Berlin Atonal presents Metabolic Rift: an (un)guided exhibition-tour through the entire Kraftwerk building from 25.09 – 30.10.2021. The exhibition operates as a sequenced series of site-specific interventions from leading international sound and visual artists, channeling an audience’s experience through organized time. Small groups enter previously unused spaces of the former powerplant to discover a choreographed succession of artistic assemblages. Borrowing the logic of a ‘ghost-train’, the principle is accumulation and the sequence of artwork-apparitions is set as if according to a musical score. The boundaries between things shift and reassemble. Seeing and hearing happens in a chain reaction, a circulation of kinetic energy. A full experience unfolds over approximately 2 hours. Tickets available now. Entries every 15 minutes. Click here to discover more.
"The Emerald Tablet" A Curatorial Project by Ariana Papademetropoulos Opening At Jeffrey Deitch
The Emerald Tablet is modeled on Dorothy’s quest to The Emerald City in Frank Baum’s “The Wizard of Oz” and invokes its iconography to ignite the dialogue between esotericism and popular culture. As a fervent Theosophist, a religious movement that flourished in Los Angeles at the turn of the century, Baum’s Emerald City is a reference to “The Emerald Tablet of Hermes,” an ancient text that formed the foundations of alchemy and all subsequent western occult traditions. On view until October 23 at Jeffrey Deitch. photographs by Oliver Kupper
Tomorrow's Anxieties: Read Our Interview of Multi-Hyphenate Artist Jillian Mayer →
Jillian Mayer gets stuck in your head. I still find myself randomly humming the tune to her pop song, “Mega Mega Upload,” even though it’s been ten years since I first saw the video she made for it. Her short, catchy video “I am your Grandma” has a cult following on YouTube and TikTok and is so delightfully bizarre that it’s bound to be discovered by youngsters for decades to come. Her Slumpies, sculptural furniture designed to help people use their smartphones, are found in airports by travelers who don’t know her, only that her art helps them maintain comfort while staring into Instagram.
Her latest show, TIMESHARE, likewise wedges its way into your psyche. It leaves me feeling unsettled, yet inspired. It feels urgent but timeless as it examines the impending collapse of society while climate change throws our functional-enough world into chaos and turmoil. Her in-progress mobile bunker recalls the highbrow living spaces of Buckminster Fuller and Andrea Zittell, but also elicits the vibe of the RVs and trailer parks—the most economical but lowbrow living spaces of the American landscape. Read more.
Read Our Interview Of Zoe Chait And See Her Solo Exhibition Honoring The Late Sophie →
Zoe Chait
projection reflected, 2017-2020
Projections on aluminum panels
9:18
Capturing Sophie, the late, hyperkinetic pop sensation whose tragic and untimely death shocked and saddened millions around the globe, is like photographing the flight of a butterfly. The prodigious and pioneering musician and producer of avant garde electronic music began her career anonymously making cosmic waves with singles like “Bigg” (2013) and “Lemonade” (2014), worked closely with a number of artists from the notorious PC Music label, and in 2017 came out as a trans woman. Developing an intimate connection with Sophie at such an inflection point was the genesis of Zoe Chait’s Noise, a solo exhibition of portraits that capture an individual who has just emerged from the cocoon with a new and fleeting lease on life. Here and gone in a flash, two artists forge a bond under painfully short exposure. A loving elegy, besotted with adoration. Chait bears witness to the weight of the sublime and the value of the present moment. Read more.
Rakeem Cunningham Presents Hero @ Ochi Projects In Los Angeles
In his first solo exhibition with Ochi Projects, Rakeem Cunningham plays and poses alone in his studio, exploring a multitude of selves informed and surrounded by a multiverse of niche subcultures. Each portrait is a declaration of subjectivity and existence—proof of self-validation and an ongoing healing journey that expands upon an outdated definition of hero.
