Whatever humannequins are, they'll be at a Hood By Air "performance masquerading as a party" at MoMA, part of the museum's new PopRally program. The part-theater, part-virtual event builds on designer Shayne Oliver's spring 2015 shows in Paris and New York, the first and second parts, respectively, of his three-part Superego/Ego/Id series. To jog your memory, Superego was the collection held at the top of a disused glass office building, where seemingly every guest tweeted the spectacular view of the Eiffel Tower. Even by fashion standards, models looked aloof and detached as they rolled around in office chairs wearing deconstructed suits, platform boots, and executive-realness long hair. Maybe they're the same humannequins we'll see in Id at MoMA. Other performers include Boychild, Mykki Blanco, plus surprise guests. There may be no better way to celebrate Halloween.
October 30, 8:00 pm, $25 (includes open bar), MoMA, 11 W. 53 Street
You might wonder what sort of accoutrement a leather daddy, a term we use fondly, would collect and if that's something you really want to see. In the case of Peter Marino — that swaggering biker-clad bear of a designer and architect behind unexpectedly opulent boutiques for Chanel, Dior, and Louis Vuitton, among countless other projects, fashion and otherwise — the answers are: art and yes.
Beginning during Art Basel Miami, the Bass Museum of Art will present an exhibition exploring "the renowned American architect’s multifaceted relationship with art." Curated by the equally unorthodox Jérôme Sans, the show will address the intersection of Marino’s architectural designs and his private collection of modern and contemporary works by the likes of Pierpaolo Ferrari, Keith Haring, Damien Hirst, Thomas Houseago, Anselm Kiefer, Robert Mapplethorpe, Steven Meisel, Walter Pfeiffer, Richard Prince, Tom Sachs, Richard Serra, Christopher Wool, and Andy Warhol, a mentor of Marinos' from way back when.
In addition to his own recent series of large cast-bronze boxes, newly commissioned works by Guy Limone, Farhad Moshiri, Jean-Michel Othoniel and Erwin Wurm will also go on view, beginning with Gregor Hildebrandt's Orphische Schatten (Orphic Shadows). The site-specific installation employing hundreds of videotape strips culled from copies of Jean Cocteau’s classic film Orphée will guide visitors from room to room. The show ends with a recreation of Christophe Willibald Gluck’s contemporary opera Orfeo ed Euridice, a collaboration between Marino, his wife Jane Trapnell, Raf Simons, Michal Rovner, and Francesco Clemente originally staged in Marino’s New York home in 2013.
One Way: Peter Marino, Dec 4, 2014 – Mar 29, 2015, Bass Museum of Art, Miami
Guy Limone, Red, Black and Grey-White Tapestry, 2014; Andy Warhol, Human Heart, circa 1979
Detail of Guy's Limone's Red, Black and Grey-White Tapestry
Leather Biker Jacket, 2010 (left: Ronnie Cutrone, middle: Lee Quinones, right: Nate Lowman)
A loyalist, Hedi Slimane has traditionally shown his photography only in Almine Rech Gallery in Paris and Brussels. But now he's branching out — just a little.
Bowing in September (just before the spring collections), the Saint Laurent designer-photographer will present Sonic, an exhibition of his more significant rock portraits over the years — think Lou Reed, Amy Winehouse, and Keith Richards.
Hand-picked by himself, naturally, the images will go on display in the intimate Pierre Bergé - Yves Saint Laurent Foundation in Paris, culminating in a video installation juxtaposing the now-Angeleno's London series (2003 - 2007) with his California series (2007 - present).
Sonic, September 18, 2014 - January 11, 2015, Fondation Pierre Bergé - Yves Saint Laurent, 3 rue Léonce Reynaud, Paris
Before Boyhood, the gritty new coming-of-age film from Richard Linklater that everyone is crowing about, there was Dazed & Confused — which brought both Matthew McConaughey and Milla Jovovich to the collective consciousness — and before that, Slacker. Both of those seminal works from Linklater and many more (sadly, not Before Sunrise) will screen at the Anthology Film Archives through the rest of July as part of a tribute to his friend, the avant-garde filmmaker James Benning.
Visit Anthology Film Archives
The Brooklyn-based and still-nascent label Hood by Air has already scored a museum exhibition, NYC Makers, part of the MAD Biennial. In the compact yet ambitious show at the Museum of Arts and Design, designer Shayne Oliver's laced-up two-piece masterwork for HBA — a parachute Jacket and flight shorts for spring 2014 — counts among the items loaned by 100 artists who call the city home, including Laurie Anderson, Aisen Caro Chacin, Chris Pellettieri, and Rafael de Cárdenas. It's the first exhibition organized under the aegis of MAD's new director, Glenn Adamson — an auspicious new beginning.
