河北福彩快3走势图SURFACE https://www. Fri, 10 Apr 河北福彩快3走势图 14:14:35 +0000 en-US hourly 1 https://wordpress.org/?v=5.1-alpha-43678 152259669 河北福彩快3走势图Tristan Auer Brings Cinematic Drama to Planes, Trains, and Automobiles https://www./articles/tristan-auer-paris-hotel-designer/ https://www./articles/tristan-auer-paris-hotel-designer/#respond Fri, 10 Apr 河北福彩快3走势图 09:00:14 +0000 https://www./?p=101704 The Paris-based designer is also at work on a bevy of projects for hotels, the field in which he made his name. "It scares me when I think about how many there are," he says.
The Tristan Auer-designed spa at the Sinner hotel in Paris. Photo by Romain Laprade.

Many designers call themselves storytellers. But Tristan Auer takes the notion further than most. The Paris-based designer often begins his projects with a deep exploration of the history and lore of a place. After signing on to tackle the Paris hotel Les Bains a few years ago, he interviewed 80 denizens of the legendary nightclub Les Bains-Douches, which once raged on the site. "It's funny because memories are not linear," he says, chatting in his showcase Art Nouveau office in the city's 8th arrondissement. "When I asked people what the front space--which would become the lobby--was like, I had, like, 80 different answers. And when all these people came back after the renovation, they said, 'All right, yes, it was like that.' It was the best compliment I could get."

After completing his first round of research, Auer immerses himself in the space he's working on. "I go there day and night, sleep in the place, feel the volume, see where the light is coming, the impact," he says. Then he often turns to cinematic sources to flesh out his design narrative. Before beginning his update of the Hotel Carlton in Cannes, where renovations have just begun, Auer interviewed its regular patrons and watched Alfred Hitchcock's To Catch a Thief. The film was shot on the property in the 1950s, and the hotel is as much of a star as are Cary Grant and Grace Kelly. "I prefer to reference movies," Auer says. "You have all the elements, rather than just images on a mood board--the sights, the sounds, the smells. It's a very big responsibility for me, when I redesign iconic places, to keep the soul of the place."

His immersive bespoke approach has helped make him one of the world's most in-demand hospitality designers, with more than 16 new projects brewing for almost as many hotel brands, in London, Paris, Hong Kong, and Dubai. "It scares me when I think about how many there are," he says.

Auer. Courtesy Hotel de Crillon.

He also runs two busy Paris design studios, overseeing his own team of 22 and a second group, as principal of the Paris office of global design firm Wilson Associates. For the latter, he's nearing completion of his most cinematic project to date: a revival, for the French hotel group Accor, of the Orient Express brand, whose first hotel opens later this year atop one of Bangkok's tallest buildings, the 78-story King Power MahaNakhon.

As the original Orient Express train, immortalized by Agatha Christie, traversed Europe more than a century ago, its onboard experience--the food, the music--would change with the landscape. "Everybody knows the coach, the train," Auer says, "but the Orient Express is about going from one place to another, and changing all the time." Accordingly, the hotel's public spaces, clad in lacquered wood and Lalique crystal panels, can be altered to reflect a particular mood, culture, or time of day. At night in the restaurant, a waiter with lanterns will slide back panels to transform the environment. Auer has brought the hermetic pleasures of high-end train travel into a contemporary context, channeling the experience of being enveloped in dark wood and rich fabrics while cutting across borders. The hotel will be the first of many for the new Orient Express brand, and Auer has signed on to oversee whatever comes next. "Each hotel will be different," he says. "A reflection of the place."

Auer's vision for the Orient Express hotels, the first of which opens in Bangkok, Thailand, later this year, demonstrates his skill for creating timeless spaces, like the hotel's Wagon-Bar, shown here. Courtesy Orient Express.

A native of Aix-en-Provence, Auer began his career in Paris, working for Christian Liaigre and then Philippe Starck before launching his own studio, originally out of his apartment, in 2002. From Liaigre he learned the bespoke approach that he'd later integrate into his own residential work, forging lasting bonds with high-profile clients like fashion designer Karl Lagerfeld and rocker Bryan Adams, for whom he designed a 河北福彩快3走势图 on Mustique. From the famously demanding Starck, with whom he spent four years before eventually being fired ("Four years is a miracle," he says), he absorbed the "grand theatricality" that's served him so well in his own hospitality work.

Auer's pivotal hotel project arrived in 2013, when he began redesigning the public spaces in Paris's landmark Hotel de Crillon. His work on the century-old palace hotel, which reopened in 2017, brought Auer new recognition on a global scale and a sudden flood of big projects. That year, he won Designer of the Year at Maison&Objet in Paris, and unveiled a new side business in custom auto interiors.

The Salon Chinois, designed by Auer, at Les Bains in Paris.

Auer's attachment to history manifests in a personal passion for classic cars. His car-tailoring business, as he calls it, began organically, when he upgraded his own ride, a 1978 Ferrari Dino 308 GT4. "The color was wrong," he says of the car in its original shape. "The interior was very tired." He swapped in his own custom fabrics and leather, and fellow aficionados soon began asking him to make over their cars, too. So far, Auer has tackled a dozen or so vintage cars, including two courtesy cars--Citroe?n sedans--for the Hotel de Crillon. For private clients, each personalized vehicle comes with its own matching accessories: handmade Italian umbrellas, Scottish wool blankets, overnight bags perfectly proportioned to fit the passenger seat--all of them embossed with the car's chassis number. "Every object belongs to the car," Auer says.

Now showcased on his Instagram and his new website, , the car projects have opened up a new world of transportation design for Auer's studios. Commissions have included yacht interiors, private-jet cabins, and one luxury train, the Royal Scotsman, whose wood-paneled dining cars and rolling spa cut across the Scottish Highlands from Edinburgh.

In spite of his increasingly global reach, Auer says he has no intention of opening a satellite office abroad. Paris remains his biggest source of inspiration. "To live here is to live in an open-air museum," he says. "We're surrounded by such richness of culture --you can't help but absorb it."

This story appears in the March issue of Surface. To experience the complete issue subscribe here.

