Betur Design

Betur Design Jay Yao

Contents Digital Pacific Carpet & Pamana Rugs American Society of Tropical Hygiene Taiping Palumbo Anderssen Modern Yun-Mo Ahn Become a Butterfly

Branding Valerie Goodman Gallery Aldine Specialty Printing William Travis Brawley Together Each Achieves More Physical Color Theory JY Memorial Typesetting Siege of Leningrad Silkscreened Poster Lucky Rabbit Tea New Museum Carsten Hรถller

Digital

Pacific Carpet & Pamana Rugs

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CONTACT US

PRODUCTS > RED

HOME

+(632) 299-5823

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ABOUT US PRODUCTS OUR COLLECTION CONTACT US

+(632) 45 599-5869

pcmcexport@paman

Please visit us in our

http://taipingcarpets

LOT B BER

Lot B Berthaphil I Co

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RED STRIPES The red stripes create a contrast that brings some energy in the room it encapsulates.

170 cm by 230 cm

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RTHAPHIL I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES TEL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

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PRODUCTS PRODUCTS OUR COLLECTION OUR COLLECTION CONTACT CONTACT US US

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to giveto angive elegant an elegant antique ant lo

Damask Damask carpets carpets are co

nationnation of cut pile of cut forpile thefor de

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of ourof Century our Century Quality Qual (cu

Quality Quality (loop pile (loop 72pile oz/yd 72

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carving carving on selected on selected designs d

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tique looking appearance.

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s are constructed in a combithe designs and border band field/background. These are

wool & in HW450 Quality (72 recommended surface finish

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Damask

e be specified. This collection

ariations of interpreting dam-

lude: Monochromatic (use of

ychromatic (use of 2 or more

ning colors thru stippling or on field/ground (in loop) or

cut) or on both.

nce rugs are inspired by floor a fresh interpretation in car-

truction is in the combination

lity (cut pile) and Centennial

2 oz/yd2 weight) using 100%

ulting surface is in one level,

uction finished with hairline

designs from the accents.

Inlay-Elegance

Pamana Rug & Carpets

Pamana Rug & Carpets

http://www.Pamanacarpets.com

http://www.Pamanacarpets.com

ABOUT US

Pacific Carpets makers HOME

HOME

cated in an EPZA Zon

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6,120m2 and one hun

ABOUT US

ABOUT US

ployees. From the fam

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PRODUCTS

and Europe to the pa

OUR COLLECTION

tans and sheiks in the

CONTACT US

pet quickly gained a

OUR COLLECTION CONTACT US

international clients.

Today, the Compan

increasing demand for i

in its growth, the com

and true to its corporat

in quality and service. W

crafted rug and carpet RED STRIPES

fit for prestige installati

LOT B BERTHAPHIL I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES TEL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

LOT B BERTHAPHIL

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Pamana Rug & Carpets

Pamana Rug & Carpets

http://www.Pamanacarpets.com

http://www.Pamanacarpets.com

OUR COLLECTION

CONTACT US

The rugs of the Classical Collection are French

+(632) 299-5823

HOME

Aubusson inspired and are manufactured in our

HOME

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exclusive Heritage Quality which is of fine/thin

NEWS

ABOUT US

wool yarn woven in a low and tight loop pile, using

ABOUT US

PRODUCTS OUR COLLECTION CONTACT US

PRODUCTS

100% wool yarn. Random tip-shearing is applied to give an elegant antique looking appearance.

Classical Selection

OUR COLLECTION CONTACT US

Damask carpets are constructed in a combi-

+(632) 45 599-586

pcmcexport@pama

Please visit us in ou

http://taipingcarpe

nation of cut pile for the designs and border band and loop pile for the field/background. These are

Lot B Berthaphil I C

made in 100% virgin wool & in HW450 Quality (72

Jose Abad Santos A

oz./yd2 weight). The recommended surface finish is one level, but a 2-level finish (embossed cut pile

Clarkfield, Pamapa Damask

designs) can likewise be specified. This collection features different variations of interpreting damask designs that include: Monochromatic (use of 1-color dyelot); Polychromatic (use of 2 or more colors); and combining colors thru stippling or striation techniques on field/ground (in loop) or on design motifs (in cut) or on both.

