WallpaperOctober 2019的目錄

WILLIAM KENTRIDGE Artist Kentridge stands alongside El Anatsui (page 188) as one of the great African artists of our time, equally adept at apocalyptic visions (like his recent production of Alban Berg’s opera Wozzeck) and jubilant celebrations of human resilience (the eightscreen installation More Sweetly Play the Dance, a comment on the refugee crisis). His sole Véronique, a classic French dish with an indulgent vermouth sauce, features in this month’s Artist’s Palate (page 402). ARI MARCOPOULOS Photographer The Dutch-born Marcopoulos, who splits his time between Brooklyn and Karystos, is known for his raw, intimate portraits of the world’s most familiar faces. He went inside the New York studio of artist Jenny Holzer, where the creative magic for her guest editor section was unfolding in real time (page 319). ‘It was…

LDF PREVIEW 2019 In 1966, designers Peter Banks and David Heeley set up Banks Heeley Plastics, pioneering the use of Perspex to create critically acclaimed furniture collections. Banks’ daughter Penny has now chosen to re-release a range of designs in a more environmentally conscious material called Green Cast, which is made from 100 per cent recycled acrylic. ‘We extensively researched the original production methods to ensure we remained true to the actual methods used in the 1960s,’ she says. The limited-edition collection will include lounge seating, dining tables, clocks and lighting. PB Originals launches at the London Design Fair, 19-22 September, pboriginals.co.uk…

LDF PREVIEW 2019 In the midst of the selfie era, it’s more important than ever to dig down into the deepest, sometimes darkest, depths of our own identities. At least, that’s what design studio M-L-XL believes. It will explore the idea for an exhibition it is curating, entitled Masters of Disguise, taking place at the former Skandium store in Brompton at this year’s London Design Festival. The likes of Michael Marriott, Bethan Laura Wood, Martino Gamper, Studio Furthermore and Marco Campardo of M-L-XL have all taken a period of inward reflection and are presenting their findings in the form of a handmade mask, crafted from found objects and recycled materials. The show will be brought to life by a playful performative dinner, during which the designers will all wear their…

Gucci’s new ‘Grip’ watch, which genuinely works on both a man’s or a woman’s wrist, is a brilliant mash-up of a century’s worth of the best horological design. Heavily inspired by the luxury sports watches of the 1970s, its square dial with round edges was a period tick of the time. The mix of brushed-and polished-metal finishes pay joyful homage to Gérald Genta’s 1970 ‘Royal Oak’ design for Audemars Piguet, while the ‘no-dial’ dial can be attributed to Austrian watchmaker Josef Pallweber, who patented his modern ‘digital’ display in 1883. It’s been a long time coming but, in 2019, in the polymath hands of Gucci’s Alessandro Michele, the fashion timepiece has finally evolved into a high-street watch with a greatest-hits design culture all its own.…

LDF PREVIEW 2019 Project: ‘WOODEN HINGE’ Designer: RAW-EDGES Institution: WHITECHAPEL GALLERY Designed for official functions and lectures, as well as to encourage exploration of the book as a medium, this folding bookstand for Whitechapel Gallery director Iwona Blazwick supports the weight of books through a clever hinge mechanism. ‘It is made of ply and covered with the sort of canvas textile that is commonly used to cover books,’ explain Shay Alkalay and Yael Mer (pictured here) of design studio Raw-Edges. As we arrive at Benchmark Furniture’s Berkshire HQ, we interrupt a breakaway interrogation of a troublesome hinge – part of an elegant design for a portable lectern drawn up by Raw-Edges’ Yael Mer and Shay Alkalay for Iwona Blazwick, director of the Whitechapel Gallery. This is just one of ten pieces…

