Herrensauna x Carhartt WIP SS22 Launch Party in Berlin with Taboo

Created in 2016 by Cem Dukkha (CEM) and Nicolas Endlicher (MCMLXXX), Herrensauna has quickly become a Berlin institution and famed queer safe space known for its boundary-pushing techno nights and playfully sybaritic community morality. For their spring/summer 2022 collection, Carhartt WIP collaborated with Herrensauna to produce a limited capsule of five items. This capsule see staple Carhartt WIP particulars blessed with artwork by Berlin-based artist and longtime Herrensauna collaborator Mau Ventura.

The launch party took place at Humbolthain Club on April 3 with DJ sets by DJ Saliva b2b Salome, MDSM, Gabrielle Kwarteng b2b Kikelomo, LYZZA b2b Yha Yha, and CEM b2b MCMLXXXVI.

β€œThis collaboration was extra special as it allowed a popular streetwear brand to tap into its shared audience with such an iconic underground collective. The partnership is subtle, allowing the focus to be on the community and celebrating its presence in the city of Berlin and Beyond.” Kenny Eshinlokun, founder of Taboo.

With releases on the 4th and 11th of April, the collection is available now at Carhartt WIP Store Berlin Mitte, Highsnobiety Shop, Voo Store, and wearetaboo.co. photographs by Sera Akyazici

What Will I Become By Gabriella Rowland & Nicolas Robin Hobbs

coat: RICHERT BEIL
shirt: Prada (stylist’s archive)
tie: Emporio Armani
bag: Celine


photography by Nicolas Robin Hobbs
photo assistance by Leo KΓΆhler & Mengyu Zhou  
styling by Gabriella Rowland 
styling assistance by Bastian Hagn 
casting by Nicolas Robin & Gabriella Rowland 
hair by Bronwyn Stewart
makeup by Naomzz 
talent by MARIAM D @ MIRRRS, KARINA & JOANNA @ Tomorrow Is Another Day
Special thanks to Effi at TIAD



coat: RICHERT BEIL
shirt: Prada (stylist’s archive)
tie: Emporio Armani

LEFT
top: vintage (solastseason Archive) 
skirt: Gucci (solastseason Archive) 
shoes: Celine 
ring: JOHANNA GAUDER

RIGHT
top: Blumarine (solastseason Archive) 
skirt & bag: Diesel 
shoes: CAMPER

LEFT
jacket: Cottonade Paris (solastseason Archive) 
tights: Diesel
bag: Diesel
shoes: Balenciaga (solastseason Archive)

RIGHT
coat: RICHERT BEIL
shirt: Prada (stylist’s archive)
tie: Emporio Armani
tights: Falke
shoes: Bottega Veneta (NIGHTBOUTIQUE Archive)
bag: Celine

suit: Miu Miu
knitwear: Miu Miu
shoes: Diesel
rings: INA BEISSNER



Watch Barbara Kruger's "In Violence" (2011) On The Occasion Of Her Survey @ LACMA & Solo Exhibition @ SprΓΌth Magers In Los Angeles

In Violence (2011) was presented in Commercial Break, a group exhibition curated by Neville Wakefield at Garage Museum of Contemporary Art during the opening week of the 54th Venice Biennial. Eleven years later, in the midst of a continuing war in Ukraine and numerous global humanitarian crises, Kruger’s use of novelist, critic and political activist, Mary McCarthy’s quote: β€œIn violence we forget who we are” is an increasingly potent reminder.

Barbara Kruger: Thinking of You. I Mean Me. I Mean You is on view through July 17 @ LACMA 5905 Wilshire Blvd. Her solo exhibition, Barbara Kruger, is on view across the street through July 16 @ SprΓΌth Magers 5900 Wilshire Blvd.