The Inlay-Elegance rugs are inspired by floor tiles inlays but given a fresh interpretation in carpet. The carpet construction is in the combination of our Century Quality (cut pile) and Centennial Quality (loop pile 72 oz/yd2 weight) using 100%

Inlay-Elegance

virgin wool. The resulting surface is in one level, cut and loop construction finished with hairline carving on selected designs from the accents.

LOT B BERTHAPHIL I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES TEL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

Pamana Rug & Carpets http://www.Pamanacarpets.com

PRODUCTS > RED STRIPES

s of Pamana Carpets Is lo-

RED STRIPES

ne with a factory of about

HOME

ndred twenty skilled em-

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mous hotels in the USA

ABOUT US

alatial homes of the sul-

PRODUCTS

The red stripes create a contrast that brings some energy in the room it encapsulates.

OUR COLLECTION

e Middle East, Pacific Car-

170 cm by 230 cm

CONTACT US

an impressive roster of

ny has grown to meet the

its fine products. But even

mpany remains committed

te philosophy of excellence

With Pamana, every hand-

t is an elegant masterpiece

ions anywhere in the world

Shangri-La Lobby Lounge

Share PRINT

LOT B BERTHAPHIL I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES TEL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES

EL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

Pamana Rug & Carpets http://www.Pamanacarpets.com

PRODUCTS

HOME

69

NEWS ABOUT US PRODUCTS

manacarpets.com

OUR COLLECTION

ur domestic retail website

CONTACT US

ets.com.ph

Compound,

Ave., CSEZ

anga, Philippines , 2009 ZEBRA

RED STRIPES

BLACK STRIPES

SERENE

FRENCH LEAVES

OUR CLASSICAL SELECTION

BEIGE

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LOT B BERTHAPHIL I COMPOUND,JOSE ABAD SANTOS AVE., CSEZ, CLARKFIELD, PAMAPANGA, PHILIPPINES TEL: (+632) 299-5823

EMAIL: PCMCEXPORT@PAMANACARPETS.COM

EMAIL

The American Society of Tropical Medicine and Hygiene Advancing global health since 1903

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and Hal White, MD, MPH, S

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world, Penny is best kno

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illness called Lassa fev

strain of Lassa virus was Go

ness acquired in Nigeria pers of the time and in

and suffering Penny expe

might have driven persons

a career change. Not Pen

Lassa fever, surviving a cated much of her life's tions in West Africa.

Three Lassa fever surviv

Nigeria Medical auxiliary

Video: Watch "Penny's Sto rience with Lassa fever.

Penny was born February

Her father was a doctor a

lings followed suit the time. Penny elor's degree

Bible Institu

School for N

visitors fr

applied and

Christmas E ern Nigeria

She was init

boiled syring

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TMH REMEMBERS PENNY PINNEO, N COMBATING LASSA FEVER (1917-2012) MPH&TM, ASTMH Councilor, Tulane University Medical Center, NAMRU-6, Lima, Peru;

Sudan Interior Mission, Sebring, Florida

r known as Penny, died on August 17, 2012, at age 95. In the biomedical science

own for being the first confirmed case of a newly discovered viral hemorrhagic

ver. What subsequently became known as the "Pinneo" or "LP"

s isolated from her blood after a severe hemorrhagic illin 1969. Penny's story was dramatically told in newspathe 1974 novel, Fever!, by John G. Fuller. The pain

erienced at the hands of this new and fearful agent

s of lesser fortitude into retirement, or at least to

nny. In contrast, she won her personal battle with

after a severe and prolonged illness, and then dediwork to combating Lassa virus that threatened popula-

THREE LASSA FEVER SURVIVORS: PENNY WITH JORDI CASALS AND RAPHAEL ADEYEMI, y, at the hospital in Jos, Nigeria, circa 1970.