Max Lamb’s upcoming show ‘Urushi Wajima’ at London’s Gallery Fumi is the culmination of a nearly ten-year love affair with the finest Japanese urushi lacquer, and with the craftspeople in Wajima – in Ishikawa prefecture, on the northern tip of the Noto peninsula – who live and breathe the craft. ‘I’ve been in Wajima four times and just love working with all the craftspeople involved,’ says Lamb. His designs merge generations of tradition with his humorous and no-nonsense approach to the creative terrain between art and furniture. If one can talk about a hierarchy of lacquer-producing regions in Japan, Wajima comes out on top. Wajima-nuri, as lacquer products from the small city (population 25,000) are known in Japan, are famed for superior durability. Their rigorous production involves layer upon layer…

This autumn, the Swiss art interventionist Klaus Littmann is filling a football stadium in the Austrian town of Klagenfurt with a full-grown forest. It is a free-access public art installation of Christo-like proportions that has had much of Austria buzzing for months. Littmann is not new to large-scale public projects. In 2018, for example, he floated 12 giant ‘art planets’ by a range of international artists above the city of Basel, visible from miles around. Born in 1951 in Riehen, he studied in the 1970s at the Düsseldorf Art Academy under Joseph Beuys and had his own gallery in Basel during the 1980s and 1990s, before turning his attention to ‘themeoriented art exhibitions and interventions in the public arena’. He calls himself a ‘freelance mediator of contemporary art’, but actually…

1977 Opens Studio 54 on 54th Street in Manhattan with his friend Steve Rubell. With its everchanging theatrical sets and celebrity guest lists, the club is an instant success 1980 Is jailed after he and Rubell are convicted of tax evasion (later pardoned). At Studio 54, tax officials had found nearly $1m in cash hidden in bin liners and behind ceiling panels 1984 Leverages his and Rubell’s nightclub experience to open the world’s first boutique or ‘style’ hotel, Morgans, in New York, with interiors by Andrée Putman 1985 Opens Palladium nightclub in New York, designed by Japanese architect Arata Isozaki and with installations by Jean-Michel Basquiat and Keith Haring 1994 After Rubell’s death, Schrager goes it alone, launching the Delano ‘urban resort’ in Miami, the Mondrian hotel in West Hollywood,…

Party line Luxury drinks brand Clos19 is the toast of e-commerce What are you bringing to the party? How do you set the table – and the mood? And more pertinently, why should champagne just be regarded as something to consume, when it offers such enormous potential for creativity? These were the questions Stéphanie Watine Arnault pondered in 2017 when she founded Clos19, the e-commerce platform that is speedily reinventing the landscape of wine and spirits for a new generation. Based in London, Clos19 focuses less on products and more on the things they foster – including unforgettable experiences, social celebrations and the ever-evolving art of hosting. I meet Watine Arnault at her London apartment, where elegant furnishings are accented by an enviable art collection. She’s the consummate hostess but…

The Danish architect and designer Hans Bølling is 88 years old and an enthusiastic lover of life. But most of all, he is a lover of his wife. ‘My inspiration for everything I do all comes back to her,’ says Bølling as he points to Søs, his partner of 60 years. They are drinking white wine in the living room of the home they have shared for as many decades – a single-storey pre-fab house that Bølling has extended seven times, in Charlottenlund, a coastal suburb north of Copenhagen. Displayed proudly on tabletops, forgotten on top of a stack of books on a windowsill, and scattered across shelves in Bølling’s home studio, sit prototypes and early models of dogs and ducks and dopey little dudes; exotic birds roost here and…

Ahmet Öğüt works with a range of forms to tackle an unending list of political and cultural topics that bleed into everyday life, constantly pushing the limits of his artistic practice. He has addressed the Middle Eastern subculture of ‘car drifting’ through a large-scale public sculpture in Japan (The Drifters, 2018); police violence through interventions in Milan, Warsaw, Copenhagen and Timişoara (The Swinging Doors, 2009-18); socio-political affairs in Tulum, through a poetic video (The Missing T, 2018); and class struggles around the world through various functional and immersive installations. The peripatetic artist, who was born, raised and educated in Turkey, might now be based between Berlin and Amsterdam, but all his works respond to the international sites where they are made. ‘As a conceptual artist, I am interested in keeping…

