Up on the 2nd floor of a Wooster Street loft building The New York Earth Room by Walter De Maria bides its time, with hardly a building placard to announce its presence among the retail shops of Soho.
In Volume 5 of our print magazine, we profiled New York City photographer Katsu Naito and his 2011 photobook, Westside Rendezvous, which is comprised of several Meatpacking District streetscapes but mostly portraits of transgender prostitutes that plied their trade there in the afternoons of the late 80s and early 90s.
This past June in Paris I was sitting in the lobby bar of the InterContinental hotel, catching up with a prominent boutique owner after the Haider Ackermann menswear show. She was in dour spirits. “How am I supposed to sell fashion when even people who go to shows don’t wear fashion?” she asked ruefully and rhetorically. She was referring to the way the continuing casualization of style has been taking a toll on designer fashion at large. She was right. Today, one can see fashion insiders sporting Adidas track pants or a Nike jacket worn by a so-called “fashion person,” as likely as say a Rick Owens leather or a Celine bag. Last season, Instagram feeds of street style photographers were flooded with images of fashion people in Thrasher magazine t-shirts. This time the trend seemed to pivot in a new direction, as time after time I spotted attendees in various band t-shirts – Hole, Pink Floyd, Nirvana, and so on.
For two days only, Septhember 6th and 7th, the groundbreaking Japanese visual and sound artist Ryoji Ikeda premieres his new work, supercodex [liveset], at the Metropolitan Museum of Art in New York. The performance is based on his eponymous 2013 album. The final installment of his album trilogy, supercodex [liveset] explores the relationship between data and sound through rhythmic and raw samplings from his earlier albums and hypnotic, enveloping audiovisual installations. If you missed his epic immersive installation “THE TRANSFINITE” at the Park Avenue Armory, this is a good chance to catch up. Tickets are $45.
Ali ‘Dubfire’ Shirazinia proudly wears the battle wounds of public self-realization not often found in the “everyone’s a techno DJ and producer” scene of today.
This past Friday, Black Asteroid, who often spins at our events, dropped a new album called “Thrust” on the Last Gang Records label.
In art, the tension between artistic expression and commercial work is nothing new. Every artist dreams of being unfettered by commercial constraints; some good ones get to pour their creativity into commercial work; for the lucky few it can even pave a path to art (James Rosenquist is one famous example). The Japanese cnematographer Kensaku Kakimoto has found commercial success early on in his career. At only 34, he has already created a slew of videos for some of the biggest Japanese and international brands like Toyota and Coca-Cola. He has also produced three feature films in Japan.
Under the moniker of Silent Servant the DJ, producer, and visual artist Juan Mendez has built an inner and outer world so meticulously precision perfect that it demands we creep in closer, listen harder.
If there was one leitmotif in the work of the Japanese photographer Masahisa Fukase, it’s solitude, or more precisely, loneliness.
At first listen to noise-industrial-techno stalwart Dominick Fernow, (a.k.a Vatican Shadow) ears dive deep into the producer’s signature cauldron of doomsday heavy beats and grinding techno structures.