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河北福彩快3走势图Studio Seitz Gets Experimental with Swiss Craftsmanship https://www./articles/studio-seitz-heritage-collection/ https://www./articles/studio-seitz-heritage-collection/#respond Wed, 08 Apr 河北福彩快3走势图 02:59:52 +0000 https://www./?p=101766 The up-and-coming Brooklyn studio expands its Heritage Collection with heirloom-quality pieces that deftly reimagine the craft traditions of their Swiss forebears.
Desk Light and Table Light

In the small town in northeast Switzerland where designer Kevin Seitz grew up, the legacy of regional craftsmanship seemed universal. He recalls living with a set of furniture handed down to his grandparents in the 1950s that still felt pristine and sturdy, even after generations of use. Seitz's ancestors were well-established craftspeople whose work has influenced handicraft industries across the country河北福彩快3走势图's northern reaches for more than two centuries--and it’s likely that their influence strongly influenced Seitz’s own trajectory as well.

Seitz hopes to usher the legacy of Swiss craftsmanship into a new era. Last year at ICFF, Studio Seitz, the new studio he launched with his work-and-life partner Rob van Wyen, drew attention for its debut collection of five pieces, including an ebonized European ash bench and a dresser adorned with Baroque-inspired brass drawer pulls. Now, Seitz is expanding its Heritage Collection with an array of new offerings such as a nightstand, candleholders, and a table lamp with traditional Swiss provenance that still feels contemporary. Below, Seitz and van Wyen share their thinking behind the new launches.

Studio Seitz founders Kevin Seitz and Rob van Wyen

How does the expanded Heritage Collection uphold Swiss craftsmanship traditions?

We’ve always built on tradition; ours craftsmen hail from a long lineage of family-led craft. Metal stamping, which has been practiced in Appenzell since the 1800s, is a prime example of these art forms. For hundreds of years, they've been creating belts from cowhide and ornamented with handmade metal fittings that portray motifs of processions and alpine pastures. The century-old craft inspired us to reimagine its application for the brass pulls found on our new Bedside Table and the Kommode. We derived the pattern from baroque-style scrolls found inside the Catholic Church of Berneck. It's hand-cut from a thin sheet of brass and individually stamped by a sixth-generation craftsman, which lends a touch of traditional ornamentation.

Kevin grew up with furniture his grandparents received in the 1950s as their dowry, and the pieces still work as well as when they were first made. This idea of heirloom-quality furniture underscores our design principles. We want to create long-lasting objects, so we partnered with the same family-run workshop that produced those heritage pieces. Everything is made from 100 percent solid wood using traditional and handmade joinery methods for function and beauty, and undergoes a rigorous process to ensure quality that mass manufacturing can't guarantee.

Desk Lamp, Candleholders, Kommode, Limen Teapot, and Stabellenstuhl

How do the materials contribute to the longevity of each piece?

Most of our products are made within the cantons of Sankt Gallen and Appenzell in Switzerland. We locally source raw and sustainable materials whenever possible. Our current collection is derived from five main materials: solid European ash, anodized aluminum, glazed stoneware, polished solid brass and frosted glass.

We like to work with a limited palette--simplicity appeals to us--so we picked materials for their durability and how they age. Every material has a natural finish to preserve their attributes and make them easy to clean without harsh chemicals. Each piece also accounts for everyday use--in some pieces, we created spacing for the solid wood to expand with the seasons and account for heating and air conditioning. It's important to think about how furniture lives with us over time. We find that using traditional methods and durable materials lets our furniture thrive.

Which do you think is the most experimental piece?

Definitely the lighting. The Seitz family comes from a lineage of potters who, in the late 1800s, applied unique patterns to bowls, plates, and terrines with a Malhornchen (cow horn). This was a common ancient technique used on all earthenware across the ceramic regions in Europe. We reimagined the application of these family patterns and rebuilt them using 3-D layers to create new patterns from pre-existing elements. Our lighting features five concentric frosted glass shades that are individually cut with these different patterns. When each cut glass layer overlaps, it creates reflective shadow play. We went through endless prototypes to achieve the right frosting and transparent levels; it took three years to find the right recipe.

(FROM LEFT) Stabellenstuhls; Bedside Table.

What did expanding the Heritage Collection teach you?

We were thinking about details that would work well in dialogue with our existing collections. One idea was to apply existing "Swiss" patterns and techniques in interesting new ways.

What's your favorite aspect of Swiss design?

The Swiss have a tradition of precision craftsmanship and demand reliability in everything. They are problem solvers and never compromise on quality; they don't sleep until they find a solution.

What are the challenges of attaining Swiss Made certification?

It's a lengthy process. The Swiss Label, founded in 1917, protects the trademark of Swiss-made products under the Swiss Civil Code. They vet everyone involved in the making of each product to ensure they follow strict Swiss regulations. Seventy percent of each product must be made in Switzerland using Swiss labour. They're very thorough--it took us six months to get certified.

What evolution does this launch suggest for Studio Seitz?

We always intended on exploring Swiss craft and expertise--there's so much to learn. It's imperative to keep the foundations of our family's past intact so we can preserve local Swiss techniques and evolve them in line with contemporary living.

(CLOCKWISE, FROM LEFT) Stabellenstuhls; Candleholders; Table Lamp and Bedside Table.

Photography by Stephen Kent Johnson.

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河北福彩快3走势图Suite NY Scores Rare Cast-Bronze Pieces by Angelo Mangiarotti https://www./articles/suite-ny-angelo-mangiarotti-bronze/ https://www./articles/suite-ny-angelo-mangiarotti-bronze/#respond Tue, 07 Apr 河北福彩快3走势图 19:18:59 +0000 https://www./?p=101751 The furniture purveyor expands its portfolio of architect-designed objects for the 河北福彩快3走势图 with the late Italian visionary's sculptural dining table and vessels.
SK207 Table by Angelo Mangiarotti for Suite NY. Photography by Keith Greenbaum

"Everyone is a multi-disciplinarian now, especially designers," says Chris Kraig, the creative director of New York-based showroom Suite NY. He's describing the influence of Angelo Mangiarotti, the late Italian architect who firmly believed that designers should prioritize the everyday needs of users. This humanist ethos guided his illustrious career, which began in Milan in 1948, through to his death in 2012. Mangiarotti applied his engineering and architecture background to the sculptures, furniture, and practical items he made. “All his pieces,” says Kraig, "are connected somehow."