NYC Makers, July 1 - October 12, 2014, Museum of Arts and Design, 2 Columbus Circle, NYC
Ryan McNamara, the Brooklyn-based performance artist who once staged a commissioned piece in Louis Vuitton's flagship, a "showboy production line" in which, for two hours, 30 male dancers conga-lined through the store to a loop of old chorus-line music created by McNamara. As they danced, they passed various Louis Vuitton bags, spontaneously licking them. “Performance is inherently subversive," McNamara said, "in that the presenting institution cannot guarantee what is going to happen."
Now he's presenting Misty Malarky Ying Yang, a new performance at High Line Art that commemorates the 35th anniversary of Jimmy Carter’s ill-received Malaise Speech, given July 15, 1979. McNamara and a group of performers will use the televised address — in which the president blamed the oil crisis on over-consumption by the American public — as the point of departure for a choreographed, immersive spectacle that will snake along the length of the High Line from its southernmost point to its northernmost. The title of the show, Misty Malarky Ying Yang, refers to the name of the Siamese cat belonging by the president's daughter, Amy Carter, while in the White House.
July 15–17, 2014, 7:30 pm, south end of the High Line @ Gansevoort Street
Evoking the passage of time and its corrosive ravages, New York artist Daniel Arsham brings his signature erosion technique to more cherished items, this time musical instruments. All new works, The Future Is Always Now at Galerie Perrotin features plaster casts of guitars, turntables, microphones, boomboxes, speakers, keyboards and the like, whose volcanic and obsidian composition has been degraded and fossilized to the point of no return.
Fashion followers may recall that, in 2005, Hedi Slimane commissioned Arsham to create the dressing rooms for his new Dior Homme store in Los Angeles. The designer's only requirements were "a hook, a seat and a mirror." Thus, Arsham's implemented a hollowed-out, excavated look in which walls appeared to be in mid-crumble.
Daniel Arsham, The Future Is Always Now, June 12 - July 26, 2014, Galerie Perrotin, 76 rue de Turenne, Paris
Like many great fashion photographers, Irving Penn didn't restrict his oeuvre to swanlike models in fancy dresses. Far from it. During his seven-decade tenure at Vogue, which included 159 covers, he shot everything from still-lifes and flowers to celebrities and tribespeople.
On the five-year anniversary of his death (at the ripe old age of 92), a new retrospective, Resonance, explores wide-ranging repertoire of the never-stopping American photographer. At François Pinault's sprawling Palazzo Grassi on the Grand Canal in Venice, curators Pierre Apraxine and Matthieu Humery have assembled 130 of the master's photographs — glamour shots included — taken between the end of the 1940s and the mid-1980s, many of which have never been shown.
The aim of the exhibit is to present the photographic passions of the venerated lensman, a Jersey boy through and through who sought to capture the ephemerality of life and the fleeting connections between all living things. Well-known and barely-known images are paired side-by-side as visitors are given a rare glimpse into Penn's process and the egalitarian nature with which he viewed his varied subjects.
Irving Penn, Resonance, through December 31, 2014, Palazzo Grassi, Dorsoduro 2, Venice
"La Divanee is based on the real story of the Catalan Countess of Guell, Palomba Matas Mujika de Pumeral y Santiago. She reclined herself on a chaise lounge at the age of eighteen with the intention to never stand up again."
So begins the synopsis for La Divanee, a short film (not actually based on a true story) by Jessica Mitrani that's making its New York debut at Neuehouse on May 4. The film stars Fatimah Azzahra as the Countess, who doesn't just lie there as she reclines nude (save for animal skins), but writes seven novels and even gives birth. And guess who does the voiceover? None other than Spanish actress Rosy de Palma, she with the ultimate accent befitting a Catalan lady of leisure.
The same night Matrani is also screening her first film, Rita Goes to the Supermarket (2010), a satirical musical short shot in candy-colored 35 millimeter film. Sounds like a Chanel show waiting to happen.
La Divanee & Rita Goes to the Supermarket, 30 minute reel of both films will run from 4-5:30 pm, May 4, followed by a conversation between Jessica Mitrani and Adrienne Edwards (associate curator, Performa Institute), Neuehouse, 110 E 25th St, NYC