Stan Douglas: Luanda-Kinshasa: The Vancouver-based artist’s 12th solo show at NYC ‘s David Zwirner gallery melds fiction and documentary through a six-hour film set

Stan Douglas: Luanda-Kinshasa


by Charlotte Anderson The recording studio on East 30th Street in Manhattan was once holy ground. Carved out of the abandoned remains of an old Armenian Church, it was a place where musicians shared in a mutual, perhaps now lost, struggle—to record that…

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Tokyobike London

The Japanese bike-maker’s new Shoreditch shop

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One of our favorite cult bike brands, tokyobike, just threw a housewarming party and customized-bike exhibit to inaugurate its new outpost in London’s Shoreditch neighborhood. Londoners can now buy these lightweight, 22lb bikes directly from the Japanese bike-maker in a variety of frame colors and models. The simple, all-white 1,700-square-foot interior of the shop, designed by Glass Hill, also stocks hard-to-find accessories and lifestyle pieces such as Japanese bags and housewares, and houses a bike workshop space in the basement. We asked the team at the London location to give us more insight into the new shop, which is the latest in a string of recent openings that includes Berlin, Sydney and Singapore, with Paris and New York coming soon.

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The design of the store incorporates elevated platforms for the bikes. Can you explain the concept behind these?

Joe Nunn, Glass Hill: The elevated platforms are more a shared approach that sees that different functions should take place in different spaces. Separating the circulation area from the product display area seems appropriate in the same way as a genkan is right for outdoor shoes and not indoor slippers. We are showing the bicycles as new and pristine, and the slight separation in height and material not only says that visually but also practically.

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What is the significance of the hanging cedar ball and how does it fit into the space?

Yuki Sugahara, store manager of tokyobike Melbourne: The cedar ball, made by Japanese craftsman, is traditionally used at the sake breweries as a sign to tell the locals that the fresh sake is ready. We wanted to have a symbolic piece that makes our customers feel something about Japan, where tokyobike originally came from. It is a beautiful and happy element that stands out in a simple white space and will hopefully start a conversation.

What elements did you bring to this store to give it a London personality?

Neil Davis, tokyobike: tokyobike comes from a traditional suburb of Tokyo with a lot of craftspeople and designer/makers still working. The Yanaka store displays and sells a lot of this work, and the London store will be similar in that respect, showcasing local products and designs alongside books and maps and a carefully curated range of bicycle accessories. Gropes is a good example.

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What are your plans for the store and brand in the UK?

Davis: The store is a beautiful, clean space designed to show off the bikes and their many colors, but this makes it ideal for events and exhibitions. We have just collaborated with six artists to produce six pieces of bike art which will be displayed at the store before being auctioned. In the future look out for more exhibitions and product launches.

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What is the fixie bike culture like in London?

Yu Fujiwara, store manager of tokyobike London: Compared with Tokyo, London’s bike culture is more centered around DIY and vintage. People fix up their old bikes or ride 1950s and ’60s bicycles; the growing popularity of the Tweed Run typifies this culture. Tokyo’s fixie culture is more rooted in pop/youth culture, which mixes colorful components with fashion.

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What did you learn about the UK market after you did the pop-up shop last year that you took into account for this permanent location?

Davis: Pop-ups are fun but we always intended to have a permanent store. Not least because we want to look after our customers’ bikes. Location was important too—staying in Shoreditch, close to our existing customer base and in an area where there is still a lot of creativity. Space was also important. We wanted to give people coming to the store an experience as well as have enough room to show the entire range and house a workshop to build/service the bikes.

If you’re in London during Clerkenwell Design Week from 22-25 May 2012, tokyobike will be offering its famous bike tours. Send an email to cdw@tokyobike.co.uk to reserve a spot.

Photos by Andrea DiCenzo


Black Paintings

Yan Pei-Ming captures past and present in five large-scale paintings

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The first thing Yan Pei-Ming said while presenting his new exhibition, “Black Paintings” at David Zwirner was “I aspire to be an artist, period. Not a Chinese artist.” Though born in Shanghai, the artist is now based in Dijon, and speaks French—not Chinese—through a translator. “My work,” he continued, “does not have a ‘made in China’ feel to it. I’ve always tried to speak in a universal pictorial language.”