That cohesion recently led Suite NY to acquire a limited-edition collection of unseen cast bronze pieces designed at the height of Mangiarotti's career. Consisting of the SK207 dining table and three versions of the like-minded Cap53 vessels, the reissues demonstrate how Mangiarotti was a maverick of material experimentation, with a prescient understanding of the ways that shape, space, texture, and color create exceptional pieces of functional sculpture.

"Mangiarotti took the plasticity of concrete and translated it into the lost-wax process of bronze casting, which was an ancient technique," says Kraig about the SK207 Table (1959), which is available in a limited run of 100 (Suite NY has #1). Lost-wax casting, a long and elaborate process in which molds need to be destroyed to extract the item, results in each creation being entirely one-of-a-kind--more conducive to creating sculptures than mass-produced objects. Sculptural, indeed: The shape and resistance of the table's curved bronze base supports a striking marble tabletop, creating an unquestionable statement piece.

Cap53 Vessels

Cap53 Vessels by Angelo Mangiarotti for Suite NY. Photography by Keith Greenbaum

Ditto for the Cap53 vessels, which Mangiarotti developed in 1959 after continuing his lost-wax casting experiments to ascertain how to enhance bronze's color, brilliance, and texture. He based each vessel on the idea that two circles of different diameters, moving along a vertical axis, can yield a wide variety of objects. Available in a limited run of 100 (Suite NY has #1 and #2), the vessels "combine art and practicality to become catchalls," says Kraig. "That was Mangiarotti's philosophy--he wanted objects with beautiful forms to be able to be used by everyday people."

Mangiarotti's ideals speak to a renewed appreciation for artisan-made pieces, which Kraig insists will be a cornerstone of Suite NY as the company continues to expand its repertoire of architect-designed objects for the 河北福彩快3走势图. "You'll be seeing more pieces in our collection that are one-of-a-kind and artisanal. We're always evolving."


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河北福彩快3走势图The Thrilling and Complicated World of ASMR https://www./articles/asmr-arkdes-weird-sensation-feels-good/ https://www./articles/asmr-arkdes-weird-sensation-feels-good/#respond Mon, 06 Apr 河北福彩快3走势图 09:00:19 +0000 https://www./?p=101724 Despite the internet phenomenon’s enormous reach, its implications have not been widely explored. An exhibition at Swedish design museum ArkDes aims to rectify that.
Still from "Oddly IKEA": IKEA ASMR by IKEA USA (2017) shown in the exhibition "Weird Sensation Feels Good" at ArkDes in Stockholm

Over a four-hour-long YouTube binge aimed at experiencing the phenomenon of autonomous sensory meridian response, I watched dozens of attractive women slowly whisper sweet nothings into Hollywood-grade recording equipment. They also performed fake eye exams, slurped Jell-O, and gnawed on honeycomb, all for the sake of conjuring this strange feeling in their viewers. Occasionally, I felt it at the base of my skull--ASMR!--a tingling, squirmy sensation that spread across my shoulder blades and, eventually, faded without a trace.

Once a niche subsection of the internet, ASMR is now a sensory emporium of more than 13 million videos. In a precarious world where long working hours and a lack of access to relational care are the norm, ASMR's proponents see it nearly as a stand-in for therapy. Thousands of professional ASMRtists, as its practitioners are called, now make a living by producing soothing videos that help insomniacs fall asleep at night or simply help people deal with stress. "Cheaper than therapy, less work than A.A.," reads one comment on a 2012 video of a woman speaking softly that's been viewed 22 million times.

Despite the enormous reach of ASMR, its influence and implications have not been widely explored by mainline cultural institutions. "," a first-of-its-kind exhibition open April 8 (with a at 5 p.m. CEST on April 7) through November 1 at ArkDes, Sweden's national architecture and design museum in Stockholm, aims to rectify that, and to lend some credibility to the often-ridiculed subculture. "There is an inherent value to what the ASMR movement represents: connectivity, close attention, care," says James Taylor-Foster, the museum's curator of contemporary architecture and design. "By bringing it into an institutional space, we can help legitimize it as an urgent and significant field of study." Practically speaking, this will involve curators and visitors spacing out in front of slow-mo molten mercury, engaging in bubble-popping bliss, and pursuing other lines of inquiry.

A rendering of an installation for Stockholm's ArkDes exhibition "Weird Sensation Feels Good," designed by Eter Architects, features graphic works by Irene Stracuzzi + PostNew. Rendering courtesy Eter Architects.

In addition to examining the pre-internet history of ASMR through immersive installations, live performances, and video presentations (Bob Ross, the beloved late American painter and tender-hearted TV host, is a key protagonist), the show assesses how ASMR is now being used as a design and advertising tool. Always looking for a new way to draw consumers, brands like Pokemon and Ikea have started lacing their commercials with well-known ASMR triggers like whispering, rustling, and tapping. "Weird Sensation Feels Good" also meaningfully broaches troubling issues about gender parity and compensation in ASMR. Women are most often the ones performing the labor, and that labor is often unpaid: For every successful ASMRtist, many others receive little or no payment.

The title of the show comes from ASMR's genesis on an early-aughts internet forum. In 2007, a thread titled "WEIRD SENSATION FEELS GOOD" appeared on SteadyHealth, a medical message board. Its pseudonymous author identified a strange yet pleasurable feeling, both physical and mental, that was seemingly triggered by calming acts of care, such as being read to or watching a puppet show. An empathetic reader replied, "It's like a silvery sparkle through my head and brain… [Like a] head orgasm, but there is nothing sexual about it." Today, their conversation seems endearingly naive, like two strangers attempting to communicate in a language neither fully understands.

"ASMR existed long before YouTube, as a product of the natural world," says Giulia Poerio, a psychology lecturer at the University of Essex, in England, who studies the physiology of ASMR. The internet has made the sensation readily accessible, but online videos have their downsides. "Many people will find that ASMR in videos doesn't work because it's not spontaneous enough," Poerio says. Most of the artists she has encountered in her research had their first ASMR experience during an otherwise mundane social event, like getting their feet measured for shoes or watching a classmate color a drawing.