Keith Rivers Curates A Chameleonic Group Show In Courage Before Expectation @ FLAG Art Foundation In New York

Courage Before Expectation is a group exhibition curated by former NFL linebacker turned art patron Keith Rivers. Inspired by quotes that intersect Rivers’s life in sports and his love of contemporary art, the exhibition explores the pursuit of dreams and unlikely trajectories. In these works we see artists taking perilous leaps of faith like they were Mikhail Baryshnikovβ€”born to soar with grace and land with a quiet sense of control. All of them masters of varied media, what connects these artists is not so much material as it is mutable. We see sculptures from Sonia Gomes who left her career as a lawyer to become an artist, and from Thaddeus Mosley who was formerly a postman. There are paintings by Etel Adnan whose practice didn’t start until the age of thirty-four due to early admonishment from her mother. Known primarily for his representational paintings that challenge centuries of Black erasure within the canon, here we see rare photographs by Kerry James Marshall that possess his signature conundrum wherein the the figure is ever so slightly lit, creating an abjection that exemplifies a common African American experience while opening our eyes to a world of nuance. We bear witness to Philip Guston’s infamous transition into figuration, a perilous career risk at the time, which is so easily forgotten given the eventual triumph of its outcomeβ€”such that his previous abstractions are hardly remembered. This is a curation of artists who manage to clear the channel, so to speak, allowing any residual negative self-talk to recede dutifully into the background, leaving space for their most authentic expressions in the foreground. Rivers feels a kinship with these artists who show us how to be chameleonic without pretense or artifice. They change form at will with aplomb because it is their nature to do so.

Courage Before Expectation is on view through June 4 @ FLAG Art Foundation 545 West 25th Street, 9th Floor New York

 
 

Read A Conversation Between Artists Torkwase Dyson & Derek Fordjour From Our FW20 Sitting Issue →

TORKWASE DYSON In your work, there are so many different movements. I’ll say acrobatics. To quote Brand Nubian a little bit, β€œacrobatics over beats.” 

DEREK FORDJOUR I really like the notion of the acrobatic. As you talk about the dexterity of bodies and being pushed, I think about the presence and absence of bodies in your work. This is really a big part of my attraction to your thinking and your work as it relates to mine, is the absence of the depiction of the body, but your keen awareness of bodies in space. I wanted to know from you: where is the body centered in your thinking absent from depiction of the body? Read more.

Derek Fordjour's Magic, Mystery & Legerdemain @ David Kordansky Gallery In Los Angeles

To enter Derek Fordjour’s deeply visceral first solo exhibition at David Kordansky Gallery is to suspend disbelief. Behind mysterious curtains, old-fashioned turnstiles, and gallery corridors, the past, present and future merge into a fantastical tableau of interstitiality and multimedia, from painting to sculpture to a live magic show. Magic is the theme and in these works we feel the power of illusions, the power of disappearance and the ultimate power of reappearance. The title of the show, Magic, Mystery & Legerdemain, is taken from the semi-fictionalized autobiography of turn-of-the-20th-century illusionist Black Herman. Herman’s act included Asrah levitation where a participant, usually an assistant, is levitated under a cloth and then rendered invisible, only to materialize later somewhere in the audience. His routine covered the standard canon of tricks, like making rabbits appear from hats. But one of his signature acts was having himself buried alive in an outdoor area called "Black Herman's Private Graveyard,” and then exhumed three days later to finish his show. Black Herman’s magic and Fordjour’s artwork are metaphysical, or perhaps psychological, analogies to the Middle Passage, the Bermuda Triangle of the Black Diaspora, and the disappearance and reappearance of Black bodies across the globe. The legerdemain, or sleight of hand, of the Black experience. In a new suite of paintings, Fordjour wows us with his brilliant and exuberant use of artifactual materials like newspaper and cardboard that force us into current cultural realities as if to say, β€œTada!” with a wave of his magic paintbrush. There is Earvin β€˜Magic’ Johnson in his Lakers jersey, reaching for an orange in the land of plenty, standing next to a Rolls Royce, the Spirit of Ecstasy hood ornament nearly middle-frame. There are also devotions to other Black magicians, like the Armstrong family, which consisted of J. Hartford Armstrong, known as the β€œKing of the Colored Conjurers” and his daughter Ellen, who was one of the first female Black magicians. Or Goldfinger and Dove, a husband and wife duo who performed at Los Angeles’ Magic Castle. And, of course, Henry Box Brown, a magician and former slave who sent himself via USPS in a wooden crate to abolitionists in Philadelphia. The works are rife with breadcrumbs, easter eggs, and not-so-secret ciphers that celebrate Black cultural output through the lens of magic, both figuratively and literally. Fordjour’s largest painting to date, Meu Povo, which spans across eight panels, explores a carnival procession in real time, including rituals and dance inspired by Afro-Brazilian folklore, as part of a new series mapping Black migration. Magic, Mystery & Legerdemain is a thunderclap of an exhibition, proving that Fordjour is one of the most important voices and painters of our current surreality.