Markus Schinwald is the first to admit he was hopeless as a fashion designer. But the Austrian artist’s early training in fashion design sparked a chain reaction that still informs his growing and unusual oeuvre. Modified historical portraits put 46-year-old Schinwald on the map nearly a decade ago, and were widely seen in his Austrian pavilion for the 2011 Venice Biennale. These sentimental paintings and drawings portray middle-class Europeans, modified by Schinwald or his expert restorers to include bizarre representations of prosthetics or swathes of cloth on the subjects’ faces or bodies. Wire-rimmed spectacles, added to the image of an unknown 1800s dandy, might continue beyond the eyes, meander around the face, and then hook into his lips. The effect is uncanny, but also humorous; and the prosthetics, as eerie…

‘This particular piece of information completely changed my perception about the design,’ admitted an erudite colleague of mine after being shown a photograph of a dramatic dress. She had thought the dress was from the 19th century, or at least from a period production of the sort that has become super hip recently, but it was in fact credited to none other than Vivienne Westwood. In less than a second, the dress went from Victorian to punk. The Westwood example shows how the identity of a garment is constructed, but also how this identity is far from stable. What it means, what it stands for, who is credited with it or how it should be worn, can all change easily with new associations or with time, gaining a completely different…

Ljubljana is the most provincial of European capitals. Small, out of the way, a traditional thoroughfare, from Roman times onwards, for those travelling to grander, more storied places: Venice to the west, Vienna to the north, Budapest to the east, the beautiful Croatian coastline to the south. But it should not be overlooked. There’s a reason Slovenia’s capital and largest city translates as ‘the beloved’. Provincial it may be, but Ljubljana is anything but a cultural backwater. It is one of the most characterful cities on the continent – a perfectly preserved palimpsest of European architectural history ringed with forests, lakes and mountains. The city dates back to the 1st century AD. It was then a Roman outpost named Emona, and remnants of Roman walls and churches are still visible.…

Remixed classic RAFFLES, SINGAPORE After a two-year tip-to-toe facelift by the New York-based studio Champalimaud, the hoardings have finally come off Raffles Singapore. The results will find their detractors, but there’s no denying the sparkle in the grande dame’s freshly polished white marble floors, gilded trim, and silver-leafed ceilings. The lofty suites – their ranks increased from 103 to 115 – pair Bianco Dolomite marble and iPad-controlled gadgetry with Peranakan-inspired floor tiles, and handsome low-slung furniture. Anchored by an extravagant chandelier that rains from the ceiling like fireworks, the central atrium is now flanked by a slickly reimagined Writers Bar and Tiffin Room. Meanwhile, the Long Bar, refreshed with black and white rattan chairs and leather bar stools, still serves up the ubiquitous Singapore Sling, but the bigger draw is…

Sole Véronique Whether in charcoal-on-newsprint drawings or monumental sculptures, William Kentridge is a master of narrative, shining light on turbulent histories through hauntingly expressive forms. To mark a pair of retrospective shows in his native South Africa, we invited him to share his favourite dish, which comes with an appropriate dash of drama. Of the sole Véronique, an invention of the great Auguste Escoffier, Kentridge says, ‘In my childhood, when this was being prepared, it was always a sign of a grand dinner party. More recently, I have tried to make it, but it has never matched my memory of how it looked then.’ ‘Why Should I Hesitate?’ is showing from 24 August–23 March at Zeitz MOCAA and Norval Foundation, Cape Town, zeitzmocaa. museum, norvalfoundation.org. For Kentridge’s recipe, visit Wallpaper.com…

Heavy hitters Welcome to our biggest and most anticipated issue of the year, weighing in at 1.5kg, a bumper 404 pages. It’s also the most special – as we’ve handed over the reins to two guest editors, as per Wallpaper* tradition. This year’s headliners are fashion designer Hussein Chalayan and conceptual artist Jenny Holzer, both trailblazing talents, industry heavyweights and our longtime cultural heroes. Each guest editor has delved into topics close to their heart. Chalayan’s section is a triple bill – a photographic portfolio of his new and archival designs, shot by Brigitte Niedermair and celebrating his 25 years in fashion; profiles of artists and choreographers who have shaped his creative universe; and a tour of his hometown of Northern Nicosia, where entrepreneurs are making bold strides to overcome…