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Pei-Ming certainly has a knack for choosing subject matter with a global reach. In the past, he’s gained notoriety for his large, monochromatic portraits of people like Lady Gaga, Bernard Madoff, Michael Jackson and Maurizio Cattelan. In this show, however, you won’t see many familiar pop-culture faces, save for Muammar Gaddafi in the work “Gaddafi’s Corpse”, which is hard to discern without reading the title first. In “Pablo”, Pei-Ming shows Pablo Picasso as a huddled young boy wearing large men’s shoes, an imagined memory of the great painter playing dress-up, perhaps, in his father’s clothing. “Exécution, Après Goya”, a bright red homage to Goya’s “The Shootings of May Third 1808“. The show’s title, says Pei-Ming, is “derived from a late series of wall paintings by Goya, since transferred to canvas. In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanity’s darker side.”

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“When Goya worked he had to work from his imagination, but in my case I’m working from documentation” says Pei-Ming, referencing the artist’s historical paintings. “We’re surrounded by photographs and documents that attest to what has happened and I use that as source material.” Though it’s doubtful that much original source material was needed for “Pablo”, it’s still true for most of Ming’s work, including his dark interpretation of the Acropolis, which he describes as “the cradle of Western civilization and democracy.” Titled “All Crows Under the Sun Are Black!”, Ming mounted it first in his show, as his way of putting “it in dialogue, face to face with art in the contemporary world,” he says.

“Moonlight” is another monochromatic gray painting depicting an immigration over rocky waters, illuminated by brushstrokes of white moonlight on the waves. Painted in much the same style as “All Crows Under the Sun Are Black!”, it too is a landscape that features a barely discernible outpost on the dark horizon, but the Acropolis is so dark it almost fades into the feverishly painted background. If you’ve ever seen a picture of the Acropolis you know that it’s huge and white, the centuries-old pillars standing strong on their flat-topped perch above Athens—and at night it’s lit up like the Lincoln Memorial. Here, Ming has shrunk it down and killed the lights, blending it so thoroughly into the background he seems to almost be wiping it from history itself.

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“Black Paintings” marks a departure in Ming’s work not only from his focus on contemporary culture but also in his point of view. Instead of traditional portraiture, we see his figures splayed out, crouching on the ground or facing a firing squad. They’re not only shown in scene, in a narrative, but as part of a larger historical context, one that’s not pinned down to a specific moment in time. Instead of immortalizing a cultural icon at the height of their fame, Ming is depicting history in progress. He goes back in time to moments history may have overlooked in an attempt to connect the recent and distant past, and though he makes his point of view clear in the subjects he chooses to paint, those choices don’t represent a distinctly Chinese or even Eastern perspective, but one that’s uncompromisingly universal.

“Black Paintings” runs through June 23, 2012 at David Zwirner.

David Zwirner

525 W. 19th St.

New York, NY 10011


Handsome Coffee Roasters

A sneak peak at the new flagship store in LA’s downtown Arts District

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For the last few months, the corner of 5th and Mateo in the Arts District of downtown Los Angeles has been abuzz with activity as the WoodSmithe team puts the finishing touches on Handsome Coffee Roasters‘ flagship store. Handsome has made a splash in the specialty coffee world since they announced that Tyler Wells and Chris Owens would be teaming up with World Barista Champion Michael Phillips to launch the coffee company of their dreams.

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With the space nearly ready to open its doors, the collaboration between the roasters and the builders—who also happen to be neighbors—seems like a natural one. Also in on the operation is Na Young Ma’s Proof Bakery, whose pastries will be served alongside the coffee.

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We met with Owens to see the space coming together and talk more about their process for sourcing and roasting. “Every roaster is going to color the coffee in some way,” he says. “You bring your style to it. The dynamic, interesting, sweet, fruity coffees that we tend to buy are complimented by the roast style. I want to start thinking of it as a partnership between mother-nature and me as a roaster.” Summing up their simple philosophy, Owens adds, “We source beans responsibly and sustainably. We are going to buy delicious coffees, prepare them well, and try not to mess that up. Really, that’s it, I want to get people excited about coffee.”

Handsome’s Tyler Wells and WoodSmithe’s Nathanael Balon also sat down with us to talk about the new ultimate custom-designed coffee bar.

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The inevitable question, where did the name Handsome come from?

Wells: We went around and around about names for more than two months. Basically our whole aesthetic and philosophy is about way back when, when things were made by hand. Things were quality, a recall to the days of really cool equipment like sewing machines. I was thinking about old bread ovens because I like baking. One morning I was half asleep in bed and it hit me, Handsome Coffee. We are Handsome Coffee Roasters. I texted Chris: “Handsome Coffee Roasters?” He texted back “expletive… yes!” It was perfect. It’s a little bit tongue and cheek, but as the aesthetic builds and as the brand gets bigger, you get it.

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How did you find this location in the Arts District?

