BLACKBOOK PREMIERE: Eerie New neumodel Video For ‘Black Block’

 

 

 

In a world of division and extremes, there is no more timely an album as neumodel’s Rock, due out later this spring. Designed to offer a musical metaphor of two split beings, it is one half violence and one half love—separated by a one track line drawn down the middle titled “intro X,” that acts as the its axis of symmetry.

In the French Duo’s latest video for single “Black Block” (which BlackBook premieres here) they have created the yin to the yang of last month’s release “HAYAH.”  While that one showcased their attraction to nu- and industrial metal, “Black Block” instead offers a more dreamy, melancholic release, seemingly inspired by the likes Massive Attack and The xx.

 

 

As the songs relate to each other, the duo explains, “‘HAYAH’ [meaning in Hebrew to be, to become, and to serve] is a demonstration of strength. It is the symbol of globalization, of capitalism, or superficial’s superpower. Its opposite is ‘Black Block,’ ironically an admission of weakness and helplessness. We see from afar and from above the world’s violence around us, symbolized by the ‘Black Block’ utopia.”

French director Axel Morin, known for his work with Yves Saint Laurent, Apple and Nike, collaborated with the band to so strikingly visualize their musical concepts.

 

Version 2.0: Here’s What We Loved at Frieze Los Angeles’ Second Edition

 

 

Frieze Los Angeles returned this past weekend, and in just its second year, the contemporary art fair spinoff of London and NYC has exploded into a full slate of lavish parties, expansive cultural programming, film screenings, celebrity engagement, music concerts, book releases, current affairs talks, political panels, fashion presentations, design gallery openings, off-sites, upstarts and hundreds of exclusive events reaching almost every corner of the city. Without a doubt, Frieze has brought a fresh jolt of creative energy to LA, and it’s clear the city is embracing a new forward-looking cultural role.

“My hope was that a successful fair could be leveraged to extend its energy throughout the city,” enthuses Executive Fair Director Bettina Korek. “Thanks to the tremendous support we’ve received from the city’s incomparable community of museums, galleries, and artist-run spaces, Frieze has taken root as an annual moment for visitors and locals alike to discover art in LA.”

The core of the fair took over Paramount Studios for four days of consecutive sold out crowds, with art aficionados mixing with the famous likes of J-Lo, Charlize Theron, Leo DiCaprio, even Miley Cyrus. Over seventy galleries from more countries than we could count offered the sort of expertly curated peek into the global art zeitgeist usually associated with. say, NYC, Berlin and, of course, Basel.

Watch this space—Frieze LA is only going to get bigger.

“I hope this moment continues to grow,” says Korek, “and that LA’s many art worlds will continue to grow with it in symbiosis.” 

For all the hobnobbing and people watching, for us, it was still all about the art. And here were our fifteen faves from Frieze LA 2.0.

 

Barbara Kruger, Who Buys The Con? (Questions)

Mural at NeueHouse, Los Angeles

 

Photo: Fredrik Nilsen

 

Tanya Bonakdar Gallery

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

 

Louis Vuitton, Objet Nomades

Off-Site at Milk Studios 

 

Photo by Brad Dickson 

 

William Eggleston, Untitled, 1973 

David Zwirner Gallery, Frieze Los Angeles 

 

©Eggleston Artistic Trust/Courtesy Eggleston Artistic Trust and David Zwirner

 

Sadie Coles HQ, London

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

‘Interior Motives’ 

Short Film by Natalie Shirinian Screening at NeueHouse for NHxFrieze

 

Film still of Michele Lamy (Rick Owens), courtesy of NES Films

 

Conversations on Patronage: Re-Imagining the Community through the Arts Presented by Destination Crenshaw 

 

Photo by Casey Kelbaugh

 

Commonwealth & Council

Frieze Los Angeles

 

Photo by Casey Kelbaugh

 

‘Always I Trust’ (2014) Screening of Film by Cheng Ran 

Frieze Projects, Paramount Theater

 

Film Still, courtesy of the artist

 

“How We Got Here,” art discussion panel with artists Arcmanoro Niles, Jordan Nassar and Naama Tsabar, moderated by Arthur Lewis, Creative Director of UTA Fine Arts hosted by Artsy and UTA Artist Space

The West Hollywood EDITION

 

