Responding to Wolfgang Laib’s evocation of the past and present in his seminal work Milkstone, Dyson’s one-day presentation is concerned with the ritual production of geometries that inform the nonlinear and indeterminable conditions of blackness and black as metaphors and matter. Dyson has carefully built a drawing tool, with which to make a live-action drawing of an event horizon in the Museum.
PopRally is a series of events at The Museum of Modern Art and MoMA PS1 that serve as a gateway for young and diverse audiences to engage with MoMA. Led by a cross-departmental committee of Museum staff, PopRally produces dynamic programs including artist collaborations, performances, film screenings, and digital content that encourage new and experimental ways of encountering modern and contemporary art.
15-year-old Courvosier Cox knows he is destined to be a star. Struggling to find his place in the complex landscape of adolescence in the urban South, he undertakes a relentless quest to escape into the spotlight.
Update: In 2016, Courvosier Cox, 16, was arrested for over three dozen theft-related charges. In May 2017, he pled guilty to three felony charges and received a term of supervised probation + restitution.
If you would like to support young people of color pursuing their dreams in the arts, please consider checking out these great local organizations:
It’s no surprise the home of English designer Jasper Conran is impeccably decked out. An apartment occupying part of New Wardour Castle, an English country house in Wiltshire, the building boasts a rare sweeping rotunda staircase designed by English architect James Paine and full-sized pipe organ made of wood, ivory and gold.
The son of author Shirley Conran and retailer Sir Terence Conran, whose stores have become synonymous with British interior design, Jasper Conran’s position as a leading tastemaker was preordained. Beginning his career designing for historic New York store Henri Bendel, he launched his namesake brand in 1978 at the age of 19, and has since become a household name.
Here, the English designer invites director Emile Rafael into his apartment in the Palladian house to talk about his love of the grandeur of the English country house.
The Isle of Man TT is, without doubt, the most dangerous race on the planet. In a similar vein to the World’s Fastest Indian at Bonneville in the 1960s, in 1994 New Zealand inventor John Britten and his team brought their futuristic racing motorcycle to this infamous race.
John Britten turned motorcycle design on its head in the early 1990s with the Britten V1000; a hand-built motorcycle designed and constructed by a small group of friends in John’s backyard shed in Christchurch. The motorcycle incorporated technologies seldom seen before: extensive use of carbon fibre, the radiator located under the seat, double wishbone front suspension, frameless chassis and engine data logging.
At the height of their endeavours the Britten team took three V1000 racers to the 1994 Isle of Man TT races. There they were confronted by the dark side of the world’s most famous and dangerous race track.
The year 2100. In an effort to combat overpopulation, the postmortem social network “Anvil” is released.
A fusion of both Japanese and Belgian comics inspirations and sensibilities, such as Ghost in the Shell, Akira or Peeters & Schuiten’s work. “Anvil” invites us on a journey through the eyes of a young woman in her final moments on earth.
Credits: Artist: Lorn Title: Anvil Label: Wednesday Sound Directed by GERIKO (Hélène Jeudy & Antoine Caëcke) Design, Script & Animation by Antoine Caëcke & Hélène Jeudy Character Animation by Anthony Lejeune & Manddy Wyckens
A sun-soaked woodland landscape sets the scene as a love-hate relationship between two men ends in a violent clash, in Berlin-based director Harun Güler’s video for Finnish four-piece Pooma’s latest release, Soldier.
Best known for making fashion films for SHOWstudio and MTV, here Güler taps into the conflicting emotions associated with depictions of male-on-male violence—widely fetishized despite the damaging nature of its reality.
A music video made entirely from wood for a song by bedtimes.xxx/music, WoodSwimmer is based on a concept Brett Foxwell developed while designing a new stop-motion universe where wood is the primary element.
The sequences are cross-sectional photographic scans of pieces of hardwood, burls and branches. It is a straightforward technique but one which is brutally tedious to complete.
After completing Fabricated, my ten-year stop-motion epic, I began to plan my next big animation production. Fabricated was very much a story told in metal, but for my next film I began to work with wood.
I became fascinated with the possibilities of a sci-fi world based on the alien forms to be found within this material that grows all around us. While brainstorming this world, I came upon the concept of the WoodSwimmer. This is a deep scan of both the material of wood and the time embedded in its structure.
It was a challenging technique to perfect, but once I did, I was able to shoot short sequences that move the camera through samples of hardwood, burls and branches. The result is beautiful imagery both abstract and very real. In the twisting growth rings and the swirling rays, a new universe is revealed.