A NIGERIA MEDICAL AUXILIARY, AT THE HOSPITAL IN JOS, ory," in which Penny and Hal White discuss their expeNIGERIA, CIRCA 1970.

Video by Lee Fritz.

vors: Penny with Jordi Casals and Raphael Adeyemi, a

21, 1917, in Newark, New Jersey, into a deeply medical and religious family.

and her mother had been a missionary in India before marriage. Penny and her sib-

t--the two girls pursuing nursing and the boy, medicine, as was the custom at later added training in midwifery and anesthesiology. After obtaining her bachfrom Maryville College in Tennessee in 1940 and a one-year stint at the Moody

ute in Chicago, she obtained her nursing degree from the Johns Hopkins Hospital

Nurses. Called by her deep faith and impressed by the Africa prayer band and

rom the Sudan Interior Mission (SIM) that she met while attending Moody, Penny

d was accepted by the SIM for overseas service, arriving in Lagos, Nigeria, on

Eve 1946. After attending Hausa language school in Lagos, Penny trekked to northto work to open a new healthcare center, Bingham Hospital, in the city of Jos.

tially the only staff member, making bedside tables out of orange crates. "We

ges on an alcohol Sterno stove before electricity was installed," she recalled.

Taiping

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For the past six years children with au Korea have shared the magic they see artist Yun-Mo Ahn’s acclaimed museu

Valerie Goodman Gallery in partnersh McCarton Foundation is honored to b latest project “Become A Butterfly” to

The exhibition has been expanded to with autism from the tri-state area and works by French artist and designer J shares Yun-Mo Ahn’s respect for the c outside the mainstream.

March 14 - April 12 Exhibition at Valerie May 4 - June 22 Exhibition at the Art G Rockefeller State Park Preserve in Ple

Join us at MoMA , Queens Museum an workshops and installations. For a full Valerie Goodman Gallery 315 East 91st Street New York NY 10128 212 348 2968 www.ValerieGoodmanGallery.com

hip with the bring Yun-Mo Ahn’s o the United States.

Betur Design, Photography By Karin Kohlberg

utism all over South e by participating in um exhibition series.

include children Yun-Mo Ahn d is paired withBecome a Jacques JarrigeButterfly who creativity of people

e Goodman Gallery Gallery of the easantville NY

nd other places for l schedule visit:

Yun-Mo Ahn

with Jacques Jarrige and Autistic Fri

2014 03 05 Become a Butterfly AnnouncementC.indd 1

riends

Yun-Mo Ahn

with Jacques Jarrige and Autistic Friends THURSDAY, MARcH 16, 2014, 11AM-1pM (museum opens at 12noon for those who would like to arrive before the general public) in studio b

About For families affected by autism Join Yun-Mo ahn for an art workshop for children Become a Butterfly

Directions

BY SuBwaY via #7 Flushing IRT, exit Willets point/Shea Stadium Follow the yellow signs on a ten-minute walk through the park to the museum, which is located next to the unisphere

BY BuS via the following lines: Q48 to roosevelt avenue and 111th Street, walk south through the park. Q23, Q58 to Corona avenue and 51st avenue, walk east through the park.

BY Car via the Grand central parkway: exit at Shea Stadium and follow the signs to the museum. Free parking.

P h y s i c a l In v i t a t i on and

3/5/14 12:04 PM

POster for Queens Museum

Address New York city Building, Flushing Meadows corona park, Queens, NY 11368 http://www.queensmuseum.org Telephone 718 592 9700

Yun-Mo Ahn with Jacques Jarrige and Autistic Friends

About

Get Involved

Artists

Contact

Email Address

About

Learn More About Become a Butterfly English author and playwright, Eden Phillpotts wrote, “The world is full of magic things, patiently waiting for our senses to grow sharper.”

At the McCarton Foundation we admire the unique ability that children with autism have to see the magic. They help us to recognize and appreciate the beauty in aspects of everyday life that we otherwise wouldn’t see.

For the past six years children with autism all over South Korea have shared the magic they see by participating in Korean artist Yun-Mo Ahn’s acclaimed museum exhibition series.