Image courtesy of UTA Artist Space

 

FRIEZE MUSIC – BMW presented performances, co-curated by Kevin McGarry and Hans Ulrich Obrist, including: Moses Sumney, Caroline Polachek, Zsela and DJ Uwuqi 

Neuehouse LA

 

Photo by Lucy Sandler

 

Patrisse Cullors‘s Fuck White Supremacy (2020) Interactive Dance

Paramount Studios NYC Backlot

 

Photo by Casey Kelbaugh

 

Barbara Kasten’s Intervention

Frieze Projects

 

Photo by Casey Kelbaugh

 

Lucio Fontana Walking The Space: Spatial Environments, 1948 – 1968 

Hauser & Wirth DTLA

 

Ambiante Spizale con Neon, photographed by Fredrik Nilsen. Courtesy Fondazione Lucio Fontana, Milano and Hauser & Wirth.

 

DIALOGO: The California-Mexico Design and Architecture Dialogue, Curated by Monica Calderon, Adam Blackman and David Cruz with Book Release for Mexico City Architects Ezequiel Farca + Cristina Grappinat at Blackman Cruz

 

Works by Ezequiel Farca + Cristina Grappin, Image Courtesy of Ezequiel Farca + Cristina Grappin for Blackman Cruz.

 

Hear No Evil: Sigur Rós’ Jónsi’s Debut Solo Exhibition is a Provocative Sensory Experience

Jónsi, Í blóma[In bloom], 2019 Photo by Jeff Mclan, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

 

If music is your religion, let Sigur Rós be your church.

The Icelandic band’s post-rock-orchestral-ethereal-angelic-atmospheric-avant-garde aesthetic has made them the world’s biggest cult phenomenon. Our devotion began with 1999’s  Ágætis byrjun, and they have rewarded that devotion with much sonic bliss.

Jónsi, the band’s enigmatic frontman, is continuously creating multiple entry points to experience their artistry beyond their seven studio albums and life-altering live performances. To wit, there was the interactive video installation with London’s Tate Modern in 2016, the 2018 co-launching of a new ambient album, Liminal Sleep, with popular mediation app Calm, the sound bath-meets-art installation at Neuehouse in Hollywood earlier this year…

 

 

Never mind collaborations with Doug Aitken, Olafur Eliasson, and Merce Cunningham, and his new project with Swedish composer Carl Michael von Hausswolf called Dark Morphin which the two chronicled and morphed their field recordings while aboard a research ship – and then performed it live at this year’s the Venice Biennale.

Now rising to new conceptual heights, on view at Tanya Bonakdar Gallery Los Angeles, Jónsi has installed a series of three new works inspired by the Romantic poet Goethe’s fifth Roman Elegy. Goethe made the connection between the experience of a lover’s body and a classical marble sculpture with the phrase “I see with a feeling eye, feel with a seeing hand.” In Jonsi’s interpretative remix of this profound expression, he gives it a sonic update, encouraging those who connect with it to “hear with a feeling ear, feel with a hearing hand.” For Jónsi, the constant has always been, “hearing is feeling is seeing is being.”

 

Jónsi, Hvítblinda [Whiteout], 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

In Hvítblinda [Whiteout], the most powerful of the three installations, it feels as if you’ve walked into a Zero G, Futurist, ozone scented, sound womb environment, under light arrangements that pay homage to the Los Angeles Light & Space movement of the 1960s. What makes this experience unique is the 12-channel sound system of ten invisible speakers and two subwoofers, radiating recordings of Jónsi’s other-worldly voice, combined with field recordings of natural elements.

While inside the space, it’s a full 360 degrees experience, where the walls and floors rumble and vibrate. Your shoes must be covered as to (respectively) not bring the outside world in, your speech silent as to not interfere with the enveloping “5-piece act of sonic manifestations” – and two stark white cubes invite you to sit or lay horizontal and fully submerged in the audio phenomena. If ever there was a temple of sound worship, this would be it.

 

Jónsi, Svartalda (Dark wave), 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

Inside Svartalda (Dark wave), you are deprived of all senses except your hearing, which can be quite shocking after absorbing all that light. There is a canopy of eight ceiling panels that move in tandem like waves while hyper-directional speakers, with diffuse recordings of Jónsi breathing, whispering and reciting an old Icelandic poem about the sea. As you move through the darkness, the sound of his voice moves with you, and once you adjust, the faint scent of seaweed appears, convincing you that possibly, maybe the ocean is nearby.