Triggered by the designation of essential workers as heroes while being treated as disposable this past year, Cunningham paused to reflect upon his relationship to this loaded word. As a queer youth of color, he idolized heroes that didn’t look like him. Lazy metaphors—green or purple villains dressed in evil black—reinforced false dichotomies and ultimately white supremacy.
Hero is on view through June 26 through August 7 @ Ochi Projects 3301 W Washington Blvd, Los Angeles, CA 90019
A REAL FANTASY: New Exhibit Berl-Berl Opens in Berghain Halle In Berlin
AR artist Jakob Kudsk Steensen turns the Halle of Berghain
into the mythological swampland it sits upon
text by Janna Shaw
photographs by Timo Ohler
It was five years ago when I first came to the fabled cathedral that is Berghain. The voyage of getting to the abandoned power depot-cum-dance Mecca from Warschauer Straße involved a journey, of course, as all worthy destinations must. First, back then, the ‘dancer’ is taken through an abandoned strip of supposed park, littered with broken glass, graffiti, and empty baggies. You will be approached by haggard creatures of Friedrichshain asking for tokens in the form of Pfand. You will be approached by many alchemists, offering you a variety of elixirs to accompany you on your trip. Do not take them.
By the time the behemoth structure appears in site, the final stretch (before the line and final boss, which many will find most daunting) is a large field of dirt. Depending on the season and the climate, that large field of dirt will be a large vat of mud. Depending on the shoes, some turn around. Dancer, tred lightly.
I have not retraced these steps in well over a year. In this timespan, the stretch of garden has regrown into a small urban farm, with mothers meeting for coffee, a group of green vests tending to bushes of herbs, no trash in site, all graffiti covered. People now feel comfortable letting their dogs explore the lush terrain off leash.
And that plot of mud? It has been blanketed with green grass. There are sidewalks. A man mowing. Staring up at Berghain, still draped with its ‘Morgen ist die Frage’ banner, I felt a sense of cognitive dissonance. Where am I?
When first settled upon in the 13th century, Berlin and its surrounding area was a swamp. Some of it still is, especially the further up north you go. There is speculation that the very name ‘Berlin’ comes from the Slavic word for swamp: ‘Berl’
An entire language and religion was created around Berlin’s murky ecosystem. Its first settlers came to make sense of its magical decay and regrowth through myth and legend, passed down for generations. Sorbian folklore speaks of pagan deities appearing as great trees, of three-headed snakes representing the tri-fold existence of life. Folk songs were created to guide those that understood the language through the more treacherous zones, which would ultimately lead to areas of beauty and respite, to clean water and vegetation. If you did not know the melody, you were a foreigner, not to be trusted. Maps were not drawn, they were sung.
The Halle of Berghain has been turned into the swampland it sits upon. Artist Jakob Kudsk Steensen has re-created that which existed, using a gaming platform as his canvas, displayed on a multitude of LED screens. Black reflective flooring gives those who enter a sense of topsy-turvy pseudo-reality pooling around them.
Steensen collaborated with the Natural History Museum of Berlin to make this endeavor a realistic experience, rather than a realm reinterpreted. The museum’s collection is one of the oldest in the world, and it includes more than 30 million objects and documentation originating from the Berlin area. For the exhibit, natural structures, such as mushrooms, minerals, and live life, were produced through Unreal Engine, a gaming software that allows high-def replications of objects. AI-assisted ray tracing, a technique which enables realistic lighting and reflection, is also used to make the shadows and glimmers of light all the more believable.
There are a multitude of screens to watch, allowing different ways to see your environment. An extended cinematic screen stretches from one side of the Halle to the other, for viewers to sit and gaze upon as a movie. Square screens dot the center of the room, showing molecular close-ups that appear as abstract artwork. Flanked upon the outer wall are more screens. Two windows have been opened (a rarity at Berghain), to allow for natural lighting and a sense of grounding.
The downstairs entry hall also includes screens, showing the depths of the underworld. As above, so below.
