Vans‘ classic Old Skool silhouette is getting the seasonal treatment with its Summer 2015 collection. The collection features a series of warm-weather motifs throughout including Fourth of July references and whimsical floral, flamingo and pineapple skull prints. Rounding out the collection is a selection of solid color canvas offerings in yellow, black, purple and navy blue hues.
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Kim Jones takes inspiration from India for the latest Men’s Spring 2015 Campaign: an exploration of the origins of menswear.
TweetKinmont maintains that to make art you have to let go of something. It is a little bit like jumping. Yet these pieces advocate a groundedness and patience evidenced in the choice and handling of the materials and in the message. From the paradoxical relationship between jumping and waiting brings an animated tension shared by all the works: a sense of complexity that belies the apparent simplicity of their subject matter.
Sixteen Dirt Roads (2015) presents the gritty substances of a finite number of roads, each subtly different in color, composition and meaning; and each beautifully housed in copper boxes that contrast absolutely with their ashen dusts. Forks (2015) sees four wooden boxes lined in a row. Three of these contain numerous cut branches, such as might be used to make a slingshot or to divine water; the other fork units are of copper piping that have been cut and soldered together to masquerade as wooden forks – an attempt that comically underlines the inherent character of materials and inimitable intricacy of the natural world. trying to understand (2015) consists of three wooden boxes with twenty-four wooden gliders tessellated inside. A super 8 movie filmed in the 1970s depicts the artist’s arduous effort at 10,000 feet to achieve a successful glider flight, contrasting with the sedentary regiments of boxed gliders.
Such works recall Minimalism through their seriality, boxed forms and use of copper while relinquishing any reckoning of the world to the wind. The natural world intervenes in Kinmont’s art, making definitions temporary and hierarchy nonsensical. Instead, as he tells it in a piece from this year, there is no place to rest for the artist – a statement in cursive copper, written forwards and back, upright and upside down that speaks of acceptance as much as of enlightenment.
Opposite – Plumb Bob, 1973/2014
Exhibition runs through to April 30th, 2015
RaebervonStenglin
Pfingstweidstrasse 23 / Welti-Furrer Areal
8005 Zürich
Switzerlan
For this exhibition the Swiss born, Brussels based artist will respond to the dual structure of the gallery, taking it as an opportunity to explore the shape-shifting physicality of color: two large-scale black and white charcoal wall drawings presenting classical nudes of women will be drawn on the end walls of the gallery, creating a link between the two spaces and a striking formal contrast to the vividly-coloured landscapes pastels on the side walls.
From the pastel on canvas to the charcoal wall drawings, the visitor will experience a journey from the liveliness of colorsto the most primal of mark-making materials. Charcoal’s primary nature will create an immediate, tactile connection with the wall’s surface, that provides the ground for a sort of trompe-l’œil illusion. The show at kaufmann repetto will also feature a series of new pastels depicting imaginary landscapes, spaced out by sculptural ceramic teapot beaks sticking out from the walls. While coffee pots and tableware are recurring subjects in Nicolas Party’s work that may recall historical painters such as Giorgio Morandi, Party’s paintings and pastels, with their often improbable proportions and unrepresentative, vivid colors, create a sense of painting as something deeply contemporary and tangible.
Opposite – Portrait, 2015
Exhibition runs through to April 20th, 2015
Kaufmann Repetto
Via di porta Tenaglia 7
20121 Milan
Italy
“When Run The Jewels sent me this track, I knew we had the opportunity to create a film that means something. I felt a sense of responsibility to do just that. We had to exploit the lyrics and aggression and emotion of the track, and translate that into a film that would ignite a valuable and productive conversation about racially motivated violence in this country. It’s provocative, and we all knew this, so we were tasked with making something that expressed the intensity of senseless violence without eclipsing our humanity. For me, it was important to write a story that didn’t paint a simplistic portrait of the characters of the Cop and Kid. They’re not stereotypes. They’re people – complex, real people and, as such, the power had to shift between them at certain points throughout the story. The film begins and it feels like they have been fighting for days, they’re exhausted, not a single punch is thrown, their violence is communicated through clumsy, raw emotion. They’ve already fought their way past their judgments and learned hatred toward one another. Our goal was to highlight the futility of the violence, not celebrate it.”
AG Rojas
Director
