As 2013 comes to a close, we take a moment to reflect upon the hundreds of headlines that came across our desks throughout the year, which we reported on in our weekly feature, Link About It. Below are 20 articles that not only made the news, but serve as…
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What is like to be on the front lines, armed with only a camera and surging adrenaline? Ron Haviv has 23 years worth of answers. The photojournalist’s work across 18 countries unfurls in “Testimony,” an exhibition on view through January 31 at New York’s Anastasia Photo gallery. “I believe and have dedicated my life to witnessing history in an attempt to create a body of evidence that holds people accountable,” Haviv has said. In this video, the first in a new series produced by the gallery, Haviv is joined by Sebastian Junger for a discussion about war, stories, pictures, emotions, and what happens when those things collide.
New Career Opportunities Daily: The best jobs in media.
Strange hollow figures made from folded pieces of carpet line the walls of this exhibition at Galerie Michel Rein in Paris by Portuguese artist Didier Faustino (+ slideshow).
Didier Faustino used low-cost materials including second hand rugs and carpets from trade suppliers to create the empty suits for the exhibition, which is titled We Can’t Go Home Again.
Some of the figures are made with the carpet backing facing outwards and the coloured surface visible through various holes where the face, hands and feet would be, while others feature colourful exteriors.
“The exhibition We Can’t Go Home Again mobilises the signs of our familiar environment but strives to turn it inside out literally like a glove, projecting the visitor into an unstable universe,” said Galerie Michel Rein.
Most of the figures are held together using cable ties, but coarse string connects the pieces of an oriental rug that form a figure lying in the centre of one of the spaces.
The folded forms resembling soft suits of armour are supported by an internal metal framework.
Also included in the show is a large artwork comprising a wrinkled metallic sheet positioned against a wall with a board featuring the phrase “the show must go home” in cutout letters leaning against it.
The exhibition is on show at Galerie Michel Rein until 11 January 2014.
Photography is by Florian Kleinefenn.
Here’s a press release from Galerie Miche Rein:
Didier Faustino – We Can’t Go Home Again
For his second solo show at Michel Rein (after The Wild Things, 2011), Didier Faustino invites us to step outside of our homes and penetrate an ambiguous world, which strangely resembles our own but is haunted by other versions of us bearing armour built from the materials of our own homes.
The exhibition We Can’t Go Home Again mobilises the signs of our familiar environment but strives to turn it inside out literally like a glove, projecting the visitor into an unstable universe. Alternately summoning Absalon, in particular his series Cells, and the performances where Joseph Beuys, wrapped up in his felt cover, shuts himself away in a gallery, Didier Faustino’s exhibition plays on the motives of hindrance, movement and inversion.
The semantics of the titles beckon to be heard. The name Home reoccurs like a litany which is apparently gentle and discreetly discordant. In this manner the show must not “go on”, as the saying goes, but rather “go home” (The Show Must Go Home). This home is however declared inaccessible (We Can’t Go Home Again), and its proverbial sweetness has transformed into a suit (Home Suit Home). Whilst circulating between these titles, the meaning shifts, themes of habitat and comfort rub up against those of appearance and the irreversible.
However, the installation is characterised by its reversibility. In the same way that the home finds itself alternately represented as a dwelling to occupy and an impossible destination, the anthropomorphic figures occupying the main space of the gallery constitute both interiors and exteriors, containers and contents. They invoke strange stories: which man is of the type who’s made himself from this soft armour? Against which insidious peril? Against what disaster is he looking to survive? Which sophisticated means enabled him to design the skilful patron?
Protection built from typical flooring of our abodes shows the opposite and seems to both arm against the dangers and point out their nature. Our models of home, our way of organising and housing our bodies, our spectacular edifices and the constraints opposed to our flesh are all effectively concerned here. Didier Faustino’s combinations somewhat toughen the architectural intention, to a point which expresses a categorical criticism of domestic planning.
If we recognise the transgressive relationship of the artist to architecture, we also find the worrying strangeness which characterises his work as a visual artist.
Multiplying effects on meaning, the pieces of the installation lie within a resolutely experimental and multiform work in progress, which maintains a brotherly relationship with the unfinished opus of the film-director Nicholas Ray, to whom the exhibition’s title pays homage.
