[April 25 2017] : News
Tanja Grunert Gallery is pleased to announce the inaugural exhibition of The Carpet Kartell, a newly founded association for manufacturers created by Equator Production’s founder Petra Singh and Henzel Studio curator Joakim Andreasson in 2016 that develop artist designed carpets.
The exhibition includes carpets by Helmut Lang, Marilyn Minter, Juergen Teller, Rosemarie Trockel, Andy Warhol, Jack Pierson, Douglas Gordon, Nan Goldin and Richard Prince.
The exhibition highlights from Henzel Studio include a new collection of carpets designed in collaboration with The Andy Warhol Foundation for The Visual Arts and the debut of carpets designed in collaboration with Douglas Gordon and Wilhelm Sasnal.
Courtesy of Carpet Kartell
[April 25 2017] : ArtView the gallery
Spanish contemporary artists Maria Forque and Filip Custic are both known for their particular capacity to interrogate the essence of the body.
For this performance, Forque uses her own body to build what she calls “alive installation” using the Shibari Technic in collaboration with Jenni Henlser. In “Diamante con Suspensión”, the suspended body of the artist represents the “sleep” state of human being while the Diamond represents our Pineal gland. At the same time, Filip Custic presents a series of photographed and filmed installations called “Fragmentación” in which he studies the concept of the fragmentation of the body.
Photo Pola Esther
photography by OLIVIER ZAHM
text by FRANCOIS PERRIN
All Frank Lloyd Wright houses copyright ADAGP, Paris, 2017
When Frank Lloyd Wright, the great American architect, was first asked to build in Los Angeles in 1917, he suddenly faced a new landscape and climate that would lead him to create a radically new body of work known as the textile block series. Wright began his career in Chicago, where he developed his signature Prairie style: houses connecting to the landscape through their open plans, decorative elements, and furniture inspired by the local vegetation. His time in Los Angeles fell during a shift in his practice. The ’20s were difficult for him, as he was in between major commissions. He was working for a time on Tokyo’s Imperial Hotel (which no longer exists) and could not closely supervise the projects in California. His son Lloyd Wright and Rudolph Schindler, a young Austrian architect who moved to the United States to work with the master, oversaw construction of these houses. Lloyd, in particular, was responsible for the landscape design that integrated them into their sites. Both would go on to have successful careers in the city. Located between the ocean and the desert, Los Angeles was able to develop into a metropolis because water was diverted illegally from the Colorado River, as depicted in Roman Polanski’s Chinatown. This concept — a desert transformed through the introduction of water — intrigued the architect. Sunny all year long, with temperate weather, the city nonetheless has numerous microclimates, with coastal fogs and freezing desert nights. Most of Wright’s buildings in Los Angeles are located in the same area: the Hollywood Hills, at the bottom of the Santa Monica Mountains, a dry land with Mediterranean-type vegetation. In his Los Angeles projects, Wright wanted to avoid the cultural references — Hispanic, French, Italian, Victorian, and others — usually found in the city’s residential projects. For him, all these referred to the Old World, and he wanted nothing to do with it. He had mixed views about the young city, its industry, and its inhabitants; he famously said, “Tip the world over on its side, and everything loose will land in Los Angeles.” Nevertheless, Los Angeles offered him an opportunity to explore a new direction in his work. As a rebuke to the city’s pastiche of European styles, Wright was interested in exploring the Americas’ primitive, pre-European...
[April 25 2017] : "I don’t presume to be a magician. I’d say I was more of a tinkerer. If you have a little imagination, a little curiosity, a little stubbornness, you’ll stumble upon things. You need a little discernment to tell whether what you’re doing holds any interest." Read more from the pioneer of optical and kinetic art @julio_le_parc in our interview by @jeromesans featuring portraits by @olivieramsellem from issue 27 and online. Credit : The Long March, Step #4, 1974, by #JulioLeParc. #Purplediary #JérômeSans #OlivierAmsellem
[April 25 2017] : Here an exclusive outtake portrait of #ThordisMoeller and #ImiKnoebel at #GalerieHeinerFriedrich, Cologne, 1976 🎞 Discover the full series of portraits of the artists of the avant-garde scene by German photographer #NicTenwiggenhorn featured in Purple Night from the latest issue ! #PurpleDiary
[April 25 2017] : MusicView the gallery
In collaboration with ALT ESC’s “No Vacancy II” exhibition, FIN celebrated the release of her debut album “Ice Pix” with performances by Eartheater featuring Unsay, Diamond Stingily, Negashi Armada, Sable Elyse Smith, and Haribo. Fin performed alongside FlucT.
Photo by Walter Wlodarczyk
[April 24 2017] : ArtView the gallery
POLA ESTHER — When I had a pleasure to visit your home and studio in Long Island, you were in the process of creating pieces for “CON-figuration” show at Postmasters Gallery, I’ve learned that this work is a continuation of a series (first featured in the show at Marlborough Contemporary in March). When and how this concept came to you?
AGATHE SNOW — The concept came to me a few months back around the time of the elections, it was finalized in my head in Miami during Art Basel this past December. I had not been there in over 6 years and for the first time I was attending completely clean, eyes wide... Read More
Text and Photo Pola Esther
[April 24 2017] : ArtView the gallery
On view until May 20th at Last Tango, Röntgenstrasse 6, 8005 Zürich, Switzerland.
Photo Sonja Berta
[April 23 2017] : ArtView the gallery
On view until July 23rd at The Metropolitan Museum of Art Breuer, Madison Avenue at 75th Street, New York.
Photo Tamara Weber