The trend for blurring the boundaries between lowand high-brow feasting continues at Morty & Bob’s, in London’s King’s Cross. The café-bar is currently making a meal of the cheese toastie, including putting on toastie and wine pairing evenings. ‘Things to consider when choosing the right cheese for toasties include its relationship to heat,’ says owner Charlie Phillips. ‘High quality and aged vintage hard cheese will turn to oil so, if you want that rich, tangy flavour, use it with another cheese that can offer some stability in the heat.’ Phillips would pair a toastie with a crisp, cold rosé or light red, while Alex Lambert, cellar manager at cheesemonger Paxton & Whitfield, offers further guidelines. ‘When cheese is melted, the flavours become more intense, and the change in texture makes…

Instead of presenting new work during the hubbub of NYCxDesign in May, maverick lighting designer Bec Brittain held off unveiling her newest creations until this month. ‘I’ve become increasingly aware of the way design brands in our industry are subject to protocols that feel incongruent with the natural cycles of the creative process,’ says the Brooklyn-based designer. ‘I started thinking about slow food, slow fashion, and thought, why not slow design?’ Her Gemini collection, which features more than 27 limited-edition designs, will be sold in a pop-up exhibition, fire sale-style, with prices starting at a 70 per cent discount on opening night. The discount will then decrease incrementally during the week, thus rewarding the most loyal clients first. Many of the designs reappropriate components from the designer’s existing collections, while…

There was a stomping sensibility on the A/W19 runways, as brands from Bottega Veneta to Christian Dior, and from Prada to The Row, bolstered their various footings on the catwalks with the addition of a sturdy pair of lug-soled boots. Tod’s, too, took a well-trodden path, sending models down in two-toned knee-high boots with a partequestrian, part-punk mindset. The boots’ toe caps were also fortified with the brand’s signature Gommino studs (chromed metal micro studs), casting a rebellious and resistant touch. Now that’s one-step-ahead design. tods.com OUT OF OFFICE | TORBJØRN RØDLAND BODIL BLAIN SHARES COFFEE AND CREATIVE SMALL TALK WITH… the Norwegian photographic artist BB: How do you take your coffee? TR: Black, but I’m not a daily user. Did you have a lot of creative support when you…

Pierre Chareau’s Maison de Verre in Paris is as far removed from Melbourne, Australia, as is Donato Bramante’s Tempietto in Rome. The buildings also straddle different time periods. Chareau’s from the early 1930s, and Bramante’s completed in the early 16th century. Yet both became an inspiration for the conversion of a 1930s Melbourne duplex, comprising two apartments, into a single, contemporary home – as it happens, the one I share with my partner, Naomi. When we purchased the simple, almost brutalist duplex in South Yarra in 2011, the idea of talking about either Chareau or Bramante would have been odd, given its lack of architectural pedigree. Yet when architect Robert Simeoni first inspected our simple abode, he saw something quite special. ‘There was a wonderful spirit in the existing home,…

With its rows of workers’ cottages, Bauhaus swimming baths, factories and power station, Luckenwalde near Berlin was once a sleepy yet productive suburb in what was then East Germany. Beyond industry, nothing much happened. When the Berlin Wall came down 30 years ago, nothing much became nothing at all. The E-Werk power station closed and became a centre for post-unification reintegration. Locals were educated in labour laws, service culture and home economics, and moved away. Luckenwalde fell into slow decline. For Stuttgart-born artist Pablo Wendel, Luckenwalde’s proximity to Berlin and its many listed buildings presented an opportunity. In 2017, he purchased the defunct power station through his not-forprofit arts organisation Performance Electrics, and this September will turn it back on. Only this time round, it will be fuelled by wood…