As with stop-motion animation, it is difficult to keep from watching stuff like this loop endlessly on playback as you are in the middle of shooting it. It was a pleasure and an honor to watch this magnificence slowly reveal itself.
As a short film began to build from these sequences, I collaborated with bedtimes, an animator and musician of special talents to write a song and help edit a tight visual and sonic journey through this wondrous and fascinating material. WoodSwimmer is the result.
In 1968 Gibellina, a small town nestled in the Belice valley of western Sicily, was destroyed by an earthquake. Today, it remains silent. Some 11 kilometres from where this town once stood, you will find its replacement, Gibellina Nuova. Designed by some of Italy’s most prominent artists and architects of the time, it is a town unlike any other in the region, resembling more of an open-air museum than a place where people work and live. But in many ways, it is representative of the region itself, a place that prides itself on being different and where people consider themselves Sicilian first, Italian second.
It is here that provides the setting for Azzurro, a film featuring Sicilian-born Carhartt WIP skater Mauro Caruso. The project was first initiated by Mauro in 2010 only to then suffer a series of setbacks that he came to refer to as “the curse of Gibellina.” It was finally completed in March of this year. Shot by Ludo Azémar in a style that evokes the aesthetic of neorealism, Italy’s golden era of cinema, Azzurro effortlessly blends skateboarding, architecture and art.
Concept : Mauro Caruso Direction and Cinematography : Ludovic Azémar Music : Ronan Le Floc’h Featuring : Mauro Caruso, Felipe Bartolomé, Joseph Biais
‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references – to early cinematic history, and the science and philosophy of time and images – the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes – “a space in which everything disappears, a way of talking about death” – feature throughout the work.
Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”
Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”
William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.
William Kentridge’s installation ‘The Refusal of Time’ is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.
This video also features extracts from ‘Making Time’, 2011, a film about the making of ‘The Refusal of Time’, filmed and edited by Catherine Meyburgh.
William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.
Camera: Jakob Solbakken Edited by: Klaus Elmer Produced by: Christian Lund Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017 Supported by Nordea-fonden
“I did this little thing in Starbucks, because they always ask you your name and they write it unto the cup, and in one of them I said my name was Donald, and in another place I said my name was Judd. And then I had these two cups – Donald and Judd. I thought it was quite funny,” Monk humorously comments on one of the pictures from his camera roll.
Jonathan Monk (b. 1969) is a British conceptual artist, who lives and works in Berlin and Glasgow. His work has been shown at e.g. Palais de Tokyo and Musee d’Art Moderne in Paris, the Institute of Contemporary Art in London, the Whitney Biennial (2006) and the 50th and 53rd Venice Biennales. He is the recipient of the 2012 Prix du Quartier Des Bains, and his work is held in the collections of prominent venues such as Moderna Museet in Stockholm, SMK (National Gallery of Denmark) in Copenhagen, the Solomon R. Guggenheim Museum in New York and the Tate Collection in London.
Jonathan Monk was interviewed by Kasper Bech Dyg at Galleri Nicolai Wallner in Copenhagen, Denmark in November 2016.
Camera: Klaus Elmer
Produced and edited by: Kasper Bech Dyg
Copyright: Louisiana Museum of Modern Art, 2016
Supported by Nordea-fonden
Emerson Resort & Spa is a beautifully renovated vacation destination located in Catskills Mountains of New York. Once an old farm & barn, this site has undergone multiple changes over the years. Recently, saw it’s most significant change during a renovation by New Haven interior design firm CAMA Inc.
CAMA worked closely with the Emerson Resort & Spa to update and unify the design of interiors across the resort’s campus in an effort to rebrand the Emerson as a restorative destination for wellbeing where one can replenish mind, body, and soul.
Drawing inspiration from biophilic design principles as well as from the beauty of the surrounding natural landscape, this new approach to interiors utilizes materials, textures, patterns, lighting, and artwork that references nature, but also strikes the right balance between casual comfort and sophistication.
This new approach is being realized in the complete renovation of a restaurant, inn rooms, spa, key public spaces, and interior and exterior signage packages.
Three years ago, Apple announced that it was going to make all of its facilities run entirely on renewable energy. In an exclusive, Apple told VICE News Tonight that it’s 96 percent of the way toward that goal. And now it’s setting an another industry-changing objective: making all of its products from recycled or renewable resources.