Sitting there, watching what was, what is, I fell into a meditative state. The Halle is soaked in speakers playing field recordings from swamps, as well as droning by the sound composer Matt McCorkle, and interspersed whispers and sounds by the musician Arca, whose first performance was in Berghain. The sounds morph from the primal—a frog bellowing—into the sophisticated—“a singing ritual of past sensibilities.”
As soon as one may question if the piece they are watching is simply hi-def close up video footage of mushrooms and molds and water and trees, a slight tinge of fantasy flicks across the screen: a snake morphs into a root; a firefly erupts into a flash; the wind in the rustling leaves is for a moment made visible. And at some point, the images begin to disintegrate into their molecular structures, with no filters placed upon them. DNA sequencing is stripped and shown bare, giving a glimpse at the tech-organic, no filter.
In a world where all has been taken, claimed, bent to our will, extorted, destroyed, capitalized upon, revamped, and arguably beautified, the Berl-Berl exhibit begs to question how in the future we will be able to experience the natural. It places importance on documentation. It reveals the dire need for us to honor from whence we came to better understand ourselves, and it shows the potential role of artists in the future.
As I left the exhibit, and walked past the front of the empty queue of Berghain, past the green field that once was mud, back through the park with basil and elderflower, with manicured paths and park patrols, two young girls approached me, asking where they could find Berghain, asking if it still existed.
In a way it did. In a way it didn’t. Mythologically speaking, it will exist forever. Instead of falling into derelict, the entirety of Berghain is currently composed of artists displaying their interpretation of the world around them. New methods of prayer, new approaches to figuring themselves out, questioning our placement. Its placement. A Cathedral repurposed once again, that has been many things for many people throughout the history of Berlin, which will continue to shift and creak, constrict and expand. Berghain, this time, a place of respite and exploration, resting solidly upon its swamp, allowing all to enter, if only you know how to find it.
Berl-Berl by Jakob Kudsk Steensen is commissioned by the Berlin-based art foundation Light Art Space (LAS). The exhibition is curated by Emma Enderby, of New York’s The Shed, with sound composition by Matt McCorkle, featuring music by Arca.
Berl-Berl is on view through September 26 @ Halle am Berghain, Am Wriezener Bahnhof 10243, Berlin
photograph by Timo Ohler
I Am Not This Body Group Show @ Tyler Park Presents In Los Angeles
I AM NOT THIS BODY. But I am. Aching and full of longing. Take a picture of this meat, this husk. You don't have me. I am something that cannot be photographed, cannot be named, defined, translated. There's experience and that's all there is .... But there's also all this stuff. It gets in the way. I've always had trouble with stuff. I've fought my whole life to have control over stuff, over the appearance of stuff: my chaotic hair, learning to play the accordion, getting dressed, being on time, electric bills, the five ballet positions, getting money, spending money, even just putting one foot in front of the other. Clear the table. A place for everything and everything in its place. A battle for order, a battle for space.
— Barbara Ess, excerpt from I Am Not This Body, Aperture, 2005
Co-curated by artists Juliana Paciulli and Evan Whale, I Am Not This Body reflects on the battle between the physical and indefinable; things that are at once us but aren’t. The bodies in the show have been collaged, painted, cast, printed, chemically altered, cut out, and dyed. Some cast shadows and some ripple in the wind. The works are rooted in reality, but they meander through beautiful, undulating reckonings with these realities. These figures emerge from their surroundings and reach into histories, presents, and futures revealing experiences that are exquisitely human.