Magic, Mystery & Legerdemain is on view through May 7 @ David Kordansky Gallery 5130 W. Edgewood Place Los Angeles. Click here to read a conversation between Derek Fordjour & Torkwase Dyson from our FW2020 Sitting Issue.

 
 

Arts Aid Fundraiser, Artists Donating Artworks To Support Ukrainians People

 
A buff model flexing his upper body while holding a shell and silver chains. The background appears to be a farm, with a garden and a container in the back.

Dmytro Zubytskyi
Bodybuilder Series with Sally von Rosen, (2020)
Pigment Print
40 x 60 cm
250 €
Artwork location: Berlin
(Ukrainian artists receive 100% of their sales)

 

The living conditions of Ukrainian society have become dire given the Russian military invasion. Thousands of people of all ages have lost their lives or are being injured by the continuous shelling of residential areas, schools, hospitals, and all types of civilian buildings. Millions of people are evacuating to border towns to cross as war refugees searching for asylum in neighboring countries. Other Ukrainians have decided to help resist by generating local communities and reinforcing the defense of the military corps. The situation is devastating for Ukrainians and the whole world.

Arts Aid was born as a community of international artists to create a support network for Ukrainian people who are trying to resist the invasion, seek refuge outside the country, or are vulnerable due to the war. The artworks donated by artists are posted on Instagram. Interested people can acquire the works once they have donated the same amount in the fundraiser on GoFundMe. This funding is sent based on the donations collected to carefully selected projects with the guidance of Ukrainian cultural workers to meet three main themes: advocacy, protection of vulnerable groups, and fleeing, with Ukrainian artists receiving 100% of their sale. These projects include the Ukrainian Emergency Arts Fund established by (MOCA) Museum of Contemporary Art NGO in partnership with Zaborona, The Naked Room and Mystetskyi Arsenal; Bridges Over Borders, a community-based collective aiming to support BIPOC, LGBTQIA+, and other marginalized individuals fleeing Ukraine; and UNICEF, which has been working tirelessly to keep children safe since this conflict began eight years ago, and is determined to remain in Ukraine to reach the most vulnerable children and families.

If you would like to collect artworks, simple follow these instructions:

  • Choose an artwork you would like to acquire on Arts Aid and check the price on the post.

  • Donate the amount at the GoFundMe campaign and specify the artwork you chose (Artwork’s location is written in their respective post; transport costs run on the acquirer side).

  • Contact Arts Aid to arrange the delivery of your new artwork.

Participating artists include: Ana Jikia, Andy Medina, Arto, Aaron Schneer, Adam Varab, Andrew Rutherdale, Alyona Grekova, Archive Of Forms (Anna Maria Kucherenko), Billie Clarken, CΓ©line Struder, Crosslucid, Constance Tenvik, Constantin Hartenstein, Crosslucid, Danielle Magee, David Rank, Dmytro Zubytskyi, Don Elektro, Eefje Stenfert, Eetu Sihvonen, Emma PidrΓ©, Euthanasia Sport, Evelyn Bencicova, Isabel Cavenecia, Janne Schimmel, Jeronim Horvat, Jakub Kubica, Julie Maurin,  Katya Quel, Love Curly, Luiz Enrique Zela Koort, Kotz, Lisa JΓ€ger, Lucas Hadjam, Lukas Liese, Magda Frauenberg, Manuel Resch & Maximilian Maria Willeit, Marianita Roma, Mary Audrey Ramirez, Masha Silchenko, Maya Hottarek, Norbert Stefan, Nadiia Rohozhyna, Nik Kosmas, Paul Ferens, Petja Ivanova, Ryo Koike, Sally Von Rosen, Sara Blosseville & Johanna Blank, Spaceheadtr & Dawsh, Sofia Stepanova, Θ˜tefan TΔƒnase, Tissue Hunter, Tom Esam, Tom Putman, Tudor Ciurescu, Urban Zellweger, Victor Payares, Victoria Pidus, Volo Bevza, Hannah Rose Steward, Kris Bekker, Zwyrtek Dominik, Victor Manuel Payares, Lukas Stoever and Georg Nordmark.

