Online concept boutique I Don’t Like Mondays’ Gallery is “an evolving project focused on offering true rarities of fashion.” In collaboration with artists and designers, IDLM’s gallery offers “one-of-a-kind and limited edition garment art” that is exclusively available. READ MORE
Wim Delvoye, born 1965, is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work is focused on the body. He repeatedly links the attractive with the repulsive, creating work that holds within it inherent contradictions- one does not know whether to stare, be seduced, or to look away. Wim Delvoye has an eclectic oeuvre, exposing his interest in a range of themes, from bodily function, to the Catholic Church, and numerous subjects in between. He lives and works in Belgium, but recently moved to China after a court of law judged his pig tattoo art projects illegal. Delvoye is additionally well known for his “gothic” style work. In 2001, Delvoye, with the help of a radiologist, had several of his friends paint themselves with small amounts of barium, and perform explicit sexual acts in medical X-ray clinics. Wim Delvoye then used the X-ray scans to fill gothic window frames instead of classic stained glass. READ MORE….
Adarsha just sent over this mind-blowing video for Adanowsky’s song You Are The One directed by the Skinny Director team. The video was shot while Adanowsky recorded his album in Los Angeles at the old house of Ke$ha and Alex Ebert of Edward Sharpe and the Magnetic Zeroes. In order to give authenticity to the Love-In, the cast and crew were put into a sexual trance thanks to a white magic breathing exercise the directors learned from Electricity Aquarian, a surviving member of Los Angeles spiritual cult The Source Family. Over forty people then channeled their erotic energy to help give birth to Adanowsky’s new alter-ego, El Amador: “The Lover.”
“Inspired by the classic English china with pink rose, the chair reflects a love for almost forgotten values and feeling from a noble past. Beech wood and skai leather created a strong product with a soft surface, combining tradition with innovation.” Designed by Nika Zupanc for Moooi. From the 12th to the 17th of April Moooi is proud to present The Unexpected Welcome, a panoramic overview on its new products at the showroom in Milan for the 50th Edition of Il Salone del Mobile. In via Tortona 37 the new creations of Marcel Wanders, Stefano Giovannoni, Studio Job, Rooms, Sjoerd Vroonland, Bertjan Pot and Moooi Works will be revealed in combination with products extensions by Marcel Wanders and Nika Zupanc. For Moooi’s 10th anniversary the facade of the showroom will be concealed & transformed into a camera obscura enclosing an unexpected surprise: the Moooi Panorama. A panoramic overview of Moooi’s rich & artistic photography portfolio over the last 10 years, in combination with 2D models of new products, sketches and product cut-outs. Inside the panorama hide the new products, giving you the opportunity to move closer to the designs and zoom into their surprising details. Unexpected & mysterious fragrances will be diffused in the showroom to complete the flavor of the presentation and strengthen the impact of the visual experience. www.moooi.com
Tucked away in a literal sliver of a store front on Divisadero Street, in San Francisco, is a mysteriously intriguing new accessories shop called Hunted. Apparently they’d been open for only a few days when I paid a visit. I walked inside where a single shelf on the right side of the boutique was draped with hypnotizing antique jewelry, pocket books, hand bags, and other collected ephemera. Hunted is a brilliantly simple one stop outpost of elegant jewelry absolutely well worth a visit. 843 Divisadero Street, San Francisco, CA 94117 www.huntedsf.com
“The things I make are a complex description of simultaneous unmaking and making, deconstructing an object or a body before putting it back together again – this could be interpreted as a violent process, but is often a very delicate and fragile one, a process of transplantation rather than dislocation. The works are an attempt to change the relationship of the object to the body, making visible the invisible, opening up something normally closed, softening a usually hard surface.” – Jessica Harrison
In six tumultuous years, Orange Juice, led by Edwyn Collins, blazed a trail of self-reliance with the legendary Postcard label, ran in conjunction with then-manager Alan Horne, and greatly expanded the palette of independent music at the start of the ‘80s with their brand of literate pop songwriting that both pre-saged the coming of The Smiths and kickstarted a renaissance in Scottish pop music that continues to this day. After an embryonic start as the punk-influenced Nu-Sonics, Orange Juice came into being in 1979 as unfashionable pre-Year Zero punk influences such as The Byrds, Chic, Motown and The Velvet Underground began to make their presence known in the band’s developing sound. Over the next year, the group recorded four landmark 7” singles on Postcard (as well as putting out early releases from Aztec Camera, The Go-Betweens and Josef K). Though each single proved more successful than its predecessor, greater commercial aspirations led the band to sign to Polydor in the midst of making their first album in a prescient deal in which the band retained ownership of their material. The original lineup abruptly fell apart shortly after the release of the debut album, You Can’t Hide Your Love Forever, and, as quickly, the band’s future was decidedly unassured. However, with the addition of Malcolm Ross, formerly of Postcard labelmates Josef K, and Zimbabwe-by-way-of-Glasgow drummer Zeke Manyika, the group proceeded to make their commercial mark with the timeless funk and soul-inflected Rip It Up, whose title track was to be the group’s biggest UK hit, peaking at #8 in February of 1983. During the recording of a follow-up, the group had decided to head in a more rock direction, but creative tensions arose again and the group fell apart during the recording sessions from which theTexas Fever mini-LP was culled. With Polydor’s support of the group withdrawing, Collins, joined in the studio by Manyika, persevered to make the bittersweet swan song album, The Orange Juice, a collection that telegraphed the group’s impending demise amidst some of their finest recordings. Collins made it official in March of 1985 announcing mid-performance at a miner’s benefit at the Brixton Academy that it would be Orange Juice’s last performance. Last November Domino Records released an incredible seven disc anthology entitled Coals to Castles. www.dominorecords.co.us