![BARBARA ESS Electrocute [Border Series] , 2010 Framed: 12 x 15.31 in (30.48 x 38.89 cm Archival pigment print Edition 1 of 4](https://images.squarespace-cdn.com/content/v1/544cb720e4b0f3ba72ee8a78/1625791593642-WYN8TZWM85DHSP3IWQ5R/Barbara+Ess_Electrocute_2010_TPP.jpg)
Exhibiting artists include: Andrea Chung, Vanessa Conte, Barbara Ess, Daniel Gordon, Tommy Kha, Young Joon Kwak, Juliana Paciulli, Kim Schoen, Evan Whale, and Jessica Wimbley. I Am Not This Body is on view through July 31 @ Tyler Park Presents 4043 West Sunset Blvd., Los Angeles
Desire Encapsulated: Make Room's Inaugural Group Show @ Their New Location In Los Angeles
![Claire Colette Blue Flower [never-ending flame] , 2021 Acrylic, ash, salt, rose water, resin incense (frankincense, myrrh, copal, benzoin, hyah), dried flowers, flower essences on canvas 46 x 56 inches Photo by Julian Calero Courtesy of Make Room L](https://images.squarespace-cdn.com/content/v1/544cb720e4b0f3ba72ee8a78/1625096525974-SO9DV6AIPVTJLKZ76ZA9/Claire+Colette.jpg)
Desire Encapsulated features a slate of more than fifteen artists working between painting, sculpture and installation to expand on the theme of desire—how it is perceived across different psychological spaces and artistic practices, and how it is "encapsulated" through different artistic practices across time, medium and space. The exhibition presents a group of artists' work that considers desire as part of the fundamental human experience, a shared experience and the driven power of humanity.
The artists participating include Andrew Sendor, Catalina Ouyang, Guimi You, Lior Modan, Bambou Gili, Miguel Angel Payano Jr., Joeun Kim Aatchim, Lita Albuquerque, Yuri Yuan, Sula Bermudez-Silverman, Yanyan Huang, Yifan Jiang, Yesiyu Zhao, Ruby Leyi Yang, Chris Oh, Hiba Schahbaz, and Claire Colette.
Desire Encapsulated is on view through July 31 @ Make Room Gallery 5119 Melrose Ave, Los Angeles
Star 80: Nick Taggart's LA Stories Encapsulates An Era & A City's Electric Energy
“Gillean”, 1980, acrylic on board, mounted on panel, 23 1/4” x 23 inches
Gillean McLeod in the loft on Spring Street that she lived in with her band Party Boys. The band played in downtown lofts and bars such as Jacarandas and Brave Dog. They built the stage at Al’s Bar and were one of the first bands to play at what became a gathering spot for the downtown art and music scene.
text by Steffie Nelson
When the British-born artist Nick Taggart came to Los Angeles in 1977, he planned to stay for three months. Four-plus decades later, he is still here, living on the same Glassell Park street he was told about at a Stranglers show in London. Then twenty-five, Taggart, who studied illustration at Cambridge University, found LA’s legendary light, eclectic architecture, and frontier landscape irresistible—and the antithesis of gray, recession-bound London. He quickly connected with the vibrant underground art and music scenes centered in downtown LA and Hollywood, at clubs like Al’s Bar and the Masque, which gave rise to iconic punk and new wave bands like X, The Go-Go’s, Devo, and Missing Persons, as well as lesser-known groups like Party Boys and Fender Buddies, who became his friends.
All the while, Taggart sketched his new city in his notebook, depicting the color-soaked mystique of the Santa Monica Pier, Hollywood’s Stardust Motel, Colorado Boulevard in Eagle Rock, and the dynamic characters in his social and creative orbit. But it wasn’t until he switched from colored pencils to acrylic paints that Taggart finally found a way to capture the city’s light. “Once I started using acrylics I felt like I could get that intensity within the shadows,'' Taggart says today. “Even in the shadows there’s like a blue glow; even the dark has light.”
In 1980, Taggart painted a series of portraits of friends in their native environments. They included the stylist and musician Gillian McLeod, pictured in her Spring Street loft with her lavender Gibson guitar; the photographer Jules Bates, who is shown leaning against his restored Nash Metropolitan, defiantly holding up his left hand to reveal two missing fingertips he’d lost in an explosion; and punk fans Sandy and Rochelle, whose gumball-palette fashions coordinate with the graffiti’d wall of a venue in Little Tokyo.