Each has a captivating title that embodies the potential to go beyond perceived limits. The latest, Become a Butterfly is no exception and for the first time it is an international project. During the fall of 2013 thousands of butterflies were displayed at various exhibits throughout Asia highlighting the positive impacts of participation in the visual arts for children with autism and emphasizing autism empowerment. The exhibition also features a sculptural contribution selected by Yun Mon Ahn. of French artist Jacques Jarrige and the patients of a psychiatric hospital in Paris.

The McCarton Foundation is excited to partner with the

Yun-Mo Ahn with Jacques Jarrige and Autistic Friends

About

Get Involved

Artists

Email Address

Contact

Join

About

Learn More About Become a Butterfly English author and playwright, Eden Phillpotts wrote, “The

world is full of magic things, patiently waiting for our senses to grow sharper.”

At the McCarton Foundation we admire the unique ability that children with autism have to see the magic. They help us to recognize and appreciate the beauty in aspects of everyday life that we otherwise wouldn’t see.

For the past six years children with autism all over South Korea have shared the magic they see by participating in Korean artist Yun-Mo Ahn’s acclaimed museum exhibition series.

Each has a captivating title that embodies the potential to go beyond perceived limits. The latest, Become a Butterfly is no exception and for the first time it is an international proj-

ect. During the fall of 2013 thousands of butterflies were displayed at various exhibits throughout Asia highlighting the

positive impacts of participation in the visual arts for children with autism and emphasizing autism empowerment. The exhibition also features a sculptural contribution selected by Yun Mon Ahn. of French artist Jacques Jarrige and the patients of a psychiatric hospital in Paris.

The McCarton Foundation is excited to partner with the Valerie Goodman Gallery to bring Yun Mo Ahn’s Become a

butterfly to North America for the first time. To kick off the project, children with autism around the tri-state area will be

invited to participate in designing their own butterflies which will be displayed at the Valerie Goodman Gallery in March followed by a special exhibit at the Port Authority of NY & NJ in April, and at the Rockefeller Preserve Gallery in May. Participation is open to all people with autism at no cost. To learn more about the Become a Butterfly project, or if you have questions about participation, please contact us at butterfly@mccarton.org. For information about the artists contact vg@valeriegoodmangallery.com

Yun-Mo Ahn believes that like the butterfly—which begins its life as a seemingly odd caterpillar—people may not immediately notice the magic possessed by children on the autistic

spectrum. Art provides them with a means to express their extraordinary perspectives. And it is their power to reach the emotional and direct source of creation that makes Become a Butterfly a transformational experience breaking down barriers between all people all over the world

Get Involved Join our Events

Children with autism around the tri-state area are invited to participate in designing their own butterflies to be displayed at galleries and exhibitions around New York City. If you are part of a school or organization, you can request larger quantities of butterflies on the link below. All butterflies must be returned by March 6. Otherwise, we invite you to join us at one of our open sessions.

Yun-Mo Ahn will be in New York City for the month of March working with various children on the spectrum creating butterflies. Please join us at one of our events open to the public. Also, you will be able to see the butterfly exhibits in person at multiple venues around NYC. Check back for updates on new locations.

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Location Brooklyn High School Join School Name Join School Name Join

Date Monday, March 12th Wednesday, March 15 Friday, March 14

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Artists

Yun-mo Ahn & Jacques Jarrige

Yun-Mo Ahn has been exploring painting and sculpture as a universal language for more than a decade. After graduating from Seoul’s Hong Ik University, he left his native Korea to study at The City University of New York and became−as a resident of a foreign country−increasingly interested in art as a medium of instant communication beyond cultural borders. Back in Korea, Yun-Mo Ahn’s preoccupation with the utopian dimension of iconic images as an instant means of communication was infused with a new sense of urgency when he began working with a small group of developmentally challenged children six years ago. Autism severely restricted their verbal skills, but their vivid, radiant drawings spoke eloquently of a rich interior world.

Like many artists before him−Kandinsky and Picasso among them−Yun-Mo Ahn became fascinated by the children’s colorful and sophisticated creations.

