Futurism at The Guggenheim

Debuting on February 21, 2014, the Guggenheim New York presents “Italian Futurism: 1909-1944: Reconstructing the Universe”. This landmark show is the largest retrospective of the “Futurismo” artists ever held outside of Italy. 

Founded by Filippo Tommaso Marinetti in 1909, Futurism was a complete rejection of anything old or traditional. Changing industrial practices and new inventions fueled the group of painters, writers, composers and even politicians. Technology, speed and machines were all typical themes in Futurist works. The effect would eventually ripple beyond the arts and even influence Mussolini’s fascist party which rose to power in the 1930’s. 

The Guggenheim has been able to borrow rarely seen murals by Benedetta Cappa, which have been displayed in a Palermo post office since their commission in 1933 and 1934. Long dismissed by scholars, this is a great opportunity to re-examine the movement and appreciate its progressive and even avant-garde sensibilities. Futurist principles have always influenced The Brvtalist and if in New York from now until September 1, 2014, this is a must see exhibition. 

For more information visit the Guggenheim Museum. 

Photo credit: The New York Times, AGR/Riccardi/Paolini, The Art Newspaper

"Kesh Angels" by Hassan Hajjaj

Moroccan born and London bred Hassan Hajjaj has worked in many different disciplines throughout his life. In London, he was everything from a DJ to stylist before picking up photography in his late 20’s. Now in his 50’s, Hajjaj premiers a new photography show at New York’s Taymour Grahne Gallery entitled “Kesh Angels”. 

His work focuses on the native women and fashions of Marrakesh, a city known for its use of motorcycles as a primary means of transportation. Hajjaj’s women have a bit more flair than one might typically associate with a conservative country. He was less interested in the western aesthetic of Morocco and placed emphasis on the indigenous culture and fashions of the city’s female residents. The result is a stunning and exciting portrait of some pretty bad ass women. 

The show runs until March 8, 2014. Photos from Taymour Grahne and Rossa Issa Projects. 

-JRS 

Looking forward to this release. Out next week on Stroboscopic Artefacts. 

From the artist: 

Churches Schools and Guns. A provocative name for a provocative album of techno from one of the genre’s most consistently intriguing producers, Lucy. This his second solo album, pushes forward from his debut full-length, 2011’s Wordplay for Working Bees, and firmly establishes him in a league of his own.Over the past few years Lucy’s label, Stroboscopic Artefacts, Has become a watchword for techno’s vanguard - providing a platform for new artists pushing at the genre’s boundaries and a harbor for some of the most experimental work from names you already recognize. Lucy’s progress as a producer has followed that same trajectory, moving from relatively straightforward dancefloor-driven material to deeper, murkier places. Churches Schools and Guns continues on, a collection of 12 tracks that sound - more than anything else - like the act of searching.

Because, despite its title, churches Schools and Guns asks more questions than it answers. Indeed, the song titles are often red herrings: a disembodied voice asks someone to “Leave Us Alone”. But who is it asking? And who does it speak for? Why do bells sweetly twinkle in the background, adding light to the lumbering beat that pulls everything to the ground over and over again? What elemental force flies around “The Self AS Another”, soaring above, below and between the beats?
With track names like “Human Triage” and “Laws and Habits”, you might mistake Churches Schools and Guns for a brutal industrial techno record, designed for destruction. The songs here unsettle, surely, but they do so with misdirection and unpredictability. “Human Triage” slithers and slides in a similar manner to Zeitgeber, Lucy’s recent collaboration with Speedy J. “Follow the leader” presents overtone singing in a techno framework, finding the similarities in both as hypnotic and ritual forms.
What’s perhaps most ear-catching about Churches Schools and Guns, though, is Lucy’s sense of space. The album is by no means a dub techno record, but the intent is the same. How do twist recognizable sounds into new ones that have little or no relation to there origin? And yet, for all its alien wonder, there’s rarely a moment where you feel cut off from something human. Even when the beat gets heavy, you can’t help but feel that you’re in the room with it. Everytime time things feel digital, there’s always something natural that complicates things.
As the record goes along, it continues to pull away from reality - and the Lucy you once new. “We Live As We Dream,” “All That Noise” and “Best Selling Show” all propose possible futures: Elegiac, dystopian and somewhere in between. And then comes “Falling,” which sounds like nothing you’ve heard from Lucy before. But that’s to be expected. Contradictions. The search for an answer being the answer itself. Catch 22’s. The illusion of choice. These are the important things to take away from Churches Schools and Guns, Lucy’s masterful second album. After all, we live in a world where everything is not as it seems. Or do we?

New York Fashion Week- Women: Katie Gallagher F/W 2014

Young upstart Katie Gallagher successfully broke the mold at New York Fashion Week by showing a very inspired, dark, casual yet elegant collection. The line featured flowing, floor length pieces with an all black color palate with nice touches of red, oxblood and crimson hues. The setting, at New York’s High Line Hotel, was the perfect compliment as the gothic archways and dimly lit chandeliers highlighted the collection’s aesthetic. These are very easy, wearable pieces that look both comfortable and stylish, a feat that sounds easy but difficult to get right. Looking forward to more of Ms. Gallagher’s offerings. 

-JRS 

New York Fashion Week: Carlos Campos F/W 2014

After a whirlwind of European events, the fashion world descends on American soil for New York Fashion Week. This season comes with some intrigue as the entire event has been completely decentralized. Some are calling it “Commuter Week” because there is no host venue for the shows. Uptown, downtown, Brooklyn and everywhere in between will see action. It’s sure to put a lot of money in the pockets of cab and Uber drivers all over New York. So far the men’s presentations have been as expected: boring. The American Heritage/Denham Psycho look has officially taken over American designers and it’s become terribly predictable. I could not be less excited for what MIchael Kors, Ralph Lauren, Ernest Alexander, Gilded Age or any of those other brands have to offer these days. Even Tom Ford seemed uninspired. After painstakingly making my way through the presentations, one show caught my eye so I figured I would write about it. 

Carlos Campos is a relative newcomer to the fashion scene (his first line launched in 2006). He has, however, been able to make some waves in such a short time. He’s become a celebrity favorite and while his specialty was originally menswear, he has since launched a successful women’s line as well. He is committed to a practical, clean aesthetic and that is usually obvious when you look at his clothes. For his Fall/Winter 2014 collection, he was inspired by the cowboy of the future. His specific influence were the Guachos of Argentina. He set out to craft a masculine line that was very wearable and precise. His color palate was “deep space” and overall I think he was successful. I like the dark navy and white combination along with neoprene jackets and printed button up shirts. The shoes, hats and scarves are also very nice finishing touches. Cowboy seems to be a big theme this year (and I guess it kind of always is), but as long as it keeps the masculinity in menswear, then I’m all for it. 

-JRS