A quarter century ago, Hussein Chalayan launched himself from London’s Central Saint Martins with pieces of silk and rusted but animated iron filings, a star-making collection. Since then, he has proved himself British fashion’s most adventurous mind. A dynamic cutter and shaper, he has tapped into technology and ethnography, toyed with decay and dissolution, created tables that turn into dresses and dresses that magic into hats. He’s designed exhibitions, collaborated on dance pieces and put Lady Gaga in a fibreglass vessel. We spent time with Chalayan in London and Northern Nicosia in Cyprus, his hometown and now emerging as a unique creative hub. He corrals friends and collaborators to outline ideas that shape his work, while photographer Brigitte Niedermair reframes his high-concept fashion.…

Hussein Chalayan: How has the isolation of Northern Cyprus affected your world view and work? A TURBULENT PAST Late 1950s Start of the intercommunal conflict on the Mediterranean island; first between the Greek Cypriots and the British, and then between Greek and Turkish Cypriots 1960 Cyprus gains independence from Britain, with a powersharing agreement between Greek and Turkish Cypriots. Britain, Turkey and Greece become its guarantor nations 1963 Power-sharing crumbles, fighting ensues 1964 A buffer zone patrolled by UN peacekeeping forces is established across the island, dividing Turkish Cypriots in the North from Greek Cypriots in the South, and splitting the capital of Nicosia in two 1974 A right-wing coup attempts to unite Cyprus with Greece. In response, Turkish forces land in Cyprus and enforce its partition, displacing both Greek…

Hussein Chalayan: What is the ultimate moment, where the relationship between space and body is at its peak and boundaries become indistinguishable? William Forsythe: Ballet is directed intention. But within my Choreographic Objects, there is nothing but intention. There is no other subject, really, but intention – that was the message from my hallucination. It’s 1987 and William Forsythe is unwinding in the bath. He has been rehearsing his own piece In the Middle, Somewhat Elevated, created for Rudolf Nureyev’s Paris Opera Ballet. Mozart’s ‘Mass in C minor’ playing on his Walkman, Forsythe hears a voice say: ‘It starts from any point.’ Startled, he had a sudden realisation: ‘How I generate an infinite geometry from a single point.’ It led him to produce, in 1994, a series of video lectures…

The artist Jenny Holzer has used epigrams, Truisms as she tags them, to mesmerising and energising effect. Whether fly-posted, lit up in LED, digitally animated or projected on landmark buildings at epic scale, her wry – and now overtly political – observations, and meme-inducing calls to action, appropriated absurdities and wrenching poetry, have made Holzer a genuine cultural force. We visit Holzer at her Brooklyn studio, where she is mixing paint and politics, turning Trump-era redacted reports – from the Mueller investigation to released records of Jeffrey Epstein’s sex trafficking and trading – into giant abstractions. For an artist who once wanted to paint like Rothko, they are a kind of reconnection, her own searing take on American sublime.…

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Scene stealers We like a bag that keeps us in suspense Hitchcock’s heroines – think The Birds’ Melanie Daniels, Vertigo’s Madeleine Elster and The Man Who Knew Too Much’s Josephine Conway McKenna – often favoured a rigid boxy handbag with gold hardware when fleeing from murderous crows, obsessive acrophobics or assassins. For a limelight-stealing accessories update, we recommend investing in something similar. Prada, Dolce & Gabbana, Salvatore Ferragamo and Herm’s provide blockbuster versions in muted tones or tweed with vintage-focused clasps. They’ll have you feeling like a leading lady (just don’t pack any bird feed).…

Characterful environments are back in fashion – chairs are fat and fun, pattern is our friend again, and curls are back in the frame, for all genders. ‘There’s something quite soulless about poker-straight hair,’ says Luke Hersheson, creative director of Hersheson’s in London. ‘Curls are soulful. They have more character.’ Perms are returning to the salon floor, but the thin, tight rods used for perms in the 1980s are out. Instead, large foam rollers set at angles are used to produce a softer curl that is more likely to drop out eventually than grow out with a demarcation line. ‘It’s about putting curl into simpler, longer haircuts, not graphic shapes – more Julia Roberts or Andie MacDowell,’ says Hersheson. For those who have natural curl to work with, it’s a…