He embarked with his six young collaborators on an ambitious walking and exhibition tour, hoping for the “butterfly effect” of the large impact of a small event. And indeed, great acclaim met their work, as the experienced artist lent his sense of structure and order to the children’s exuberant paintings. The resulting wall installations are clearly related to his own works, which often display multiple emblems spread over a large surface

Jacques Jarrige initially studied architecture before turning to sculpture and also, eventually, to furniture design. The disciplines of architecture and sculpture overtly inform his delicate yet dimensionally territorial objects. The large screens of his most recent Meanders series exude the ephemeral quality of drawings while simultaneously defining the space around them, especially as they create airy enclosures. These objects have been created with an eye educated early on through the art of Derain and Vlaminck in his childhood home and later refined by examining the works of Moore and Calder as well as of Nakashima and Noll. Jarrige’s lean and agile lines embody a gestural approach translated into furniture with all the tension of an antelope ready to spring off. That kinetic quality is not only present in his actual mobiles, but also in pieces such as his tall secretaire and his multi-panel screens: all are carefully calibrated balancing acts, their will to movement barely contained.

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AFFINITIES

Reception 6PM to 9PM Tuesday, May 14th Sebastian + Barquet Gallery +1 212 488 2245 601 West 26th Street Suite 300, 3rd floor, New York, NY, 10001

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Gallerists and Curators Helena Barquet & Valerie Goodman are Pleased to Invite You to the Opening Exhibit of:

6PM to 8 PM, Monday, June 10, 2013 Valerie Goodman Gallery +1 212 348 2968 315 East 91st Street, New York, NY 10128 Dedicated book signing of the Jacques Jarrige collection catalogue, co-written by Jeannine Falino and Claudia Steinberg

AFFINITIES May 15-22 To Celebrate ICFF Featuring Coupled Design Installations of Contemporary and Period Master Works By:

Jacques Jarrige Gio Ponti Jean Royère Nakashima

Johnny Swing Donald Judd Charlotte Perriand

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August 29 – September 29, 2013 Il San, South Korea at Lotte Gallery The sculptural designs of Jacques Jarrige will also be featured at a Joint exhibit with artist Yu- Mo Ahn

RSVP: Courtney@GothamPR.com

Valerie Goodman Gallery 315 East 91st Street, New York, NY, 10128 +1 212 348 2968 www.valeriegoodmangallery.com

D i g i t a l In v i t a t i on | P r i n t In v i t a t i on s

DESIGN BY JAY YAO (JOSE CAMPOS III)

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Johnny Swing Donald Judd Charlotte Perriand

PHOTOGRAPHY BY KARIN KOHLBERG

Gio Ponti Jean Royère Nakashima

Jacques Jarrige

AFFINITIES

Reception 6PM to 9PM Tuesday, May 14th Sebastian + Barquet Gallery +1 212 488 2245 601 West 26th Street Suite 300, 3rd floor, New York, NY, 10001

2

Gallerists and Curators Helena Barquet & Valerie Goodman are Pleased to Invite You to the Opening Exhibit of:

6PM to 8 PM, Monday, June 10, 2013 Valerie Goodman Gallery +1 212 348 2968 315 East 91st Street, New York, NY 10128 Dedicated book signing of the Jacques Jarrige collection catalogue, co-written by Jeannine Falino and Claudia Steinberg

AFFINITIES May 15-22 To Celebrate ICFF Featuring Coupled Design Installations of Contemporary and Period Master Works By:

Jacques Jarrige Gio Ponti Jean Royère Nakashima

Johnny Swing Donald Judd Charlotte Perriand

3

August 29 – September 29, 2013 Il San, South Korea at Lotte Gallery The sculptural designs of Jacques Jarrige will also be featured at a Joint exhibit with artist Yu- Mo Ahn

RSVP: Courtney@GothamPR.com

Valerie Goodman Gallery 315 East 91st Street, New York, NY, 10128 +1 212 348 2968 www.valeriegoodmangallery.com

