No, not me mate, take the next one…
Designed by Ray Komai
Manufactured by J.G. Furniture Co., Inc. in Brooklyn, N.Y.
Molded walnut plywood, chromed metal, rubber
From The Value of Good Design, an exhibition at MoMA (Feb 10-Jun 15, 2019).
April 4th, 2019
Eyes on the future
Benjamin Bowden
Spacelander bicycle 1946
Fiberglass, chrome-plated steel, leather, and rubber
Launched at the Britain Can Make It exhibition organized by the Council of Industrial design in 1946, this curvaceous product hinted at a future of consumerist affluence, and the glamour associated with the utopian worlds of science-fiction films. It was one of many prototypes for new, industrially produced goods that over 1.4 million people queued to see. While it could be admired, the bicycle could not be bought at the time of the exhibition, owing to continued shortages of materials and labour after World War II. ”Britain Can’t Have It” became the show’s popular nickname.
From The Value of Good Design, an exhibition at MoMA in Feb 10-Jun 15, 2019.
April 4th, 2019
Ian Cheng
Emissary Forks At Perfection 2015-16
Live simulation and story (colour, sound). Infinite duration
”A video game that plays itself,” as Cheng describes it, this digital simulation is generated in real time with no fixed beginning or end. Created using the Unity engine, a popular software tool for developing 3-D video games and AI models, the animation takes place far in the future. It tells the story of Talus Twenty Nine, an artificial intelligence that oversees a lush terrain in which new plants and animals constantly evolve in a Darwinian setting. The AI resurrects an ancient cadaver from the twenty-first century, and summons a pet dog to guide the undead through his posthuman world. Every time the program is run, a new scenario unfolds. The result is an endlessly changing, fantastical model of biological evolution and machine learning in the absence of human life. [source: MoMA]
Emissaries is a trilogy of simulations about cognitive evolution, past and future, and the ecological conditions that shape it. It is composed of three interconnected episodes, each centered on the life of an emissary who is caught between unraveling old realities and emerging weird ones. [source: Ian Cheng]
Emissary in the Squat of Gods
Emissary Forks At Perfection
Emissary Sunsets The Self
MoMA
April 4th, 2019
Pasta & Roselline
Tauba Auerbach
Altar/Engine 2015
3-D-printed nylon and plastic on table of aluminum, wood, and paint
MoMA
April 4th, 2019
A sleek, Newyork-lofty adaptation of Florian Zeller’s play, translated into English by Christopher Hampton. Yes, it was funny and dark and drunkenly depressed to the point of self-destruction, but all I remember is Hupper’s magnetic performance – and that slutty red mini dress. I remember thinking how is it possible for this tiny slender figure to exude such fierce energy. Even those who don’t particularly care about her style, would have no choice than simply bow to her charisma.
Isabelle Huppert. The Mother
Chris Noth. The Father
Justice Smith. The Son
Odessa Young. The Girl
Atlantic Theater Company
March 30th, 2019
Those kids put literal meaning to the words ”bucket list”!
Penn Station, N.Y.C., on the way to Washington D.C.
March 17th, 2019
Avenue of the Americas
March 15th, 2019
MoMA, Mar-Jun 2019
March 15th, 2019
Lincoln Kirstein’s Modern
MoMA, Mar-Jun 2019
March 15th, 2019
Kirstein sat for this portrait while he was in London for a New York City Ballet performance at Covent Garden and to organize the exhibition Symbolic Realism in American Painting: 1940-1950 at the Institute of Contemporary Arts.
“I have a live eye,” proclaimed Lincoln Kirstein, signaling his wide-ranging vision. Lincoln Kirstein’s Modern explored this polymath’s sweeping contributions to American cultural life in the 1930s and ’40s. Best known for cofounding New York City Ballet and the School of American Ballet with George Balanchine, Kirstein (1907–1996), a writer, critic, curator, impresario, and tastemaker, was also a key figure in MoMA’s early history. With his prescient belief in the role of dance within the museum, his championing of figuration in the face of prevailing abstraction, and his position at the center of a New York network of queer artists, intimates, and collaborators, Kirstein’s impact remains profoundly resonant today. [source: MoMA]
Lincoln Kirstein’s Modern
MoMA, Mar-Jun 2019
March 15th, 2019
subjective worldview
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