The number of people having conscious, intentional ASMR experiences has exploded recently, fueled by an ever-growing content pool. Yet ASMR is still often discussed online and in the press in highly reductive ways, as a gimmick or in sexual terms. Whether that treatment stems from the lack of a precise, research-based vocabulary or latent, pervasive misogyny, it fails to adequately capture ASMR's wild, multifarious nature.

Exploring the many iterations of ASMR, the exhibition includes the work and TV programs of the smooth-voiced artist Bob Ross, host of PBS's The Joy of Painting from 1983 to 1994.

"In some senses," Poerio says, ASMR is "useful for women because it enables them to have flexibility in their work. But it's typically conventionally attractive women who are doing it." It's a double-edged sword in other ways, too. While online ASMR videos can offer therapeutic benefits and help ameliorate feelings of anxiety and loneliness, they risk further alienation by providing easy substitutes to meaningful real-life interactions. Why bother sustaining an actual relationship when you can sate your emotional needs through someone you never have to meet?

It's no easy task to salvage an innate human feeling from capitalist exploitation, but ArkDes is making an effort to do so. As part of the exhibition, it will build a kilometer-long pillow sausage and invite a handful of ASMRtists to Stockholm to perform at a big, and meticulously planned, party. ArkDes is hoping to induce, in Poerio's words, "the collective euphoria of a football game"--but with all the safety precautions of a guided hallucinogenic trip.

ArkDes's live event may be a one-time-only affair, but Taylor-Foster imagines even bigger uses for ASMR, in the realms of architecture and urban planning. Speculating about a future in which attending a public ASMR event is as straightforward as hopping onto a city's Wi-Fi network, he asks, "Could ASMR be the next step of civic space?"

This story appears in the March issue of Surface. To experience the complete issue subscribe here.

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河北福彩快3走势图Quarantine Culture: 6 Ways to Experience Design and Art Without Leaving Your 河北福彩快3走势图 https://www./articles/quarantine-culture-experience-design-art-from-河北福彩快3走势图/ https://www./articles/quarantine-culture-experience-design-art-from-河北福彩快3走势图/#respond Mon, 06 Apr 河北福彩快3走势图 05:48:43 +0000 https://www./?p=101689 The short films of SXSW, Loewe’s crafty Instagram Live series, captivating global history documentaries, and other resources for you to enjoy from the comfort of your living room.

As the novel coronavirus spreads, the cultural sector has slowed to a halt: Museums and galleries are shuttered in many countries, and fairs and festivals have been canceled. At the advice of experts, people are hunkering down to self-quarantine and practice social distancing. The situation is evolving quickly, a new reality is being forced upon us, and fields like architecture and painting can seem trivial. And yet, at moments of such isolation and crisis, art, design, and performance can offer powerful means of connection--and a welcome escape from the disorienting present. With exhibitions and concerts called off, our editors survey six low-risk ways to experience culture--from David Zwirner's community viewing platform to coloring sheets from RxART, and more. --The Editors

Galerie Thaddaeus Ropac: Artists Eye

"What an extraordinary thing this is," Antony Gormley marvels, while cradling a small fossil in his hands. In a 河北福彩快3走势图-recorded video, the artist explains that the smooth object, made from ancient single-cell organisms, "speaks to us about life, about our place in the sequence of time and life. I would like to make things that are as inevitable as this." The intriguing video kicks off Galerie Thaddaeus Ropac's weekly Artist's Eye series, which asks an artist to introduce viewers to one of their most prized possessions by explaining its history and how it influences their creative process. If each artist's presentation is as thought-provoking as Gormley's, we have a lot to look forward to. --Ryan Waddoups


Courtesy PBS


At the risk of sounding hippie-dippie, this crisis will require worldwide cooperation, so it's an ideal time to survey the rich cultural history of the entire planet. Fire up the BBC miniseries Civilizations! Released in 2018, the nine-part documentary ventures from ancient Egyptian pyramids up to the grand public sculpture of Kara Walker. Richly filmed, crisply edited, and charismatically hosted by Simon Schama, Mary Beard, and David Olusoga, it offers a captivating overview of what disparate people and places have in common. A $5 donation to PBS provides access to the show, along with a boatload of other programs. Screen it for the nationalist-minded family member you're stuck at 河北福彩快3走势图 with, or send a copy to your local political leader. --Andrew Russeth


"Regret." Photo by Olivier Gossot, courtesy of Sundance Institute

Mailchimp: SXSW Film Festival

The cancellation of South by Southwest last month scuttled the debut of many films by emerging directors. But the show goes on, at least online, thanks to the boutique distributor Oscilloscope Laboratories and the technology company Mailchimp, which teamed up to build a digital that will stream the vast majority of the festival's short films for at least 30 days. Though it can't quite replace the experience and camaraderie of attending SXSW, it's a relief that these films will see the light of day. The list of recipients is an ideal starting point for exploring the more than 75 movies on offer. --R.W.


Courtesy Loewe

Loewe en Casa

Loewe creative director , a series of online events, talks, and workshops through Instagram Live, to showcase work of collaborators and prize finalists across metalwork, weaving, ikebana, goldsmith, ceramics, and other forms. Last week's programming included studio tours by the artists Sophie Rowley and Koichi Io and a conversation between Loewe Foundation president Sheila Loewe and furniture makers Jim Partridge and Liz Walmsley. This week, expect studio tours with wood artist Julian Watts, ceramic sculptor Irina Razumovskaya, and metal artist Adi Toch. --R.W.


A Jeff Koons installation at Advocate Children's Hospital in Oak Lawn, Illinois. Courtesy the artist and RxArt.

Coloring From 河北福彩快3走势图 with RxART

Every weekday at 4 p.m., RxART--which taps artists to create site-specific displays at children's hospitals--is streaming live video on Instagram of an artist coloring a page that they conceived for one of the nonprofit's coloring books. Daniel Heidkamp, Tara Lewis, and Sam Falls have all participated so far, and other big names are on the way. If you have a printer, you (or the whole family!) can print out the page and work on the same drawing, but do not be dissuaded if that's not possible. This project fosters camaraderie and community--the simple joy coming together to make some art. Consult for more information. Seeking more coloring sheets? Last week's Quarantine Culture featured a bunch from Louise Lawler, an RxART alum, available on the Museum of Modern Art's website.) --A.R.