While the other two rooms activate a yin/yang sensory exploration, Í blóma [In bloom] triggers more of an intellectual dive. Here Jónsi created a sound-based sculpture of 14 horn speakers designed to resemble a foxglove flower – which is described as being both highly toxic and therapeutic at once, a pleasure/pain principle infused into the theory of the overall installation. The blooming sculpture is enhanced with a series of butt plugs that provide a visualization for the fertilizing organ of the flower.

Jónsi, Í blóma[In bloom], 2019 Photo by Jeff Mclan, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

 

Through the speaker sculpture, we again experience a take on Jónsi’s recorded voice, layered over field recordings of Icelandic birds and Foxglove flowers, with a hi-tech recording device used capture the electric impulse of the flowers’ petals and stems. He then translated the electric frequency into a hyper-rare composition. There is a peculiar scent in this room, which is described as “a combination of dead animals and sperm – meant to evoke associations with bodily decay and pleasures.” The artistic goal was to create a sonic mating call between artist and flowers, to invoke notions of pleasure/pain while offering concepts of cross-species communications.

In the overall, with this first solo exhibition, it appears Jónsi’s intentions were to create spaces that evoke the power of sound and feeling, three mini portals for humans to step into and away from outside world uncertainty, and reconnect with themselves and with something possibly higher.

 

Jónsi’s eponymous exhibition is on view at Tanya Bonakdar Gallery Los Angeles through January 9, 2020.

 

Jónsi, Hvítblinda [Whiteout], 2019, Photo by Jeff Mclane, Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles

Veneto + Liguria Luxe: 5-Star Splurging in Venice and Portofino

Belmond Hotel Splendido, Portofino

 

As we’ve come to know so well, summer in Italia means heat and crowds. But the scents, the sights, the culture and cuisine always seem to “spring” to life in springtime – as we so magically experienced on a recent luxurious whirl through Liguria and the Veneto, stopping in two of our most beloved cities.

Firstly, we cannot emphasize enough that if you’re thinking of returning to the Amalfi Coast, consider heading north instead, were we found solace and wonder in the magic that is lovely Portofino. An elevated oasis just about two hours from Milan, it’s the sort of place people are talking about when they speak of the Italian dream vacation.

 

 

We were in the mood for a splurge, and so booked a three night stay at the gorgeous Hotel Belmond Splendido. An historic property perched on a hillside overlooking the Portofino harbor, rooms come with balconies and breathtaking views of the Italian Riviera (for aesthetes, some have original frescoes). We were in good company, as the hotel has hosted a glittering parade of real and Hollywood royalty, from The Duke of Windsor to Madonna to Elizabeth Taylor and Steven Spielberg; there’s even a suite dedicated to regular guest Ava Gardner.

From Splendido it’s just a short stroll to the town’s famous Piazzetta. But with so much glamour and tranquility, we found it often difficult to leave the hotel. To wit, the hotel’s in-house spa offers a signature treatment program that is one hour and forty-five minutes of plush pampering – complete with cocktails matched to your nail color.

And for epicures, dinner at La Terrazza offers seafood risotto, crunchy king prawns and quinoa/pistachio crusted tuna with those breathtaking vistas.

 

 

We later took the train from Milan to Venice, to splash out not at some or other crowded San Marco hotel, but rather the legendary Belmond Cipriani, across the way on the much more private Giudecca. This is the sort of place where you might just bump shoulders with George Clooney, Sandra Bullock, Donnatella Versace or Lady Gaga. Though we were so warmly welcomed by legendary greeter Roberto, you would think we were movie stars.

And indeed, the Cipriani is equal parts enchantment and luxury. We dined at the casual-chic Cip’s Club along the water’s edge with a view across the Lagoon to Piazza San Marco in the distance, happy to be just far enough away from the crowds. (It’s only a five minute boat ride to the main island, but you feel miles and miles away.) The food – roasted codfish with rosemary, risotto with turmeric and scampi – somehow manages to equal the setting.

 

 

For something a little more fancy, Oro boasts a Michelin star.

