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Ruby City
by Paddy Johnson and Michael Anthony Farley on June 2, 2017
- I (Michael) don’t think I have ever been as emotionally invested in a piece of pop culture in my adult life as I have been watching the Netflix original Sense8. The show, from the Wachowskis, felt like the first site-specific artwork for the era of streaming—like watching eight addicting films from different genres at the same time in different tabs. It’s pretty heartbreaking that Netflix has inexplicably cancelled the show after two very well received seasons. In a real-world sociopolitical context increasingly defined by nationalism and bitter identity politics, a narrative that is essentially an epic morality play about global empathy—and individuals skill sharing to face repression in their respective societies—felt urgent beyond binge-worthiness. [the Internet: #RenewSense8 #SaveSense8 ]
- Cara Ober stops by Glasstress, where international art stars collaborate with Venetian glassmakers. (Think Paul McCarthy glass buttplugs and an Ai Weiwei figure giving the middle finger). [BmoreArt]
- Central St Martins grad student Camila Gonzalez Corea has been transforming images of topless women into emoji collages to protest Instagram’s censorship of female nipples. According to Instagram, it’s fine to show nipples if they belong to men. The Nipple Act bypasses this problem by replacing pixels with icons. [Metro]
- 68 Mayors are resisting Trump’s withdraw from the Paris climate accord and have pledged to uphold the agreements. New York is among them, and lit landmarks in green lights to show support for the international initiative. Michael Bloomberg, New York’s former mayor is co-ordinating the effort, and is negotiating with the United Nations to have its submission accepted alongside contributions to the deal by other nations. Bloomberg Philanthropies is offering to donate 14 million to help fund the deal’s budget. [Curbed]
- Construction has started on “Ruby City”, a glittery red art museum David Adjaye has designed for the Linda Pace Foundation in San Antonio. For a building that is literally covered in glitter and painted bright red, it’s oddly understated. [Dezeen]
- Another Renzo Piano museum that resembles a pharmaceutical giant’s depot has opened, this time in Harlem. Columbia University’s Wallach Art Gallery, nestled inside Piano’s Lenfest Center for the Arts, launches their inaugural show, “Uptown”, which is a triennial that includes well known artists such as Sanford Biggers, Nari Ward and Julie Mehretu along with emerging talent like John Pinderhughes and Alicia Grullón. Critic Jason Farago says it’s a pretty good show, but it doesn’t seem like there’s a lot to say about it. The most interest nugget in the review isn’t about the art but the fact that the Gallery partnered with other local museums to produce the show—a peace offering of sorts due to the gentrifying forces the University’s expansion brings. [The New York Times]
- Sarah Cascone interviews Emma Sulkowicz about her strange S&M performance “The Ship Is Sinking” at the Whitney. Inspired by politics, Bertolt Brecht, beauty pageants, and figureheads on shipwrecks (among other references) it basically comprised a man dressed as “Mr Whitney” tying her to a piece of wood and torturing her. I have read the interview and I’m still not sure I (Michael) “get it”. [artnet News]
- Ai Weiwei is posing as Alan Kurdi, the drowned Syrian refugee toddler, for a second time. Because it wasn’t a bad enough idea the first time around. In this picture he’s lying face down on his porcelain sunflower seeds—apparently it is a response to Donald Trump’s visit to the Israel Museum last week. The museum covered some of his works when the president visited—which it is now claiming it did because they were not fully installed. Whatever the case, can Ai Weiwei just let this toddler rest in peace already? [The Art Newspaper]
- Here’s an interview with DoLab, the lighting team/curators who do the visuals for festivals such as Coachella. Their work sounds like a logistics minefield. [Variety]
- “My Neighbor Totoro” will get its own theme park in Japan come 2020. [The Creator’s Project]
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