Zsofia Keresztes, The Failure, 河北福彩快3走势图. Image courtesy David Zwirner

David Zwirner: Platform and Dialogues

As galleries and museums have shuttered their physical spaces in response to the global health crisis, many have launched virtual viewing rooms to showcase the work of artists whose spring exhibitions were canceled. David Zwirner has taken things one step further by debuting , an online initiative that invites 12 New York-based galleries to share a presentation of available works from a single artist. Participants include Lower East Side and Brooklyn outfits like Elijah Wheat Showroom (showing Zsofia Keresztes), Magenta Plains (with Nathaniel Robinson), and James Fuentes (with Keegan Monaghan). Once the New York edition wraps up on May 3, Zwirner will offer up a London edition, with more to come.

While you’re browsing, we also recommend tuning into Zwirner’s podcast, , which brings together a medley of multidisciplinary artists to survey how they think across disciplines. The current season features conversations with artists Mamma Andersson and Jockum Nordstrom, artist R. Crumb and cartoonist Art Spiegelman, cultural critic Kyle Chayka on Donald Judd and the complex legacy of minimalism, and artists Diana Thater and Rachel Rose. --R.W.

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河北福彩快3走势图Auvere Brings Rubies and Diamonds Into the Mix https://www./articles/auvere-gold-jewelry-byzantium-ring-ruby/ https://www./articles/auvere-gold-jewelry-byzantium-ring-ruby/#respond Thu, 02 Apr 河北福彩快3走势图 16:58:05 +0000 https://www./?p=101672 Known for its range of high karat gold pieces, the New York jewelry purveyor is making a foray into exquisite colored gemstones.

"High-quality materials are the foundation of beautiful things," says Gina Love. The co-founder and force behind Auvere, an emerging New York brand that offers high karat gold jewelry in its purest form, has been busy carving out her next creative chapter. Though a young enterprise, the two-year-old jewelry purveyor has so far shown a striking creative range. Auvere's offerings, all sculpted by master artisans using 22 and 24 karat gold, run the gamut from planetary-inspired hoop earrings to geometric necklaces that pay homage to the ancient Greek mathematician Arignote. Now, Auvere is charting new territory by adorning its wide range of investment-grade gold offerings with colored gemstones and diamonds.

The idea came to Love following trips to the museums of Istanbul and to the markets of Jaipur. "I traveled to Jaipur with Steven [Feldman, co-founder] to spend time with our artisans and refine the process," says Love, who immediately felt an affinity toward the city's abundant rubies. "I bought a ring with a large ruby in it, which made me want to add colored stones to our gold pieces." Thus birthed the ruby-adorned Byzantium Ring, which captures the ancient Byzantine Empire's intrepid yet refined spirit through its masterful design and construction. Containing around 23 grams of 24 karat gold, Byzantium's standout feature is the five smooth cabochon rubies that cast a fluorescent red color and evoke regal adornments. It's Auvere's most ambitious offering yet.

Love says that more experimental pieces are on the way. "We'll definitely use other gemstones in the future--a mix of diamonds and colored gemstones," she says, describing the upcoming pieces as larger and more dramatic. "This expands our reach to those who love high karat gold, the sparkle of diamonds, and the drama of colored gemstones."


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河北福彩快3走势图A New York Art Gallery Where Anything Can Happen https://www./articles/kai-matsumiya-new-york-art-gallery/ https://www./articles/kai-matsumiya-new-york-art-gallery/#respond Thu, 02 Apr 河北福彩快3走势图 09:00:03 +0000 https://www./?p=101594 The sui generis dealer Kai Matsumiya favors artists "who question even the most fundamental expectations that art or society has for you."
installation view of Maryam Jafri, "Generic Corner," 2015, in her 2018 show at the gallery, "War on Wellness." Courtesy the artist and Kai Matsumiya Gallery, New York.

Asked to describe his gallery's program, the New York art dealer looks crestfallen. "I have mixed feelings about the word 'program,'" he says. Sure, it could denote "some amount of thoughtfulness, or cultural or intellectual integrity," he admits, "but that sounds to me, in so many ways, very parallel to branding." Which is decidedly not his thing.

It's late January, and Matsumiya is where he usually is, sitting at a tiny desk inside his hole-in-the-wall exhibition space in Manhattan's Lower East Side, eager to talk art. Slim, with angular black hair, he's a youthful 35 in a dark blazer and boots. "I've always really believed in being artist-centric," he says. But his laissez-faire approach only goes so far. He has a few policies, among them: "No fire hazards, and insects have to be contained."

Live cockroaches were housed atop a Roomba vacuum----in one show, and there have been many other unexpected sights. , who toys darkly with identity, has shown text drawings made with glow-in-the-dark fingerprints that spell out words like "CRIMINAL"and "TERRORIST LEADER." And Matsumiya once orchestrated by widely diverse artists of all ages, each just a few days long and one after another, in rapid succession.

The art dealer Kai Matsumiya in his New York gallery. Portrait by Sean Donnola.

Matthew Higgs, the director of the New York alternative art space White Columns, groups Matsumiya with a rare class of what he calls "maverick dealers"--people for whom "the act of running a gallery is analogous to an artist making work."

"I've always seen exhibitions as types of arguments," Matsumiya says. "I love making the case for the emerging artist." Unsurprisingly, he spent time in academia, studying philosophy and art history. But he bristles at discussing himself, wanting the focus to be on the work of his artists, despite their urges for him to embrace the spotlight more. What he will divulge is that he saved money to open his gallery in 2014 while working on HIV/AIDS awareness for the United Nations, and that he was inspired by an aunt who was a curator of contemporary art in Japan. "With an emerging gallery, you're shouting in the dark, oftentimes," Matsumiya says, with apparent satisfaction.

His understated, albeit unrelenting, approach has earned him a devoted art-world following. Sadr Haghighian represented Germany at the 2019 Venice Biennale, and developing talents in the gallery's orbit, like the ace interdisciplinary figure and the wry painter , have received important museum exhibitions. Obvious visual affinities are hard to spot among the artists he shows, but they share a distinct, irreverent intelligence. "I'm interested in artists who can challenge the times," Matsumiya says. "Instead of them embodying an ethic of meeting expectations, I like the artists who question even the most fundamental expectations that art or society has for you."