Wells: The Arts District was our first choice. Mike was still in Chicago but we had agreed to terms. Chris and I would drive around this neighborhood at least one day a week, but had a hard time finding anything. We met Carl from Creative Spaces. He asked us to describe our dream: Arts District, corner, bow truss, skylights, 3,500 square feet, clearspan, 220 power, three-phase. He called me at 10 o’clock that night and said we were going to see a space at nine in the morning. It was almost fate. When you get to the Arts District you start to understand the community down here. It is not as dense as some of the rest of Los Angeles, but quality-wise it is 100%. Every person down here is doing something awesome.

Nathanael, how does the Handsome Coffee fit into what you do at Woodsmithe?

Balon: I think it made sense on a number of levels. Primarily the local. We are local. This is my neighborhood. This is where I live. This is where I work. I have a built-in high value for new businesses and the types of businesses that are going to take the time to really create a great product and offer it here in my neighborhood. Right off the bat, I started to understand the level of quality coffee they were going to bring into the neighborhood. These guys had language for what they wanted to create. What we do is translate that language into form. We want to work with brands that have great stories and are interested in doing great work. The fact that they are doing it blocks away from our office and shop is just perfect.

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How would you describe the WoodSmithe aesthetic?

Balon: I am always striving for simplicity and honesty in design and an exposure of as many of the elements as possible. Our aesthetic is typically pretty strong, fairly masculine with clean lines and simplistic forms. We purposely put as little as possible in the space to be able to expose as much of the process as we could. You can see green coffee in the back on the pallets in bags, and we put in a huge glass wall to showcase the roasting process. Then, you are staring at a finished product.

How did you design the area for the Probat roaster?

Balon: The Probat roaster is an amazing piece of machinery. Its simplistic, strong, and clean. It’s a beautiful machine. Our goal there was to take more of a museum or art gallery approach. Let this unit stand-alone in a clean space and just be beautiful.

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The wall by the roaster is made from white subways tiles and along the hallway wood ones. What are those made from?

Balon: The wood subway tile is made from one of Handsome’s core materials…aged Maple. We utilized Handsome’s brand imagery through laser etching to overlay a wall-paper like pattern over the wood layout.

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What’s on the menu?

Wells: It reads like this: brewed coffee, espresso, espresso with milk. Three ounces, six ounces, 10 ounces. That’s it. It’s pretty straightforward because if you took a poll of the people who come in here and asked, “What do you think a cappuccino is?” everyone has a different idea. It will strip away the stigma and attitude that often comes with serving great coffee.

Are you going to frown at people who pull out a sugar packet?

Wells: No, but they will have to pull out their own sugar packet because we won’t have any. It’s not because we are anti-sugar. I have one hell of a sweet tooth, but I don’t want sugar in my coffee. This coffee is fantastic and it does not need sugar. We have probably served about six or seven thousand cups of Handsome coffee at this point. Almost invariably people come back and say, “this does not even need sugar.”

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What do you say to the people who might ask, what’s all the fuss?
It’s just a drink.

Wells: That’s actually fine. Crappy coffee is just a drink. Chris’ sentiment is if you want to opt in, then we’ll nerd out with you. But if you just want a drink that is good, that’s fine too, just come in to order a coffee without having to hear about every detail. On its base level it should be user friendly. That is the whole idea of the space. You come in you know exactly where to order. Someone is right there.

To learn more about how Handsome’s flagship store came to be, check out this video of the building process.

Handsome Coffee Roasters

582 Mateo Street

Los Angeles, CA 90013


Lost in the Discovery of What Shapes the Mind

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Longtime CH fave, artist and designer Mike Perry’s new installation of prints, sculpture, and other objects opens at his Alma Mater, the Minneapolis College of Art and Design, on 25 March 2010.

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Including over 30 prints, a log sculpture with a small galaxy spilling from it, a mobile hanging down from the gallery’s lofted ceiling, and many other surprises “inspired by memory, place, and the nature of the mind,” the show promises plenty of Perry’s vivid hues and hand-drawn aesthetic.

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With Keith Haring’s playful intensity, Perry’s obsessively-rendered images—like hundreds of interconnected triangles or massive mobiles based on his designs—build a visual language full of geometric shapes, references to outer space and other fantastical imagery. (Click above image for detail.)

Besides an impressive artistic portfolio, typography work, and two popular books, Perry’s also applied his signature look to an array of commercial work. Besides a camera, espresso machine and sunglasses, he revamped Eames’ classic bucket chair with an intricate black-and-white pattern, and designed shoes and backpacks for Nike. Perry’s latest endeavor is an artists’ edition trash can for the Danish Vipp.

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See his work for Vipp, along with a few sketches and other insights into his process, in the slide show below. To learn more about the show, check out the images he’s been posting at the site he created for it.

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