In another painting, the purple pointy shoes on a pair of legs standing over a topless blonde woman, who is lying poolside in a clear plastic raincoat, belong to the fashion designer Gregory Poe, the older brother of gallerist Jeff, of Blum & Poe, and designer of said raincoat. That work caught the eye of Jann Wenner, who tried to commission something similar for Rolling Stone, but Taggart was traveling, and already on to the next thing—which at the time included book and record covers and T-shirt and poster designs for the pop culture emporium Heaven, a counterpart to Fiorucci. The paintings went into flat files, where they remained, unseen for 40 years, until Taggart started sharing some of his archives on Instagram during the pandemic.
Dani and Yvonne Bas Tull, who run the gallery ODD ARK • LA and are fellow Northeast LA artists, began to take notice of Taggart’s Instagram posts—the work from the 1980s, in particular. “It got to a point where it was kind of exciting to see what he would post next,” recalls Dani Tull, a born-and-bred Angeleno whose mother had an art studio on Skid Row during that same time. Recognizing a little-known slice of LA art history and a vital link between the renegade spirit of the underground and the global art market of today, they approached Taggart—now an art professor whose work skews toward meticulous organic abstractions—about a show.
LA Stories: Paintings and Drawings from 1980, featuring six paintings and nine oil pastel portraits of models and cultural figures like Brooke Shields and Grace Jones (available as limited-edition prints, along with a limited-edition t-shirt featuring a Heaven design), is a technicolor time capsule. The high-gloss surfaces and saturated hues, angular compositions and cuts of clothing, sculpted coifs and bold slashes of blush and lipstick, all point to the digital age on the horizon, yet are masterfully rendered, in fact, by hand. Seen up close, minute details are revealed within the brushstrokes. For Taggart, who framed the paintings for the exhibition, seeing them in a new context after forty years has been revelatory. “It's sort of more interesting to see them now,” he notes, adding that perhaps he was simply “waiting for the right moment” to show them.
In Tull’s opinion, the screen-friendly nature of the work makes it that much more rewarding to see it in a brick-and-mortar space. He views presenting the paintings IRL, as it were, as an opportunity “for people to ponder the history of the LA art community. And in that pondering we have an opportunity to think about where we’re at, and where we’re going...Aside from that, the paintings are really fucking cool.”
![01 Installation [IMAGE].jpg](https://images.squarespace-cdn.com/content/v1/544cb720e4b0f3ba72ee8a78/1625089189314-ZNVJWT4CYW2NW32IY4WR/01+Installation+%5BIMAGE%5D.jpg)
LA Stories: Paintings and Drawings from 1980 is on view for the first time by appointment only through August 1 @ ODD ARK • LA. text by Steffie Nelson
Ring Down The Curtain Group Show @ Ochi Projects In Los Angeles
Ring Down the Curtain is an idiom borrowed from theater that marks the end of a performance. After more than a year of isolation and lockdowns, digital surrogates and Zoom fatigue, this group exhibition signals a return to embodied optimism by offering works that embrace materiality and empiricism.
The show includes artists working to parse the complexities of gender, sexuality, identity, and power through a dedication to labor, design, and craft. A carefully considered intersection of ceramic, textile, paint, video, and installation engages sensory perception, creating somatic markers that challenge histories of cultural performativity, particularly as they apply to women. Each artist expresses their unique interests in the relationship between tactility and the significance of elicited bodily experience.
Featured artists include Sula Bermúdez-Silverman, Oona Brangam-Snell, Trulee Hall, Isabel Yellin, Sarah Zapata, and Bari Ziperstein. Ring Down The Curtain is on view through June 19 @ Ochi Projects 3301 W Washington Blvd, Los Angeles.
