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Iconic brutalist building 180 Strand is an apt setting for video vanguard Jeremy Shaw’s latest 70s-inspired exhibition, which opens today in collaboration with König Galerie. ‘We love presenting exhibitions in unlikely locations, and we plan to do it across London,’ says Katharina Worf, König Galerie’s London director.
The German gallery, which represent an impressive catalogue of artists including like Katharina Grosse, Elmgreen & Dragset and Helen Marten, has this week opened the doors of its first permanent London location in a 3,750 sq ft, underground Marylebone carpark. Currently filled with a selection of works from the gallery’s archives, it’s ‘a space for Londoners to come and indulge in our artists, and really get to know us as a gallery’.
Installation view of König Galerie’s inauguating group show at its new Marylebone location. Photography: Dan Weill
Across town on the Strand, Shaw is flying the gallery’s flag off-site, where the nebulous, pseudo-documentary Liminals is ..
Sheila Hicks doesn’t suffer fools gladly – and neither does her work. The 84-year-old American fibre and textile artist weaves ‘mistakes’ into her intricate miniatures and mountainous soft sculptures, to see who, if anyone, will notice them.
‘Usually only children do,’ she says, ‘because they’re not jaded. They look at the work, and see it differently.’ Take the new piece Blue Under The Sea (2017), installed at Alison Jacques Gallery in London, as part of her latest exhibition ‘Stones of Peace’. A seemingly perfect blue square is packed tight with plaits made of alternating S and Z-shape weaving patterns to create waves of wool, pulled over a linen canvas. Towards the bottom left corner, however, the pattern begins to muddle, like a photograph moving out of focus, distorting the otherwise impeccable construction.
Blue Under The Sea, 2017
To think these decisions are paltry, only in place trick us, would be missing a fair whack of Hicks’ genius. Instead, she piles even the smallest ..
Since it first opened its doors in 2003, René Redzepi’s Noma restaurant has not only helped create a new benchmark for Nordic cuisine, but also elevated the aesthetic standard for the hospitality business in general. Since closing the restaurant earlier this year, Redzepi spearheaded a residency in Mexico, and opened a new spot in Copenhagen, Barr, while also working on Noma 2.0, which is due to open in early 2018.
Although the legend that was the original Noma has since been dismantled, its furnishings, glassware and ceramics will find a second lease of life thanks to Chicago auction house Wright, which is selling the restaurant’s iconic pieces on 2 November.
Table from the Noma kitchen
Redesigned in 2012 by Space Copenhagen, the restaurant became a touchstone for Danish eateries, inspiring cosy, dark-toned interiors and earthy materials in a raft of establishments. Redzepi had personally selected some of the tableware and furniture for his restaurant, produced by artisans from ac..
Here at Wallpaper* HQ, we’re in a spin over Hermèsmatic – a pop-up laundrette which opens today on King Street in Manchester. The space, situated over two floors of a historic corner building, allows Hermès fans to dip dye their pre-loved silk scarves designed by the house, into five scintillating shades, from denim-blue to fuchsia.
The two-storey spectacle, envisaged brilliantly in Hermès orange, features rows of washing machines, and boxes of branded washing-up powder (Andy Warhol would approve). The first Hermès silk scarf was created in 1937, and over the past 80 years, its original 90x90cm style has been reinterpreted in over 2,000 graphic, colourful and equestrian-inspired designs. Now, customers have the chance to bring their own creative spin to the brand’s canon.
Since 1948, Hermès scarves have been weaved and printed in Lyon, but the Hermèsmatic pop-up has placed creativity in the hands of its customers in Paris, New York, Kyoto and Dubai. Today marks the pop-up’s first UK ..
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It used to be that fine jewellery houses preferred an identikit boutique design of dark, intimate interiors lined with dusty museum-like showcases – all the better, they reckoned, to let quality gemstones shine. Since Peter Marino was invited to apply his golden touch to watch and jewellery boutiques across the globe for the likes of Chanel, Graff and Bulgari, the industry has been persuaded that jewels sparkle all the more if the environment reflects their patrons’ modern aspirations.
Hence, the arrival of Jaime Hayon’s contemporary grand salon for Nirav Modi’s New Delhi flagship, Patricia Urquiola’s pared-back luxury for Panerai and David Collins Studio’s sumptuous modernism for De Grisogono. Adding to that prestigious list is the London jeweller David Morris, which has worked with the former sculptor and furniture designer Eugene Brunelle to design its first boutique beyond the UK – in Paris.
While the exterior is an innocuous addition to the Rue Saint-Honoré’s Eastern string of n..
East New York is not known for its draw as a gallery hotspot, but if Fernando Mastrangelo has anything to do with it, the art-world masses may feel compelled to visit more often. The artist and designer, known for his serene sculptural works made from commonplace materials such as sand, glass and cement, recently opened a 10,000 sq ft workshop and studio, with 1,000 sq ft devoted to a gallery space.
‘In my old studio in Bushwick, I had a lot of success with people coming to see the pieces in this beautiful, all-white showroom gallery and then also being able to see those same pieces being made in the same building – it was a double experience,’ says Mastrangelo. However, his work area was cramped and he wanted an opportunity to expand not only his studio, but show how this showroom-studio concept could work for others in the artistic community.
Installation view of ‘In Good Company’ at Fernando Mastrangelo’s new studio space
Looking to inaugurate his new showroom-studio, Mastrangel..
Objects that arouse, titillate and terrify are all locked up in Tom Sachs’ Wunderkammern – cabinets of curiosity the artist has constructed for an exhibition at Sperone Westwater, ‘Objects of Devotion’. Sachs is an artist who, whether critical or not, appreciates stuff as stuff, whether ubiquitous or rare. He’s long been obsessed with remaking things: from Sony cameras to NASA memorabilia and his sister’s Barbie dolls, creating irresistible sculptures in miniature and on a large-scale, fashioned from his favoured materials such as duct tape, plywood, epoxy resin and foamcore.
Inspired by the exoticism and eroticism of cabinets of curiosities that date back to the Renaissance, Sachs’ own ‘theatre of the world’, The Cabinet (2014), is at first glance full of weapons and tools – but each has a name, referring to someone who affected the artist, from his mother to the Supreme Court. Other cabinets collect more autobiographical objects from the artist’s life, a self-portrait through things..
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