Pedro Wirz, "Frog Milk (white)," 2018. Courtesy the artist and Kai Matsumiya Gallery, New York.

"I remember him saying, 'I may be doing things the wrong way, but I'm doing them in the best way possible,'" says the veteran dealer and appraiser Liz Koury, who's followed Matsumiya's gallery and is now a friend. In any case, he doesn't make things easy on himself. "I really appreciate how game--enthusiastic, really--he is about approaching a project without any preconceived ideas about format or convention," says the artist Zoe Pettijohn Schade, whose hypnotically patterned paintings can take over a year to finish. When she suggested to Matsumiya that, for her , they unite a number of old pieces that had already been sold, he happily agreed, though it meant that fewer works on view would actually be for sale.

Matsumiya recently won the Armory Show's second-ever Gramercy International Prize, providing a free booth at the New York fair. He staged a solo exhibition there of the sculptural works of , whose alluring, discomfiting art addresses the relationship between humans, science, and nature via exotic materials like tree bark and latex. Simultaneously, Wirz is mounting his third one-person outing at Matsumiya's gallery, furthering a relationship that began in earnest a few years ago, when the artist overheard the dealer enthusiastically discussing his work with an art adviser and correcting her points of reference. "I was completely blown away," Wirz says, remembering that Matsumiya sounded like "someone who trusts and believes" in his work. "He always says what he really thinks." Being so candid, and so independently minded, is "very risky" for "an operation of his size," the artist adds.

The art industry is more crowded, top-heavy, and fiercely competitive than ever. Asked how he sees himself developing his future, Matsumiya mentions "growing, and developing, with the artists that I work with. That really interests me, because I don't know with some of these artists what they're up to next." Don't expect to see him running a blue-chip multinational. "It's hard to think about if there is a next phase, where there's more money," he says. "It's hard for me to fathom that in so many ways. I've always thought that lean and mean is good."

Elliott Jamal Robbins, "Fuck what you have to say," 2018. Courtesy the artist and Kai Matsumiya Gallery, New York.

This story appears in the March issue of Surface. To experience the complete issue subscribe here.

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河北福彩快3走势图This Parisian Firm Crafted Glasses for Le Corbusier, Jackie O, and Yves Saint Laurent https://www./articles/maison-bonnet-paris-eyewear-atelier/ https://www./articles/maison-bonnet-paris-eyewear-atelier/#respond Wed, 01 Apr 河北福彩快3走势图 09:00:35 +0000 https://www./?p=101618 Over the decades, customers have abided by a credo that might as well be Maison Bonnet's tagline: "For one face, there is one pair of glasses."

Alber Elbaz orders his eyewear from Maison Bonnet in multiples. Last year, he had five pairs made, and the statement frames--thick and dark; curvy, not angular--feature prominently on . Much to the designer's delight, people have been commenting that he looks more svelte. The secret to his newfound e?lan lies not in his diet but in the bespoke craftsmanship of , whose team of experts configured Elbaz's glasses in better proportion to his cheeks. "It's not at all an object--it's an extension of you," he says of the frames. "At Maison Bonnet, they look at you and measure you. Everything is so scientific, like a French atelier as it used to be. It's a place where there's tradition and newness together."

In 1930, Alfred Bonnet first began crafting gold and tortoiseshell eyewear in the French town of Morez, and today, in Paris, his great-grandson Franck Bonnet leads the family firm. Over the decades, customers have abided by a credo that might as well be Maison Bonnet's tagline: "For one face, there is one pair of glasses." When you consider the faces immortalized by Bonnet glasses--Le Corbusier, Yves Saint Laurent, I.M. Pei, Jacqueline Kennedy Onassis, Aristotle Onassis--that credo seems to have been borne out. At the Muse?e Yves Saint Laurent Paris, the designer's original Bonnet glasses sit atop his desk as if momentarily set aside. When I mention to Franck grand fils that I recall seeing Le Corbusier's frames in a Paris exhibition about architects' belongings, he assures me that they, too, originated in the family workshops.

Maison Bonnet has remained in the family through four generations, and while certain aspects of the business have evolved over the past 90 years--namely, the introduction of buffalo horn and acetate frames--its artisanal craftsmanship and individualized creation are more or less unchanged. "Everyone talks about maison-this or maison-that," Franck says. "But a maison is a tradition, a spirit, a family that has learned a savoir faire."

Maison Bonnet's atelier. (C) Charly Ho.

He offers scores of anecdotes to support that claim. Once, a police motorcade blocked traffic when former French president Jacques Chirac came to the family's atelier to have his glasses fitted. Django Reinhardt would come to the property with his guitar. Franck distinctly remembers I.M. Pei's first visit; the architect was insistent that the pupils of his eyes line up on precisely the same axis as the bridge and hinges of the frames, and demonstrated with a ruler across his face to ensure perfect alignment. Franck’s grandfather designed Jackie O's iconic eyewear (dubbed internally "Le 8" for its shape), which, as Franck tells it, she would often misplace. She had come to Maison Bonnet at the urging of Onassis, her second husband, a Bonnet devotee who insisted that both Jackie and the soprano Maria Callas, a paramour of his, be fitted for frames. It was Franck's father, Christian (still active but based in Burgundy), who crafted Saint Laurent's elegant, oversized tortoiseshell glasses, which stood out all the more when, in 1971, the designer posed nude in them for the photographer Jeanloup Sieff. Over time, Saint Laurent would nudge Christian to make bigger and bigger glasses--a "negotiation" that pushed the boundaries of Maison Bonnet's protocol. More recently, Naomi Campbell made an appointment with Franck and will return in a few months for another order. At Maison Bonnet, you don't get to just drop by. "Every appointment is a different adventure," Franck says, with a certain hint of wonder.

Assuming you are in no rush and are not dissuaded by price (acetate frames cost $850-2,150, while those in horn cost roughly $1,350-3,100), you can order the same pair of eyewear favored by Le Corbusier or Yves Saint Laurent. Your Bonnet eyewear, however, will be customized only to appear identical, for the simple reason that your facial proportions aren't exactly those of the master architect or designer. In two biopics of Saint Laurent, the actors who played him wore frames that closely replicated the designer's style while also suiting their own faces. The verisimilitude was startling.

Crafting a pair of tortoiseshell glasses. (C) Joel Saget.