D i g i t a l In v i t a t i on | P r i n t In v i t a t i on s

DESIGN BY JAY YAO (JOSE CAMPOS III)

1

Johnny Swing Donald Judd Charlotte Perriand

PHOTOGRAPHY BY KARIN KOHLBERG

Gio Ponti Jean Royère Nakashima

Jacques Jarrige

V a l e r i e Goo d m a nG a l l e r y . com Website

Jacques Jarrige The Searching Line

Jacques Jarrige

Jacques Jarrige Torquemada side tables, 2009 Lacquered wood H: 29.5" (75 cm) L: 19.75" (50 cm) W: 15.75" ( 40cm)

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Cloud Cocktail tables, 2010 Lacquered wood or custom H: 15" (38 cm) L: 24" (61 cm) W: 15" (38 cm) H: 16.75 (42,5 cm): L: 35" (89 cm) W: 21" (53,3 cm) H: 17" (43 cm) L: 39" (99 cm) W: 19.5"(49,5 cm)

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The Searching Line Book Design Meander Mobile, 2012 Mobile Sculpture plywood H: 6'8" (207,25 cm) W: 9'6" (292 cm)

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Jacques Jarrige

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La Bibliothèque, 2012 Plywood and custom finish H: 6'2" (189 cm) D: 18.5" (47 cm) W: 35" (89 cm)

©Garret Linn

©Garret Linn

Meander Armchair, 2011 Painted wood and natural hand-stitched leather H: 35" (89 cm) W: 23.5" (59,7 cm) D: 31" (78,75 cm)

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Little Mobiles, 2009 Found Wood, balanced mobile sculpture H: 31"(78,7 cm) D: 52" (132 cm) , H: 20" (51 cm) D:11" (28 cm) H: 20" ( 51 cm) D37" (94 cm)

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Fiori Chandeliers, 2010-12

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Osselet, 2010 Stained or natural Wood H: 18"(45,72 cm) L: 13" (33 cm) W: 14.5" (35,8 cm)

Jacques Jarrige

in the moment

by Jeannine Falino

Jacques Jarrige

his first exhibition at the gallery, his gilt Klimt lamp of 1991 was made of twisted wire, arranged in a tall, rather Klee-like construction, with twinkling bits of mirror here and there.

The seemingly imbalanced appearance of Klimt and its playful arrangement of forms and textures were harbingers of what would become the core of Jarrige’s style.

Organic forms It was not long before Jarrige began to expand his notion of furniture-making beyond metalwork to include wood.

By the mid-1990s he was making lush biomorphic forms, on which he lavished great energy, shaping them into subtle hollows and swells, lacquered and sometimes accented with gold leaf. For inspiration, in addition to the sculptors mentioned earlier, he looked to Alexandre Noll, the French master of the sensual and primordial in ebony and other rare woods, and an occasional maker of furniture.

Since Jarrige had not formally studied furniture-making, however, he initially grappled with the techniques of the genre, the constructive means of achieving his ends. In this way he resembles American master Wendell Castle, who considers himself a sculptor who makes furniture; at the beginning of his career, Castle also lacked the basic skills of the craft. For both men, this dilemma had unexpected benefits, enabling them to think more broadly about the kind of forms that interested them before turning to the technical aspects of fabrication. As Jarrige recalls, it allowed him to view furniture with “fresh eyes.”5 Key to this unburdened approach was his choice of medium-density fiberboard (MDF) and plywood as his primary materials. The poverty of these materials had the benefit of freeing Jarrige from the classic constraints of furniture-making, allowing him to shape objects irrespective of wood grain or color and offering an opportunity to add layers or carve as he saw fit.

His sculptural method is an exploration of positive and negative space, of solid and void, a reductive method that

in Jarrige’s hands yielded a palpable zoomorphic quality, whether one is looking at his dining tables and desks with their curvaceous, rounded edges and swelling legs, at case pieces such as Toro, a rather bullish fall-front secretary, or at a coffee table whose undulating edge resembles the sleekly muscled shoulders and hindquarters of a walking panther.

