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.
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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
In the 1970s, an unusual and now-nonexistent film genre known as 'porno chic' flourished in a handful of New York cinemas. These films were essentially surprisingly well-produced updates of film-noir classics (think Sunset Boulevard), their sexual tension manifested so as to become porn. Actors of the X-rated sort donned raincoats, lurked in the shadows, delivered minimal lines, and otherwise did the things porn stars do. Porn noir or roughies, these films were also called.
Anthology Film Archives has done the work no one else will do and located four of these gems — which, we might add, have excellent posters. They're slated to screen at the East Village institution, as part of its In the Flesh series, from clean 35mm prints, presented by special guests who'll provide charmingly lascivious details from behind-the-scenes.
Expose Me, Lovely
March 27, 8:00 PM
The Double Exposure of Holly
March 28, 8:00 PM
March 29, 8:00 PM
March 30, 8:00 PM
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Feathers have the unique ability to signify angelic innocence or devilish glamour, and any number of traits therein. A new exhibition at Antwerp's MoMu fashion museum, Birds of Paradise, will shed light on the power of plumage in fashion, couture, and film from the 20th century to present. In collaboration with Maison Lemarié of Paris, the exhibition explores the craft of the plumassier and the art of feather embroidery.
For the most part, feathers have been used to signal upper-class sophistication and luxury. Belle époque garments emphasized refinement through ostrich, pheasant and marabou feathers. Soon, flappers of the Roaring Twenties embraced feathers with mainstream gusto, fashioning them into boas and hats. Couturiers from Cristóbal Balenciaga to Christian Dior began working extensively with feathers, which also worked their way into films of the early and mid-1900s. It was on the big screen that Marlene Dietrich's white swan-down coat gained notoriety. Nowadays feathers have taken on a more diverse role, denoting dark glamour (Alexander McQueen) and poetic esoterica (Ann Demeulemeester).
Birds of Paradise: Plumes & Feathers in Fashion, March 20 - August 24, 2014, MoMu Fashion Museum Antwerp, Nationalestraat 28, 2000 Antwerp, Belgium