LDF PREVIEW 2019 London’s Islington Green is one of the capital’s smartest areas, surrounded by restaurants, bars, design shops and a particularly grand branch of the bookshop Waterstones, set in what was once the Collins Music Hall, a Victorian performance space opened in 1863. The venue seated up to 1,000 people before it was gutted in a fire in 1958. A relic of the music hall still exists, 22m below ground. In 2002, developers planned to relaunch the space as a theatre, but the project was abandoned following a legal dispute and the venue has been closed to the public for the past decade. That will soon change. As part of this year’s London Design Festival, photographer Dan Tobin Smith, creative studio The Experience Machine and Gemfields, one of the…

Model: Joanna at Up Models Nails, hair and make-up: Sally Derbali at Atomo Management Interiors: Olly Mason Photography assistants: Chloé Cayrou, Aël Creis Fashion assistant: Aylin Bayhan Production assistant: Tess Thompson…

BERLIN’S NEW KINDERMUSEUM TIMELESS DANISH TOYS RHYMING NURSERIES PLAY GROUND ADVENTURES THE ART OF TEA TIME…

Hussein Chalayan has been marking his 25th anniversary in the fashion business in some more and – as one might expect – some less usual ways. He held a celebratory dinner where fashion greats mingled with artists and family members, but he also worked on a series of collections for his anniversary year – the menswear, pre-fall and womenswear that you see in this issue – that pivoted on the theme of pretension. ‘It’s something I’ve been accused of, because if you’re a narrative designer it can come across like that,’ he says. ‘But that’s my process, and if you can make a collection without process, then you’re a god.’ This manifesto for 2019 took him down some hitherto unexplored paths: there was Georgian costume, and the horsey conventions of…

At Ceal Floyer’s first exhibition in the early 1990s in London, the artist presented a photograph of a light switch, projected onto the gallery wall at precisely the height you’d intuitively find it at home. When the penny drops, you realise what you’re looking at is an image – then you understand that, in fact, what you’re looking at is an idea. Titled Light Switch, the work has since been restaged in different editions. As she explains, Light Switch, like pieces such as Overhead Projection, 2006, Auto Focus, 2010, and Fallen Star, 2018, presents the fulcrum of an object as ‘an essential, highly visible component of the work’. The equipment that creates the images is left out in the open, in the middle of the gallery space. ‘Nothing is hidden…

Jenny Holzer’s New York studio is in Dumbo, Brooklyn, a neighbourhood that has outgrown its gritty industrial past; warehouses and empty lots have been replaced by fancy high-rises, renovated lofts and coffee shops. The area is rife with advertising agencies, galleries, tech start-ups and tourists. But back in the late 1970s and 1980s, ‘the city was wilder’, recalls Holzer. It was the heyday of artistic collaboration and experimentation – an electric, DIY environment in which she found success by confronting and shining light (literally) on injustice and cruelty in the world around her. Holzer is known for her light projections and LED panel works, where texts are launched across majestic landscapes like a Mexican valley and a seaside cliff face in Rio de Janeiro, or sent climbing the walls of…

Doug Aitken’s found texts and forgotten places, as well as a peek inside his LA gas station; Jean-Michel Othoniel and Johan Creten’s new studio; Kimsooja in Poitiers; a collector’s Geneva pad; and Claude Lévêque’s stuffed tomatoes Plus, Heatherwick Studio’s 1,000 Trees, Saint Laurent’s new retail concept, powerful tailoring and desirable door handles Officepaper* explores Lasvit’s glassy headquarters, admires Ron Arad’s new workspace, and sends in the robots to test interiors for task masters ON SALE 10 OCTOBER…