In the Paris showroom-cum-workshop, located in a passageway just steps from the Palais-Royal, Franck pulls out the Le Corbusier model in tortoiseshell and slips them on his face, which, in purely objective terms, bears next to no resemblance to the architect's. The frames might look heavy on him now, but Franck says his craftspeople could actually recalibrate them--reducing both size and thickness--for his features.

"It really has to be the 'wow' effect or else there isn't much point in making them in this way," Franck explains. "Sometimes the 'wow' takes time, [because] it can be a new identity. But we work directly to the natural lines of your face."

At the Paris location, there is a small workspace visible at street level and another below ground, where a compact arrangement of stations hints at the handiwork the frames' form requires. There are handsaws, buffing and polishing wheels, even a Bunsen burner to heat the tortoiseshell.

Declared a Living Heritage 河北福彩快3走势图 by the French government, Maison Bonnet is unwavering in its traditions. Franck acknowledges his responsibility as a guardian of sorts. "In France, we transmit our traditions while adding in our own touch," he says, nodding to an idea put forth by the artist and critic Jean Cocteau. "And that's why we remain current and always thinking into the future."

This story appears in the March issue of Surface. To experience the complete issue subscribe here.

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河北福彩快3走势图Cas Holman’s Toys Empower Children to Ask Big Questions https://www./articles/cas-holman-toy-design-rigamajig/ https://www./articles/cas-holman-toy-design-rigamajig/#respond Tue, 31 Mar 河北福彩快3走势图 09:00:11 +0000 https://www./?p=101610 The Rhode Island designer dreams up open-ended toy systems that let children be the architects of their own play.
Cas Holman's Rigamajig Junior exemplifies her toys, which inspire constructive play, imaginative thinking, and cooperative interactions.

"I want my designs to speak to the weirdos, to be tools for children to feel understood," says the toy designer . Her toys--simple, gender-neutral systems made up of manipulable, connectable parts--are meant to inspire constructive play and cooperative interaction, skills imperative to conflict resolution and creative thinking. Holman insists it's not children she designs for, but people more generally. "They are the ones who are going to make the world suck or not suck," she recently explained in an episode of the Netflix docuseries Abstract. "Good toys make good people."

Holman, an associate professor of industrial design at the Rhode Island School of Design, hides surprises in her toys for kids to discover, like a quirky shape or a detail revealing how two pieces in one of her connectable toys fit together. She's best known for her 2011 Rigamajig, an open-ended building kit that uses wooden planks, wheels, pulleys, nuts, bolts, and rope to empower children to be the architects of their own play. "A glorified pile of construction debris" is how Holman described it in Abstract. "Not having instruction gives children the fluency to say, 'What's going to happen next, and how are we going to do it?'" Above all, Holman's toys encourage exploration and use color sparingly, so as to allow their users to think more creatively. Fittingly, she named her design company Heroes Will Rise.

Holman grew up in Northern California and struggled with how her elementary school reinforced systemic hierarchies, like gender norms. The daughter of a single mother, she wore her hair short, liked to sneak boys' clothing into the girls' section of department stores, and wondered why toy stores had separate blue and pink aisles. She felt frustrated that she was taught to seek answers to--not ask questions about--life's problems, leaving little room to daydream. Schools, she realized, enforced dynamics that weren't entirely friendly or inclusive. "Childhood, in a way, enforces this idea of who we're supposed to be," she says. "It's pretty dehumanizing."

The designer in her studio in Hope, Rhode Island.

Though she dropped out of the University of California, Santa Cruz, Holman eventually earned her M.F.A. in 3D design at the Cranbrook Academy of Art in Michigan. During her studies, she invented Geemo, a system of flexible magnetic branches that latch onto one another in unpredictable ways, and it debuted at the in 2007. Although Geemo is no longer in production, Holman still gets inquiries from people who want to play with its different configurations. ("A missed opportunity," she says with a laugh.)

Holman doesn't distinguish play from design. "A lot of what we do in design is play--testing things out as ideas, but also as objects in space," she says. She was part of the New York design firm Rockwell Group in 2005 when it was prototyping the Imagination Playground, a series of large-scale foam blocks that children can arrange as they see fit. After a version of it debuted at Manhattan's Burling Slip park to critical acclaim, the Imagination Playground became part of a UNICEF initiative to bring unstructured play to children in developing nations and underserved local communities.

Holman introduced Rigamajig as a pop-up playground on New York's High Line in 2011. She spent the next three years reengineering it for mass production and integrating feedback from teachers and children's museums. Since then, it has found its way into hundreds of schools, playgrounds, and backyards. Her biggest challenge has been convincing skeptics to incorporate her radical learning systems in schools, which are beholden to bureaucratic rules and liability. "But once parents and teachers understand it," she says, "they're completely on board."

An example of the many forms that can be assembled using the Rigamajig Basic Builder Kit.

In fact, a series of rejections nearly led her to give up, until she got wind of a bootleg Rigamajig being used in a Chinese primary school. Most designers don't react well to being knocked off, but Holman was intrigued. The school practiced Anji Play, an approach in which a child engages in an activity of their choosing for a long, uninterrupted period of time. Holman contacted Cheng Xueqin, the educator who developed Anji Play, to see how they could collaborate, then traveled to China河北福彩快3走势图 to see the method firsthand. The driving ethos of Anji Play, she learned, is inquiry. "The goal is to always be curious, which opens up room for adults to learn from children," says Holman, who, in 2015, licensed a Chinese edition of Rigamajig for use in schools.

The method continues to gain momentum in China河北福彩快3走势图 and is currently being tested through pilot programs in San Francisco, Wisconsin, and the Netherlands. Holman has even explored ways to bring Anji Play principles to upper grades and universities including RISD. For one assignment, she asked her freshman-year students to convey their feelings by drawing a cake, which sparked some moments of self-discovery. "I want to teach my students how to learn rather than trying to hand down knowledge," she says.

The most important feedback, she says, comes from those outliers who are rarely heard. "Through good design and an open-ended way of understanding it, we can discover--and invent--who we are," she says. The glimmer of hope she felt when she first went to China河北福彩快3走势图 continues to propel her. "When I go to Anji Play schools," she says, "I feel like we're going to be okay."

Photographs by Thalassa Raasch.