This initiative is organized by artist Emmanuel PidrΓ© with support from artists Sally Von Rosen and Don Elektro.

New Launch Of Louis Vuitton for UNICEF Silver Lockit By Virgil Abloh Has Raised Over $18M So Far

 
A model with a red jacket in the background has his arm wrapped around another model, both modeling their wrists with the Louis Vuitton silver lock-it bracelets.
 

Reinterpreted once again by Virgil Abloh, this new collection for 2022 echoes his first Silver Lockit collaboration in 2020β€”bearing the same signature details but with new materials and colors: chain, padlock, and Louis Vuitton charm in natural or black titanium, with neon yellow, rainbow or black cord bracelets.  The design of the Lockit bracelets references George Vuitton’s ingenious tumbler lock created in 1890 to protect precious belongings. 

Since 2016, Louis Vuitton has raised over $18 million USD for UNICEF through the sale of its Silver Lockit bracelet and pendant collections. For every Silver Lockit by Virgil Abloh sold, $100 is donated to UNICEF. The Louis Vuitton for UNICEF partnership works to help bring vulnerable children life-saving support in humanitarian crises all over the world, supporting UNICEF to respond swiftly to emergencies or catastrophes worldwide.

Read Two New Poems by Aaron Fagan

DON’T PANIC WHEN YOU PANIC 

Permanent loss woven into cloud gestures traversing
The green pasture. Try to escape the smell of the water
From the pool in which you drowned. I nearly had a heart
Attack when I was born to die where I’m fated to be. Art
Handlers, lowering a painting from the balcony, await their
Applause. You know this is a dream because it’s the only
Place anything real occurs. The paint knows who you are.
My head is on a sandwich plate pinned together with club
Frill picks with all kinds of sauces, meats, and vegetables
Running down my face. Moments you hold dear and must
Surrenderβ€”it’s letting go when you stop trying to make
Sense of why things around you are changing. I put these
Dead-air moments throughout to say something trueβ€”
Not lost but safe in the future of other people’s hands.



CARPETS IN THE MUSEUM 

A glance at so-called history proves nothing can be done 
Where enlightenment, spiritual education, and similar 
Absurdities are concerned: one preaches and is praised 
Or spat upon, one is promoted king or sent packing 
To the afterlife. And everything will remain the same. 
What priests and professors shove into children’s heads 
Under defenseless names today is unconscionable filth.  
You’re already dead if you don’t become supernaturally 
Cheerful when someone mentions the word revolution.  
Who cares what your name is or where you’re from?  
Thousands of years of people who have tried to dress 
The part practice prayer and are deformed by form. 
Through the present, with its sloppiness of the senses, 
On one great strangeness of the mind: elaborate mishap. 

Aaron Fagan is the author of three poetry collections Garage, Echo Train, and A Better Place Is Hard to Find.

Photography Duo Mat+Kat Explore The Transformative Nature Of The Coif With Charlie Le Mindu

 
A model in focus with slicked back hair and a piece of hair waved down her forehead.
 

photography by Mat+Kat
hair by Charlie Le Mindu
styling by Roxane Danset (using all LRS archive & stylist’s own handmade pieces) 
makeup by Ingeborg
nails by Maki Sakamoto
production by Kendall Thompson
casting: Casting By Us / Clare Rhodes
models: Mila Ganame & Oyku Bastas

An abstract haze of pink and red, with parts of the photo over-exposed or speckled.