The property is surrounded by abundant gardens and the rooms have awesome vistas of perhaps the most ethereally beautiful place in the world. Another big plus? Cipriani boasts the only Olympic size salt water swimming pool in central Venice.

Truman Capote once famously said, “Venice is like eating an entire box of chocolate liqueurs in one go.” And at Belmond Cipriani, those chocolates come with the most breathtaking views in the city.

 

 

 

12 Must-See Works at the First Ever ‘Frieze Los Angeles’

 

Frieze Los Angeles made its much buzzed about debut yesterday, fully living up to the spirited anticipation surrounding the international fair. Thousands of art-seeking Angelenos, celebrities, New York transplants and far flung jet-setters flocked to the Paramount Pictures studio lot to experience what many feel has been long overdue for the art-driven city. These days considered a cultural hotbed, L.A. boasts galleries like Regen Projects, Hauser & Wirth, Hannah Hoffman, The Box, Night Gallery and The Pit – all of which are exhibiting this weekend, alongside a total of 21 local and 49 international dealers.

For opening day, it was a fair floor filled with the likes of Raf Simons, Brad Pitt, Maria Sharapova, Leonardo Di Caprio, James Franco…there was even a rumor Beyonce was on her way. For those who frequent the fair’s New York or London counterparts, you can expect Frieze LA to offer you a more pleasant experience logistically, with a curated selection equally stimulating.

Here are the 12 works that stood out to us most.

 

Doug Aitken

“Midnight Sun (distant pool with views)”

303 Gallery

 

© Doug Aitken, courtesy of 303 Gallery, New York

 

Jenny Holzer

“Blue Laments Arno”

Sprüth Magers

 

© 2019 Jenny Holzer, member Artists Rights Society (ARS), NY Courtesy Sprüth Magers

 

Nicole Wermers

“Untitled Chair”

Herald St

 

 

Andy Warhol

“Georgia O’Keeffe”

Galerie Thaddaeus Ropac

 

 

Hannah Greely

“High and Dry”

Frieze Projects

 

Photo by Mark Blower. Courtesy of Mark Blower/Frieze.

 

Cooper Jacoby

“Force of Habit”

Freedman Fitzpatrick

 

 

Troika

“Borrowed Light”

Galeria OMR

 

Senga Nengudi

“Studio Performance with R.S.V.P.”

Sprüth Magers

 

Olafur Eliasson

“Flare Friend”

Tanya Bonakdar Gallery

 

 

Dike Blair

“Untitled 1996”

Karma Gallery

 

 

Diana Thater

“True Life Adventures”

David Zwirner Gallery

 

 

 

Louis Vuitton’s Stunning ‘Volez Voguez Voyagez’ Exhibition Opens in NYC

 

Images by BFA

 

After being vacant for almost ten years, the former American Stock Exchange building in Manhattan’s Financial District has just been brought back to life for Louis Vuitton’s stunning three-floor exhibition Volez, Voguez, Voyagez. Curated by Oliver Saillard, it traces LV’s iconic journey from 1854 to the present day through ten thematic chapters, each in their own strikingly imagined space.

The show opens with the most symbolic object of the House: an antique trunk from 1906. It continues through the detailed makings of their classic trunks, revealing how the designs evolved and informed style during the rise of travel – at a time when expeditions, yachting, the automobile, aviation and trains has all captured the zeitgeist in their own way. While navigating through Volez, Voguez, Voyagez, you’ll find yourself beachside one moment, on the road less traveled the next, inside a cabin car of the Orient Express, gliding through the open skies, and then suddenly on the Oscars red carpet. (And indeed, the brand’s red carpet celeb fans turned out in force for the opening, including Alicia Vikander, Jennifer Connelly, Jaden Smith, Lea Seydoux and Alexander Saarsgaard.)

The Vanderbilts. The Rockfellers. Mary Pickford. Lauren Bacall. Ernest Hemingway. And today’s a-listers the likes of Ruth Nega, Nicole Kidman and Michelle Williams are all on display to attest to LV’s ceaseless star power. Marc Jacobs fans will swoon to the look back at the time when he was Creative Director of the House. And then there’s the Jeff Koons room, reminding us of just how much Louis Vuitton has influenced the look and style of travel for more than a century-and-a-half…and will surely continue to do so.