Strangely worried in front of our flats and our offices, which have suddenly been made inhospitable, we are led to think of the lives which light up our familiar decor and of the fictional borders which supposedly separate art from our lives and political decisions from our esthetical models.
The post Army of folded carpet suits by Didier
Faustino exhibited in Paris appeared first on Dezeen.
Bill Cunningham’s photo of Editta Sherman on the subway dates to around 1968-1976.
With the first snow flurries behind us and the deep freeze still ahead, we turn our thoughts briefly to spring, a season inevitably heralded by a selection of pastel-hued or floral-dappled ensembles captured by Bill Cunningham. This March the beloved New York Times photographer gets a spotlight of his own as the New York Historical Society mounts “Façades,” an exhibition that will explore Cunningham’s eight-year project documenting the architectural riches and fashion history of New York City. The photos, taken between 1968 and 1976, pair models in period costumes with historic settings such as St. Paul’s Chapel and Rockefeller Center. Fellow photographer Editta Sherman, captured in profile in front of Grand Central Station crowned in an elaborate hat (recall Cunningham’s early career as a milliner), manages to give Jules-Félix Coutan‘s mythological statues a run for their money.
New Career Opportunities Daily: The best jobs in media.
From the earliest noted iterations of art—paintings upon cave walls—to today’s cat-obsessed internet, animals have provided the inspiration behind culture of all kinds. We are awash in imagery of beasts and birds and domesticated pets. But during this most recent Art Week Miami—across…
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Every December, Miami is packed with contemporary art from around the world, and the range of media from across the fairs that set up their temporary annual digs is astounding. Jumping out from the myriad sculptures, paintings, videos, performance art and more are some compelling photographs—photos that manage to…
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In the midst of two recent gallery shows, photographer and CH contributor Jonah Samson put out a new book titled “Dead Man’s Hand.” This self-published offering, with a…
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“To be sure, the marvelous paintings by Balthus of the twelve-year-old Thérèse [Blanchard], dreamily gazing at the viewer with her white panties showing (Thérèse with Cat, 1937), or the painting reproduced in the catalog of the nude Laurence Bataille (daughter of Georges Bataille) stretched back, cat-like, in a chair, while a sinister-looking person draws the curtains to throw light on her naked form (The Room, 1952–1954), are unsettling, but not because of anything pornographic….What is disturbing about Balthus’s pictures of girls is not just the age of his models, but the atmosphere, which is creepy, full of dread and latent violence, and yet extraordinarily beautiful. Girls are trapped in angular, often torturous poses in tight gloomy spaces. There is something in Balthus’s art of those claustrophobic Victorian novels about children locked up in dark attics.”
–Ian Buruma, writing in The New York Review of Books about “Balthus: Cats and Girls—Paintings and Provocations,” on view through January 12 at the Metropolitan Museum of Art
Pictured: Balthus. Thérèse Dreaming (1938)
New Career Opportunities Daily: The best jobs in media.
Art—thanks to the internet—is becoming more democratic and accessible than ever before. There are already numerous online platforms, like Artsy, which use the web to full advantage and encourage users to discover and experience art. Things…
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Photos via Sebastian Errazuriz Studio
Sebastian Errazuriz has no fear of sharing his thoughts and beliefs, whether they’re translated through bike lane performance art or other shocking surfaces. To put it plainly, the designer is mighty outspoken—and that’s why we always love the work he brings to the table. This time, Errazuriz is back with another series worthy of a double-take: “12 Shoes for 12 Lovers.”
“Honey”
Errazuriz is working with shoe brand Melissa (yes, the name behind the jelly slip-ons we all used to love) to create the 3D printed sculptures. The exhibit will be on display December 6th through January 6th at the Melissa pop-up shop in Miami. Each shoe design is accompanied by an anecdote (and a few NSFW personal photos) featuring an ex-girlfriend that unofficially—and pretty harshly, in some instances—describes the relationship between her and the shoe design. Some of the series’ highlights so far: “Gold Digger,” a beautiful and very expensive looking gold heel; “Ice Queen,” a chilling display of icicle heels; and “Cry Baby,” a splash of spilled milk turned avant garde footwear.
Digital drawings for “Gold Digger”
Errazuriz shared some to say about the series and some of the responses he got from the featured exes:
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