The Diffracted Symphony: SΓ©bastien LΓ©on's Pioneertown Sound Sculpture Is A Funereal Mass For The Biological State Of The World

In 2017, the founders of Case Gallery ventured through Pioneertown and purchased a few hundred acres of expansive desert land with breathtaking views of the bouldered hillside and mountain ranges where they planned to create an oasis for artists to display their works of art. The first artist to contribute in initiating this vision is SΓ©bastien LΓ©on. His sculpture The Diffracted Symphony, inspired by the rib cage of a whale washed ashore, was originally conceived as a sound sculpture playing an altered version of Verdi's Requiem, turned into a funeral mass for the biological state of the world. LΓ©on pleads for us to recognize that the challenge of our time is for humanity to understand its power for both destruction and preservation, and our urgent need to act as the caretakers of the Earth's balance.

Commissioned by Nancy A. Nasher & David J Heamisegger Family, with the Dallas Symphony
Contributors: Stephen Dewey (Sound Design and Composition), Jason Francesco Heath, Ph.D. (Composition), Fife Metal Works (Fabrication)

Watch The Premiere Of "The Performance" By Avery Wheless

shot & directed by Avery Wheless
art direction & styling by Kari Fry
choreography & movement by Cami Árboles
music "I Left My Juul in Monterey" by Niia Bertino
clothing by SUBSURFACE

What does it mean to be a performer? The Performance explores the connection between fabric and figure, self and body, perception and performance. As humans, we are always in a kinetic state; always moving, shapeshifting, and grappling with the impermanence of the human experience. To be human is to be the sculpture and the sculptorβ€”we are being passed around to, for, and from each other, molding and being molded along the way. This piece is an embodiment of these sentiments through an intentional synthesis of garment, body, movement, and form. It represents a return to selfβ€”a self that embraces the beauty in evolving, sculpting, and shedding. We are forever performers on our own stage.

Fracked Or Friction: Lifes At Hammer Museum Mines The Interdisciplinary For A Ground Breaking Exhibition  

Sit on it, wait for it, smell it, touch it, let it wash over you. Lifes, the bravely radical and experimental exhibition at The Hammer Museum, is a choose-your-own-adventure-style viewing experience, an astral projection of interdisciplinarity, that challenges what it means to see, feel, and hear an art exhibition. Writing about Lifes is like explaining a chasing dream to a paranoid schizophrenic, or a Chia Pet to a ficus, or a controlled burn to a fire. Conceived as a durational sequence that unfolds over time, artists and collaborators will respond to a series of commissioned philosophical and theoretical texts that question the rights of agency, the incompatibility between physical bodies, and how the aesthetic experience triggers our senses. Upon entering the exhibition, a set of β€œaura burners” by Jules Gimbrone and Micah Silver [(Energy Character (Micah) and Energy Character (Jules)] are metallic and metaphysical neuralizers that cleanse your chi. Further inside, Charles Gaines’ Falling Rock (2000) drops a 65-pound piece of granite every ten minutes onto a fresh pane of glass, a clash between the mechanics of time and the abstractness of violence. And ominously wrapping around the galleries is Morag Keil’s Vomit Vortex, a mysterious pneumatic tube system that traverses a canister of fake vomit, a statement on the banality of the nausea of our contemporary existence. Perhaps the most visually obvious work in the space is Nina Beier and Bob Kil’s All Fours, a suite of nine statuesque lionsβ€”typically seen at the entryways of buildingsβ€”which come to life in the form of a performance where dancers ride the carnivores’ muscular bodies for ten minutes each hour, a response to a series of scripts by Asher Hartman. There is also Cooper Jacoby’s How do I survive? (a mouthful of old firsthand), a bench outfitted with an AI-scripted thermostatβ€”like a Magic 8-Ball, it answers the age-old question: β€œhow do I survive.” The answers change based on fluctuations in heat and humidity, a polygraph for the existentially curious. The bench is also treated with heat-sensitive, liquid crystal pigment paint that registers the thermal impression of the sitter. Another poignant work is Fahim Amir, Elke Auer, and Nima Nourizadeh’s AFGHANISTAN MON AMOUR (ENQUELAB ULTRAMARINE), a video work starring Aubrey Plaza that is dedicated to the people of Afghanistan who have resisted imperialist expansion for centuries. And there is legendary German conceptual artist Rosemarie Trockel’s Parade (1993), where a corps of silkworms parade and dance to a composition of music by Kurt Hoffmann, creating an abstracted pattern that is analogous to the exhibition as a whole and it’s ability to let its individual parts speak for the brilliant and beautiful β€œcuratorial assemblage” that is Lifes. Click here to find out more about the exhibition and find a full map/list of artists and works. photos :Lifes, Hammer Museum, Los Angeles, February 16–May 8, 2022. Photo: Joshua White / JWPictures.com.