Louis Vuitton’s Volez, Voguez, Voyagez is on view at 86 Trinity Place, NYC, in the former American Stock Exchange building, though January 8. Admission is free to the public.

 

 

HOPE Stockholm Co-Founder Ann Ringstrand Launches New Brand in NYC

Last night in Soho, the co-founder of iconic Swedish brand HOPE Stockholm, Ann Ringstrand, launched her eponymous new collection to raves. The line features three exquisite blends of scents she developed with her Paris team and gemstone jewelry which marries 60s Scandinavian style with native mala beading.

From black tourmaline to white howlite to dark red jasper, each energetically charged piece was locally sourced and hand cut into uneven beads by artisans in Brazil. The fragrances and oils are meant to compliment the jewelry, with scents designed to linger on the gemstones and keep you connected to yourself while you navigate the rigors of the modern urban world.

“The story is that I have always created designs and concepts that reflect the time we live in,” she told us. “My path has travelled through the field of fashion towards this lifestyle concept that touches our senses. During my 25 years as a designer, I have constantly lived my life in the fast lane, focusing on the future. The now has never been on my agenda. Neither have goals been described as feelings.”

But with these new projects, she explained how she is attempting to slow things down, to be more reflective and inward-looking.

“I finally came to a point where I was missing the feeling of present life,” she revealed. “I started searching for tools to support my need to be in the moment. I discovered that a fantastic way to get in contact with myself was to include my senses. My new brand actually carries both native wisdom from the world of spirituality and a design for urban life that matches my aesthetic style.”

For the opening event, she collaborated with her former Lower East Side studio mate, sculptor Maria Moyer, to create one-of-a-kind sculptures and fragrance diffusers inspired by – and made specifically for – the new brand.  All were exhibited in the showroom of their third studio partner, lighting designer Lindsey Adelman. Together they created an atmosphere that eloquently exuded the ultimate essence of Ann Ringstrand.

 

 

 

Nine Must-See Works at Frieze New York 2017

Flocks of art-curious New Yorkers are heading to Randall’s Island Park this weekend for 6th iteration of the influential Frieze Art Fair. This global celebration of contemporary art (which opened Thursday and runs through May 7th) flaunts more than 200 galleries from over 30 countries.

This year boasts a canvas of neon, intriguing text-based works, mixed materials, contemporary masters like Anish Kapoor, 20th Century masters including Barbara Chase-Riboud and emerging artists like Charlie Ahearn.  Here’s what most caught our fancy.

Isabel van den Eynde’s “Focus.”  Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Charlie Ahearn’s “Dota Rock (Bam Grey). Courtesy of artist and P.P.O.W

Eva LeWitt’s “Parted Plastic.” Photograph by Mark Blower. Courtesy of Mark Blower/Frieze

Gavin Brown’s “Enterprise.” Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Eykyn Maclean. Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Pace Gallery. Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Giosetta Fioroni’s “Tribute to II Teatro Delle Mostre” (1968/2017). Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

Anish Kapoor’s “Glisten Blue”

Barbara Chase – Riboud’s “Bathers.”  Courtesy of Michael Rosenfeld Gallery LLC, New York

Inside ‘Rick Owens: Furniture’ at MOCA Pacific Design Center

You know him as the overlord of modern gothic fashion. But the much anticipated exhibition Rick Owens: Furniture at West Hollywood’s MOCA Pacific Design Center looks at his creations not meant for the body. The work presented include recent furniture, a new group of large scale sculptures, video and installations – alongside a selection of works by the late artist and musician Steven Parrino, whom the Paris-based American designer admired.

Owens launched his eponymous clothing label in Los Angeles in 1994, and has consistently drawn influence for both his fashion collections and his sculptural furniture from a vast array of art historical sources, which span modernist design, brutalist architecture, monochrome painting, minimal art, and avant-garde dance. His radical and spectacular runway shows function as a form of performance art, and often call into question preconceived and culturally constructed notions of beauty promoted by the very fashion industry in which he works.

But since 2007 Owens has applied a punk and anarchist sensibility to furniture design as well, creating stark and elegant forms out of marble, alabaster, bronze, ox bone, leather and plywood. And in addition to displaying works in Owens’ signature materials, the exhibition showcases the artist’s first foray into foam, rock crystal and concrete.

The show is produced by Michèle Lamy, Owens’ wife, muse “fairy witch” inspiration.

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