Read Our Interview Of Agnes? Following Her Transition Cum Durational Performance @ Belsize Park In London →
Agnes? has made waves in London with her most recent exhibition, Transgenesis. Spending twenty-three consecutive days in the abandoned Belsize Park leisure centre, performing for eight hours straight, Agnes? has welcomed visitors to watch in awe as we see her transform into a larger-than-life, human-octopus creature, a form that symbolizes both life and death. Transgenesis, meaning one or more DNA sequences from another species being introduced by artificial means, is explored by Agnes? through her experience of transitioning from male to female. Since beginning her transition, Agnes? has explored the symbolic connotations behind water and its relationship to her experiences of ‘mutating’ from one being to another, using the liquid to wash down her hormone drugs, an action that is simultaneously transformative and destructive all in one swallow. Read more.
Read A Conversation Between Ferrari Sheppard & Michèle Lamy On The Occasion Of His Solo Exhibition @ UTA Artist Space →
Ferrari Sheppard is an enigmatic, multi-disciplinary artist whose practice defies classification, and lives firmly at the center of a three-dimensional venn diagram. Likewise, the work of Michèle Lamy is as fluid and instinctive as it is crystallized in her unmistakable and ever-expansive character. She is not just a maven of fashion, design, and art, or an innovator of music and former restaurateur. She is a cultivator of community and expression. Sheppard is not just a painter, writer, photographer and music producer. He is an activist who has worked to provide relief aid in Haiti, shape economic policy and development in South Africa, and shine light on the Israel-Palestine conflict. It makes perfect sense that the two of them would fortuitously meet at Mr. Chow’s while stepping outside for a cigarette. Sheppard’s recent solo exhibition of paintings, Positions of Power, at UTA Artist Space is a testament to the mistreatment of a generation for profit by the criminal justice system. They are love letters to those who carried the weight of the “war on drugs” and risked it all in pursuit of freedom in the United States. Their structural composition is the result of an almost unconscious, improvised dance. A process that the artist refers to as “walking while painting.” The figures are laid heavy with dark brown and black pigments that visibly absorb light, and are gilded with a reflective gold trim, creating a balance that feels harmonious and befitting. At the center of the gallery’s main space lies a brutalist, three-pronged elmwood bench of mythical giant proportions. A place to put everything down and spend some time with the work. A creation that could only come from the collective minds of Michèle Lamy and Rick Owens. And the perfect place for these two chameleonic masters of material, sound, and ceremony to discuss their work. Read more.
The Parapsychic Sculptor: Read Our Interview Of Corin Johnson →
Artist Corin Johnson has spent over thirty years traversing the art world with his exceptional stonemasonry and wood carving craftsmanship. Corin has collaborated with some of the world's most renowned visual artists including Paul Noble, as well as focusing on his own practice (which includes drawing, modeling, and unique stone, marble, and wood carvings), the work is varied with a unique and colorful story behind each piece. Recently, he has found himself locked down in his studio with the musically-acclaimed Nick Cave. They met in the ‘90s when the musician reached out having seen a bust of himself created by Johnson; a commission by a Cave fanatic. During lockdown, the duo have formed a creative bond and partnership. Read more.
Read Our Interview Of Artist Jordan Eagles Who Is Battling Blood Inequality →
Click here to read the interview.
Honoring The Murkiness: Read Our Interview Of Estefania Puerta & Abbey Meaker On Curating The Ephemeral →
Brian Raymond
Tree Hollow Composition, 2021
Maple tree hollow strung with harp strings, processed thru OP1, eh95000, and Sponge Fork
Run time: 10:00
Is it in our nature to make art? Is art inherently ephemeral? Is there a boundary between art and nature? How can we look to nature as a blueprint for the art that we make? These are all questions that come up as I consider Land Chapters, the inaugural exhibition by Artist Field, a platform for projects that respond to and engage with natural environments. Curated by Estefania Puerta and Abbey Meaker, this exploration of the boundary between nature and self is a deep dive into the works of 16 artists split into three chapters. The first chapter is comprised of installation works that can be found deep in the woods of Richmond, Vermont on the Beaver Pond Hill Property. The second chapter comes in the form of a tape with recordings from six different artists. And the third chapter is a print publication with text from seven additional artists. All together, these works serve as an attempt to embrace all of the hard-to-pinpoint expressions of art within nature that so often fall under the towering shadow of negated space left by the Land Art movement. Read more.