Embodied Resonance: Read Our Interview Of Pop Sensation Mandy Harris Williams →

 
 

Mandy Harris Williams is a renaissance woman working across more media than one could reasonably hyphenate. On social media, in her monthly #brownupyourfeed radio hour on NTS, and with her myriad published essays, she challenges us to consider critical theories on race, gender, sexuality, and above all, privilege. She dares us to meet the most divisive aspects of our charged political culture with a caring ethic that prioritizes those most deprived of our love and compassion. Offline, her DJ sets are like a blast of Naloxone to the automatic nervous system with the power to reanimate the rhythm in even the shyest of wallflowers. After studying the history of the African diaspora at Harvard and receiving a masters of urban education at Loyola Marymount, Harris spent seven years as an educator in low-income communities. From there, she expanded her educational modalities to include a conceptual art practice, musical production informed by years of vocal training, and a lecture format of her own dialectic design. These β€œedutainment” experiences are one part college seminar, one part church sermon, and one part late-night talk show with a heavy dose of consensual roasting. It’s a Friar’s Club for an intellectual, intersectional, and internet-savvy generation. These performances draw us in with their vibey bass lines and hooks before they throw us under the quietly segregated bus that we’re still struggling to rectify. Mandy and I sat by the fire one lovely winter night in Los Angeles to talk about the contours of fascism, algorithmic injustice, her latest film for the Centre d’Art Contemporain GenΓ¨ve, and her upcoming residency at MoMa PS1.Read more.

Goodbye Playboy: Finnish Photographer Iiu Susiraja Talks About Bullying Herself With The Camera →

 
 

Iiu Susiraja isn’t simply challenging the modus operandi of how we understand and perceive beauty. The photographer, born near Turku, Finland, is a private performance artist, a secret exhibitionist using her body as a versatile dress form to experiment with everyday props, like ladles, vases, plungers and other flotsam of the mundane. In one image, Susiraja lays in bed with a whole raw chicken resting on a silver platter, creating a sort of quotidian surreality. Ghebaly Gallery presented the artist’s first solo exhibition in Los Angeles, which included her strange autoerotic still lifes and video work. The following interview was published in our Fall Winter 2018 issue, featuring a selection of the artist’s diffident self-portraits. Read more

Watch Abraham Cruzvillegas Recite Tres Sonetos By Concha Urquiza @ Regen Projects In Los Angeles

Over the past decade, Abraham Cruzvillegas has explored the myriad ways to represent his life experiences in physical form. His humorous but incisive takes on identity often employ animal avatars to draw out similarities between humans and other species, particularly primates.

At the opening reception for Cruzvillegas’s third solo presentation at Regen Projects, the artist gave a rhythmic reading of three poems by Mexican poet Concha Urquiza. Standing upon sculptural elements from the show that function as performance platform and gallery seating, Cruzvillegas introduced a new series of drawings and paintings produced on-site during the installation of the exhibition.

In this new series of drawings, the artist’s own photographic likeness serves as the basis for such investigations. Thin textiles printed with images of his face act as canvases that the artist embellishes with designs rendered in bold colors. Employing a similar formal language, the artist presents a group of large-scale calligraphic paintings. Composed flat on the gallery floor, he uses a mop or broom to apply paint, tools chosen as a gentle nod to the workers who employ them, in loose, expressive gestures that serve as records of their performative nature. They translate the rhythms and tones of the Urquiza’s poems with precision and grace.