Other pieces resemble primordial shapes, such as his compact, sculpted Osselet stool, which he produces in both MDF and solid wood. His Torquemada series, with its tremulous and slender, branchlike legs, offers the tensed energy of a dancer ready to leap on the stage. Perhaps most elegant is the standing lamp that Jarrige calls Leda, a supple form with a contraposto pose, a beckoning figure in abstraction. The surface effects of high-gloss paint, black lacquer, or French polish add to the sensuous nature of these forms.

As with Leda, lighting has presented a different set of challenges and solutions for Jarrige. Early in his career, he developed cast-bronze table lamps that emulated stones randomly set upon one another. Moving toward a lighter profile, he created a hanging, basketlike lamp composed of metal strips loosely woven into an elongated shape. Since the mid-nineties, he has been working on a lively series

Jacques Jarrige

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meanders fiori disclosures presences

Jacques Jarrige

In the Moment

ŠNoelle Hoeppe

by Jeannine Falino

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Toro Coffee Table, 2010 Stained layered MDF or white lacquer or custom H: 17" (43 cm) L: 53" (134,6 cm) W: 32" (81,3 cm)

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New Museum Carsten Hรถller

Untitled (Slide), 2011

Giant Triple Mushrooms, 2010

This autumn, the New Museum will present the first New York survey exhibition of the work of the German artist Carsten Hรถller (b. 1961, Brussels, lives and works Stockholm). Over the past twenty years, Hรถller has created a world that is equal parts laboratory and test site, exploring such themes as childhood, safety, love, the future, Mirror Carousel 2005 and doubt.

This autumn, the New Museum will present the first New York survey exhibition of the work of the German artist Carsten Hรถller (b.

1961, Brussels, lives and works Stockholm).

Over the past twenty years, Hรถller has created a world that is equal parts laboratory and test site, exploring such themes as childhood, safety, love, the future, and doubt. Hรถller left his early career as a scientist in 1993 to devote himself exclusively to art making, and his work is often reminiscent of research experiments. His pieces are designed to explore the limits of human sensorial perception and logic through Untitled (Slide), 2011

carefully controlled participatory experiences.

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Po s t e r TR a n s f o r m s i n t o 2 S i d e d In v i t a t i on 1 1 x 1 7 i nc h e s

Höller’s art has often taken the form of proposals for radical new ways of living.

He has created sculptures and diagrams for visionary architecture and transportation alternatives, like his renowned slide installations and flying cities. These concepts may seem impossible in the present day, but suggest new models for the future. The artist’s proposals and structures invite the viewer to re-imagine the social and sensorial possibilities of domestic space. During the 1990s, Höller collaborated with

Over the past twenty years, Höller has created a world that is equal parts laboratory

artist Rosemarie Trockel to create structures shared between humans and animals

and test site, exploring such themes as childhood, safety, love, the future, and doubt.

such as pigs, birds, and mosquitoes, calling into question hierarchies of species and

Höller left his early career as a scientist in 1993 to devote himself exclusively to art

the roles of the observer and the observed. Recently, Höller has invited viewers to

making, and his work is often reminiscent of research experiments. His pieces are

share the exhibition space with a variety of creatures from reindeer to canaries to

designed to explore the limits of human sensorial perception and logic through

mice.

carefully controlled participatory experiences.

At the New Museum, viewers will be encouraged to test a variety of sculptural experiences. In Höller’s Psycho Tank (1999), visitors will float weightlessly in a sensory deprivation pool, providing a strange out-of-body experience. In these scenarios, as in his other work, Höller treats the viewer as the subject and audience for his radical and disorienting experiments.

Höller also has exhibited a variety of adapted amusement park rides, their speeds

such works, Höller invites us to reconsider the meanings of play and participation. In

slowed until they move almost imperceptibly. His Mirror Carousel (2005) provides riders

concert with his giant mushroom sculptures and hyperrealistic sculptures of animals,

with a radically different physical experience than the traditional fairground merry-go-

the artist creates a visionary world that hovers below the surface of what we

round, while at the same time reflecting and illuminating the space surrounding it. In

experience every day.

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