This story appears in the March issue of Surface. To experience the complete issue subscribe here.

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河北福彩快3走势图Quarantine Culture: 6 Ways to Experience Design and Art Without Leaving Your 河北福彩快3走势图 https://www./articles/quarantine-culture-6-ways-to-experience-design-and-art-without-leaving-your-河北福彩快3走势图/ https://www./articles/quarantine-culture-6-ways-to-experience-design-and-art-without-leaving-your-河北福彩快3走势图/#respond Mon, 30 Mar 河北福彩快3走势图 09:00:31 +0000 https://www./?p=101583 A virtual subway simulation game, the Smithsonian Transcription Center, Louise Lawler coloring sheets, and other resources for you to enjoy from the comfort of your living room.

As the novel coronavirus spreads, the cultural sector has slowed to a halt: Museums and galleries are shuttered in many countries, and fairs and festivals have been canceled. At the advice of experts, people are hunkering down to self-quarantine and practice social distancing. The situation is evolving quickly, a new reality is being forced upon us, and fields like architecture and painting can seem trivial. And yet, at moments of such isolation and crisis, art, design, and performance can offer powerful means of connection--and a welcome escape from the disorienting present. With exhibitions and concerts called off, our editors survey six low-risk ways to experience culture--from subway simulation games to virtual exhibition viewing rooms, and more. --The Editors

Simone Leigh, "No Face (House)," 2017; (C) Simone Leigh/Courtesy of the artist and Luhring Augustine, New York.

"Duro Olowu: Seeing Chicago"

Even if museums are closed, visitors can still access many of the terrific exhibitions on view and hear from the curators who organized them. One I highly recommend is "Duro Olowu: Seeing Chicago," which was curated for the Museum of Contemporary Art Chicago by the Nigerian-born British fashion designer Duro Olowu, a renaissance raconteur who has previously put together shows in London and New York. "Seeing Chicago" presents more than 230 works from the city's public and private collections. Together, they offer a portrait of a city at times riven with racial and class divisions but also unified by a particular zeal for making, collecting, and sharing great art. You can read more about Olowu and his approach to the show in the current issue of Surface.

But for a direct sense of the man and the myriad sources that drive him, head to the to hear Olowu speak about the relationship between collecting and design and how he has come to understand what the word cosmopolitan means. "To be inspired in design and to improve design, and learn from design, you physically collect a lot of things but you also collect with your eyes," he says. "You just store it in another way. It's almost like your dictionary but it's a more valid dictionary. It's a dictionary placed in the real world. And you learn from it, and you know when to pull from it. That is really the most important process: the coming together of both the ideas and the material." --Diane Solway


Mini Metro

Mini Metro

Memes about commuting in the age of coronavirus--meaning around one's own house--have been on social media, evoking "sad but true" responses from city dwellers lucky enough not to have to go outside. Straphangers craving a mass transit fix may instead find solace in , a strategy simulation game in which you, the transportation planner, design and operate a minimalist subway map for a growing city. Draw lines between stations to keep your citizens on the move, and strategically redraw them to keep them running efficiently. If only it was this easy in real life! The game, which is dangerously addictive, can be purchased on Steam, the iOS App Store, Google Play, the Nintendo eShop, and the PlayStation Store at a small price. --Ryan Waddoups


The New York Public Library's Stephen A. Schwarzman Building. Courtesy NYPL.

Public Library Apps

Countless library branches are shuttered right now, but eBook apps that are connected to those institutions are filling the void. This will not be news to their many avid users, but I will admit being pleasantly surprised by the vast range of works on offer in digital form--new and old, lionized and obscure--from the New York Public Library and the Brooklyn Library. There are waits for some books, just like in the real world, but the queues tend to go quickly. Amazingly, just as cabin fever was settling in one recent afternoon, Jenny Odell's incisive repost to the attention economy, How to Do Nothing (2019), became available for me. I'm now enjoying it on the tidily designed Libby app, one of many programs that are ready to serve. --Andrew Russeth


Rams by Gary Hustwit

Gary Hustwit Documentaries

, the award-winning director behind such design-minded documentaries as Helvetica, Objectified, and Rams, has decided to stream his films online, free of charge, during the Covid-19 crisis. “We’re all going through some big adjustments and staying indoors,” Hustwit . “Will watching a film about fonts do a goddamn thing about this crisis? Probably not. But I make films, and hopefully you like films.” Mark your calendars, because he's posting a new documentary every Tuesday. It’s a fantastic opportunity to brush up on design history and perhaps indulge in Brian Eno’s original soundtrack to Rams. --R.W.


The 河北福彩快3走势图page of the STC. Courtesy the Smithsonian.

Smithsonian Transcription Center

If you are lucky enough to be ensconced at 河北福彩快3走势图 right now, culture need not be limited to consuming prodigious amounts of television. You can also contribute to it. Invent a new dance craze on TikTok, record that podcast you have always been meaning to start, or even transcribe historical documents from the Smithsonian. The Smithsonian Transcription Center is an easy-to-use website with scans of all sorts of historical documents that need to be digitized, from the journals of gardener Gertrude Farrington, to the papers of astronaut Sally K. Ride, to the records of the Freedmen's Bureau. Register for an account and you can be typing (or proofreading, if you prefer) in a matter of minutes. At a time of indefinite waiting, finishing such rote work can be a pleasant experience, and the experience may also deliver some unexpected pleasures. Sifting through the documents for a page to check, I was delighted to come across the archive of the late, great artist Minnie Evans, which include little printed signs with some of her statements. : "MY WORK IS JUST AS STRANGE TO ME AS THEY ARE TO ANYONE ELSE." --A.R.

(Bunny) Sculpture and Painting (traced), 1999/2019, by Louise Lawler. Courtesy of the Museum of Modern Art.

Louise Lawler's Tracings For You

Own a printer and a set of colored pencils? You’re in luck: Louise Lawler, an artist known for her photographic explorations of how artworks exist in various settings, has made of her works available as downloadable coloring sheets. Each image is a scaled-down version of an individual work that appeared in her 2017 solo exhibition, “WHY PICTURES NOW,” at the Museum of Modern Art in New York. The museum encourages you to tag your colored drawings with #DrawingwithMoMA on social media for a chance to have them reposted. --R.W.

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