Love Letter to L.A.: New Works By Beverly Fishman @ GAVLAK Gallery In Los Angeles
Love Letter to L.A. is GAVLAK gallery’s first solo presentation of new work by Beverly Fishman. The exhibition’s declaration of affection signals a pivot to the personal in Fishman’s new body of work, for which she has developed a distinctive color palette for objects that occupy a liminal position between two and three dimensions, subtly acknowledging a debt to styles with California roots, including the Light and Space and Finish Fetish movements. The enticing and deceptive optical effects the new works produce also expand upon Fishman’s long-standing investigations of how physical and mental states with no fixed visual forms of their own—namely, pain and wellness—are articulated in the marketing of pharmaceutical conglomerates to an increasingly medicated general public.
Love Letter to L.A. will be on view through June 5 at GAVLAK Los Angeles.
Global Fax Festival: A New Performance Film By David Hammons In Collaboration With Monday Evening Concerts
‘Global Fax Festival’ a new performance by David Hammons dedicated to Butch Morris in collaboration with Monday Evening Concerts and pianist Myra Melford
Hauser & Wirth Los Angeles, 10 May 2021
Courtesy the artist and Hauser & Wirth
Photo: Elon Schoenholz Photography © 2021
Hauser & Wirth’s digital art magazine Ursula presents ‘Global Fax Festival’ – a new performance film by David Hammons dedicated to composer/conductor Lawrence D. ‘Butch’ Morris and created in collaboration with Los Angeles’ venerated Monday Evening Concerts and virtuoso pianist Myra Melford.
The film documents Hammons’ first-ever restaging of his noted 2000 project ‘Global Fax Festival’ here conducted in the gallery’s outdoor courtyard in early May 2021. After more than a year of isolation during the pandemic, Hammons conceived this event as a gesture toward the reawakening of Los Angeles, set within the space that two years ago hosted the largest survey of his work ever organized.
The new ‘Global Fax Festival’ performance film features a solo improvisational piano performance by Myra Melford. A former Butch Morris collaborator, Melford plays in dialogue with projected footage of Morris, who passed away in 2013, performing Conductions®, his trademarked technique that merges conducting and improvisation.
California Dreamin': Read Our Interview Of Cole Sternberg On The Free Republic Of California →
Michael Slenske interviews Cole Sternberg on making the dream of the Free Republic of California a reality.
Virtually Cool: Otis College Annual Fashion Show Features Designs Inspired By The Work Of Noah Davis
This Saturday, May 8, Otis College will be holding their annual fashion show for the classes of 2020 and 2021, broadcasting digitally in lieu of an in-person event. In support of their first-generation population, which comprises roughly 30% of the student body, the public will be invited at no cost for the first time and encouraged to contribute financially during the program. These students worked under the mentorship of industry heavyweights like Ruth Carter, David Meister, Jonathan Simkhai and B. Akerlund in addition to many other prominent costume and fashion designers who work with Universal, Vince and ALC.
Virtually Cool also features a collaboration with designers Arthur Thammavong and Deborah Sabet from Vince, who tasked students to make a line of clothing based off of the late American artist Noah Davis' paintings.
RSVP now to attend.
Repeat: Sculptures By Janet Levy, Choreography By Diane Gemsch @ SWB Experimenthaus In Zurich
As we navigate our lives in these times of a pandemic, the question about home and living becomes even more pronounced. Janet Levy questions what is home and what is the significance of home, collecting objects from her surroundings to create a site-specific sculptural installation. In kind, Diane Gemsch creates an emotional response by physically bringing this action to movement while engaging with the house and sculpture installation.
Repeat is on view by appointment through May @ SWB Experimenthaus Neubühl, Westbühlstrasse 59, 8038 Zurich-Wollishofen. photographs by Rudolf Moser
