AUTRE
№6 $20, €20
ISSUE 6
F/W '18
AI WEIWEI, Jeffrey Deitch and Bettina Korek In Conversation, Harumi Yamaguchi, JAMES VALERI, Brad Phillips and Tao Lin, MILAN ZRNIC David Brandon Geeting, Eddie Chacon, Sergiy Barchuk, The LSD Library, Julian Rosefelt’s Manifesto Starring Cate Blanchett, Robert Yarber, Westin Bonaventure
MANIFESTO JULIAN ROSEFELDT 2015
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laeyeworks.com
Philippe Starck, Napoleon The Gnome, 2000, batch-dyed thermoplastic technopolymer
Made in Italy, 313 N Robertson Blvd, Los Angeles, CA 90048
EDITOR-IN-CHIEF Oliver Maxwell Kupper
EUROPEAN EDITOR-AT-LARGE Flo Kohl
MANAGING EDITOR Summer Bowie
STYLISTS James Valerie Michele Andrews Sissy Sainte-Marie
FASHION DIRECTOR Eddie Chacon CONTRIBUTING FASHION EDITOR Sissy Sainte-Marie ART DIRECTOR Scott Barry TITLE ILLUSTRATOR Martin Major PHOTOGRAPHERS Arturo Oliva Pedroza Darren Ankenman David Brandon Geeting Eddie Chacon Edoardo Deruggiero Iiu Susiraja Milan Zrnic Sergiy Barchuk CONTRIBUTORS Adam Lehrer Ben Lee Ritchie Handler Bettina Korek Brad Phillips
INTERNS Agathe Pinard Greer Gibney Izzy Manson SPECIAL THANKS Aaliyah Adarsha Benjamin ABC Dinamo Darius Sabbaghzadeh Deitch Gallery Egan House Hauser & Wirth Hotel Figueroa Julian Feeld Marciano Art Foundation Nanzuka Gallery Nicodim Gallery Sqirl The Portman Archives UTA Artist Gallery 69 PRINTED IN THE U.S.A.
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B. Wurtz: This Has No Name September 30, 2018–February 3, 2019
Admission is always free.
B. Wurtz: This Has No Name is organized by Jamillah James, ICA LA Curator. This exhibition is made possible thanks to generous support
Institute of Contemporary Art, Los Angeles 1717 E. 7th Street, Los Angeles, CA 90021 theicala.org @theicala #ICALA
from Mirja and Ted Haffner, Harpo Foundation, The Henry Moore Foundation, Good Works Foundation and Laura Donnelley, Patricia A. Quick Charitable Trust, Berry Stein, and the Jay & Deanie Stein Foundation Trust. Image credit: B. Wurtz, This Has No Name, 1990, Mixed media, 37 × 22 × 9 in. (93.98 × 55.88 × 22.86 cm), Courtesy the artist and Metro Pictures, New York.
ENJOY YOURSELF, DARE TO HAVE NEW EXPERIENCES
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ENJOY YOURSELF, DARE TO HAVE NEW EXPERIENCES
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ENJOY YOURSELF, DARE TO HAVE NEW EXPERIENCES
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ROBERT YARBER With Ben Lee Ritchie Handler In Conversation PORTRAIT BY OLIVER MAXWELL KUPPER
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In the early 1980s, when Ronald Reagan was making America great again for the first time, lower taxes, trickle-down economics, and a surging domestic economy meant those toward the top of the food chain were swimming in it. There was more money than the high rollers could spend at home, so they traveled. Hotels became a frequent escape for the new rich and middle class, a symbol of moneyed freedom. They were oases for wholesome family fun, but also lawless, libertarian outliers from the shackles of societal norms—places to host one’s extramarital dalliances, blast cocaine, and fly out the window. Robert Yarber was there, capturing surreal visions of these seedy, fantastic moments of late capitalist ennui on canvas in all their backlit, neon glory. His creations were steeped in art history—Titian and Tintoretto are visible references—but very much of the present. People noticed. His work was included in the American Pavilion at the 1984 Venice Biennale, selected for the 1985 Whitney Biennial, and snapped-up by major institutions and collections through the late '90s. Then the world turned, and his initial moment in the cultural spotlight faded. Flash forward to 2018. A blobular, mutant version of Reagan is making America great again again, an increasingly cynical form of the trickle-down economy ensures that the luxury hotel set is more loaded than ever before, and Robert Yarber is back. His oil and acrylic work feels just as fresh and cutting as ever. Robert Yarber: Return of the Repressed, his first solo exhibition in Los Angeles in more than twenty years, opened at Nicodim Gallery in September. I spoke with him about his practice, his early life, and his blind eye as he readied his new paintings for the show. INTRODUCTION
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ROBERT YARBER IN CONVERSATION
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WITH BEN LEE RITCHIE HANDLER
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ROBERT YARBER IN CONVERSATION
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WITH BEN LEE RITCHIE HANDLER
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ROBERT YARBER IN CONVERSATION
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EDMUND DE WAAL –one way or other– AT THE SCHINDLER HOUSE September 16, 2018 – January 06, 2019
835 NORTH KINGS ROAD WEST HOLLYWOOD, CA MAKCENTER.ORG @MAKCENTER
WITH BEN LEE RITCHIE HANDLER
© Edmund de Waal. Courtesy the artist and Gagosian. Photo: Mike Bruce
Peter Miller,“Set,” Installation View, Modes Of Conduction, Moran Plant, Burlington, Vermont, 2016
OVERNIGHT PROJECTS is a nomadic, artist-run exhibition initiative whose mission is to expand the contemporary art conversation in Vermont, creating bridges to larger contemporary art communities by inviting artists to develop works that respond to and activate non-traditional spaces. We work with local, national, and international artists to develop ephemeral installations, performances, and socially engaged artworks that activate historically rich places — industrial, institutional, commercial, domestic, religious — in a post-studio era. We aim to facilitate site-responsive works that shift viewers’ assumptions of a site’s function and value. Overnight Projects is a not-for-profit exhibition initiative that is dependent upon donations and financial support for organizational growth and the support of artists. Visit overnightprojects.com
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EXILE ON MAIN STREET: AN INTERVIEW OF AI WEIWEI
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EXILE ON MAIN STREET: AN INTERVIEW OF AI WEIWEI
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WITH OLIVER MAXWELL KUPPER
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THE LAST SON: AN INTERVIEW WITH JIM GOLDBERG
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THE LAST SON: AN INTERVIEW WITH JIM GOLDBERG
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WITH OLIVER MAXWELL KUPPER
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VIBRISSA: Opening: September 13, 2018
Thea Yabut September 12, 6 - 9 PM December 1, 2019
233 Blvd. Montreal QC
NADA Lukas December
Miami Geronimas 6-9 2018
L’INCONNUE Crémazie O. Canada H2N 1L7
JEFFREY DEITCH AND BETTINA KOREK IN CONVERSATION
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JEFFREY DEITCH AND BETTINA KOREK IN CONVERSATION
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JEFFREY DEITCH AND BETTINA KOREK IN CONVERSATION
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VALIE EXPORT, IMAGES OF CONTACT , APRIL 12–MAY 7, 1997, COURTESY JEFFREY DEITCH
JEFFREY DEITCH AND BETTINA KOREK IN CONVERSATION
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