Abraham Cruzvillegas: Tres Sonetos is on view through April 23 @ Regen Projects 6750 Santa Monica Blvd. Los Angeles

Read Exile On Main Street: An Interview Of Ai Weiwei From Our F/W 2018 Issue →

 
A man standing in front of t-shirts hanging, and he is holding a camera.
 

One week before this interview, Ai Weiwei’s studio in Beijing was bulldozed by Chinese authorities without any warning. Known for his brazen acts of dissent, Ai has not only challenged authoritarianism in China – the revolutionary polymath has also been extremely vocal about the worldwide refugee crisis. In a constant limbo state of exile, Ai has been living and working in Germany since getting his passport back in 2015. This fall, he will be taking over Los Angeles with three major exhibitions that he sees as one singular expression. At UTA Artist Spaceβ€”which is housed in a 4,000-square-foot former diamond-tooling facility conceived and designed by Aiβ€”the artist will be showing a series of sculptural works made from marble, including his iconic CCTV camera on a plinth, a Damoclean symbol of our post-capitalist era of state-sponsored surveillance. Central to the exhibition will be Humanity, a performative work and social media campaign that encourages visitors to the gallery to read a passage from Ai’s recent book on the refugee crisisβ€”the footage will be compiled in a 30-minute video. On view until March 2019 at Marciano Art Foundation, Life Cycle will also explore the crisis of global displaced persons by drawing on the artist’s personal experiences and Chinese mythology. The show will include his famous work, Sunflower Seeds, which is comprised of over 49 tons of porcelain sunflower seeds carved and crafted by 1,600 artisans in Jingdezhen, in China’s Jiangxi province. Finally, at Jeffrey Deitch’s new Hollywood Gallery, Ai will present his installation of over 6,000 salvaged wooden stools from the Ming and Qing dynasties, which were gathered from villages across Northern China, thus serving as quotidian ciphers of cultural erasure and human existence. Read more.

 

β€œAny government, not only the Chinese government, is afraid of true individuality. True individuality is at odds with collective thinking.”

 

Watch The Premiere Of "Suffer" By Patriarchy With Photographs By TorbjΓΈrn RΓΈdland

Los Angeles’s most prolific vamp is at it again with a new music video from her band Patriarchy’s track β€œSuffer” starring the band’s front-middle-and-back woman Actually Huizenga, AJ English, and Shane McKenzie, with cinematography by Michael Romero-de Leon. β€œSuffer” is the second single from the upcoming album The Unself, slated for release in June through the label Dero Arcade. You can stream and download the track on Bandcamp. Norwegian photographer TorbjΓΈrn RΓΈdland photographed Huizenga and English in dialogue with the video. The result is published here exclusively. See his forthcoming solo exhibition, Pain in the Shell, opening March 26 @ David Kordansky Gallery.

 
A shot of a model crouching with her head back and mouth open which reveals sharp vampire fangs. The model is wearing low rise-jeans with denim straps that holster around her waist ( By HardeMan).

Jeans by HardeMan

 
A model holding down another model with a knife in her hand as she shoves him down. The model on the floor is shirtless and grips at the other model who is mostly unshown, except for her leather jacket and part of her upper body.

Watch Celine Homme's "BOY DOLL" From Their Winter 2022 Presentation

Shot and directed by Hedi Slimane, Celine Homme’s Winter 2022 presentation takes place in one of Paris’s most emblematic venues. L’Olympia, known internationally for staging some of the world’s finest operas, plays, and concerts was established in 1893 in the 9th arrondissement and is the city’s oldest music hall. It was converted into a cinema in the 1920s after the market for theatrical performance experienced a sorrowfully steep decline. However, in 1954, the Olympia hosted a grand venue reopening under the executive direction of French Producer Bruno Coquatrix, and since then has hosted countless legendary concerts from the world’s greatest musical artists, both domestic and abroad.

An original soundtrack titled β€œFAVORITE THING” was composed by the Swedish band SHITKID 
Casting, Styling and Set Design by Hedi Slimane
Hair Styling by Esther Langham
Makeup by Aaron De Mey