri and Pierpaolo Piccioli (Valentino), and he has rigged as it usually does for himself in the background of some clothes that they had created for their collections.
To coincide with the launch of the scarves that Japanese artist Hiroshi Sugimoto has created for Hermès, he has used one of his designs, the 053 Polaroid, to create a limited edition cover for Wallpaper* Magazine’s July issue, out tomorrow. The Sugimoto cover is exclusively available to Wallpaper* subscribers.
As i said in my previous post his artwork has been created by splitting light with a giant prism in the tradition of Isaac Newton and is part of the latest Editeur series of art-inspired carré scarves by Hermès. Of this work, Sugimoto says: “Polaroid film has its own character, a kind of charm, and I usually work in black and white only, so it was kind of fresh to work in colour, I instantly found it interesting, so I became serious and brought up all the film I could get hold of.”
Truly international, consistently intelligent and hugely influential, Wallpaper* is the world’s most important design and style magazine. With 12 themed issues a year, a limited-edition cover by a different artist or designer each month, over 675,000 Twitter followers and a monthly iPad edition, Wallpaper* has evolved from style bible to internationally recognised brand.
Davide Allieri is a young Italian talent. Today his new exhibition A Protective Suit Project for the Blind Hero opens at 27 AD Gallery, Bergamo, Italy. A Protective Suit Project for the Blind Hero is the 8th chapter of a collection that encompasses different works, exploring various techniques, materials, shared concepts.
In his early works, Precision Impression I, II, III, Davide Allieri put a mixture of powdered graphite and natural fats directly into his mouth, the attention was focused on a single gesture, in order to create a universe populated by charismatic figures. Afterwards he started to to incorporate the fashion element, creating the final look of his alter ego.
In A Protective Suit for the Blind Hero the artist analysis changed: the new ego became a warrior. The performance of Precision Impression VIII is The Tailor’s Armour, will be open to the public on the 2nd of June at 27 AD Gallery and it will stage the metamorphosis from novice to warrior.
Hermès has recently collaborated with Japanese artist Hiroshi Sugimoto, who designed a capsule collection of the legendary silk scarves. Sugimoto, who is a master of light, was discovered by Hermes’ artistic director Pierre-Alexis Dumas, during a studio visit in Tokyo.
Finally twenty photos have been selected to be printed on blank silk scarves, and published in seven limited copies. Baptized Colors of Shadow, these pieces will be available from 11 June 2012 on the website, for the project Hermes Editeur.
At the same time, the works will be exhibited at the Museum of World Cultures in Basel, from 12 to 21 June 2012. After collaborating with artists like Joseph Albers, Daniel Buren, Hermès confirms his promiscuity with the world of art.
Anichroches, Variations, choral and fugue is a musical voyage, into Espace culturel Louis Vuitton, Paris, at the heart of which are sight and sound, and it is probably one of the best exhibitions of the year.
We had access to the space through a elevator created by Olafur Eliasson, that lock the visitors into a soft darkness, no lights, no sounds. Then, moving through the exhibition, we discovered works that tackle the domains of sculpture or installation, and at the same time open them to the realm of music. Questioning the close ties between the body of the musician and his instrument, the creations presented there almost all have the ability to be played.
Laurent Saksik, for instance, takes inspiration from the theremin (one of the earliest electronic musical instruments) to create a structure from which everyone is invited to generate a sound without actually making contact with it. Anri Sala’s offering, meanwhile, requires the presence of a saxophonist who, at appointed times, will initiate a duet with the work on display.
We really had fun in there and i was impressed about how the visitor discovers through this exhibition –an itinerary that alternates music and silence, action and contemplation. For the duration of the exhibition, in the rotunda, the Espace culturel Louis Vuitton will invite visitors to take part in an unprecedented digital experience on the borders of artistic creation and musical composition.
Well curated, perfectly organized, in a charming space and with great artists such as Rémy Jacquier, Christina Kubisch, Charlotte Moorman, Thierry Mouillé, Laurent Saksik, Anri Sala, Su-Mei Tse, Stéphane Vigny, this is an exhibition to enjoy in a group, exploring together all the soundscapes suggested by this great curatiorial project.
Today i finally visited the 24 h Museum, set for two days in Paris, in the beautiful setting of the Palais d’Iéna, where Vezzoli created a non-existent exhibition.
The main room was a great design installation: made by gridwall, and full of fuxia neon lights, it was the perfect location for Francesco Vezzoli to show his personal tribute to the allure of feminility through interpretation of classical sculptures, featuring of course the image of his mother, and some of the icons he collaborated with during his career.
The event was very exlusive, with also a pink-carpet entrance. The first thing i noticed was the stairway, where mama was celebrated with a classical angle statue and some “like” in the hot parts of the sculpture.
There was finally a third room, where some night visions were set, mixing strobo lights and classical images, location of the glam event that was visible yesterday on the website.
Prada presented, in collaboration with AMO, a Baroque festival, an exclusive fashion meeting, and a celebration of italian stereotypes, on fetish pink, red and polka dots backgrounds.