Martin Cid's Blog: Martin Cid Magazine, page 184

Natasza Niedziółka 273 Days – Sean Kelly, New York

Sean Kelly is delighted to announce 273 Days, Natasza Niedziółka’s first exhibition with the gallery. Niedziółka’s formally vigorous and sensual works occupy a space between drawing, painting, and textile. Her repetitive patterns of multi-colored threads are hand-stitched onto various fabrics, often accentuated with colored pencil or ink. Presented in the front gallery, the exhibition features a selection of new works from her Zero and At One series and debuts a new series by the artist titled, Protest Song. There will be an opening reception on Thursday, March 14, from 6-8pm. The artist will be present.

Over the past decade, Natasza Niedziółka’s practice has featured hand-stitched thread on supports made from different materials including linen, cotton duck, and silk, highlighting the interplay between irregular manual embroidery and uniform structure. In her works, Niedziółka employs techniques of hatching and flat chromatic gradations. With each puncture of the needle, Niedziółka integrates modernist traditions into her interpretations, calling to mind artists such as Agnes Martin or Marcia Hafif. Her distinct materiality, use of subtle color, and intricate textures distinguishes Niedziółka’s work from more orthodox techniques, and offers the viewer meditative, visual experiences.

Niedziółka’s series Zero draws inspiration from the 1950s-60s German artist collective of the same name, whose radical postwar modernism was characterized by their intrinsic use of common materials, monochromatic colors, and repetition. Incorporating subdued variations in fields of color and repeating minimalistic patterns, Niedziółka’s compositions employ similar aesthetics to demonstrate her relationship with time. Abstract forms and color shifts create an optical illusion that give a fluidity to the work. Reflecting on the series, Niedziółka stated, “The work is about committing, allowing, and letting go.”

Whereas the series Zero is a personal examination of time, At One encompasses a state of unity wherein the artist searches to create equilibrium. Often planned and designed before its execution, the work is composed of panels of color in her signature embroidery technique.

In response to political unrest brought on by current events worldwide, Niedziółka’s newest series, Protest Song considers how language is used as an act of protest. Writing in English, Polish and Ukrainian, the artist is inspired by the lyrics of songs that have come to represent a resistance to the abuses of power, empowerment, or glimpses of hope. From Stephan Czarnecki’s 1914 Ukrainian folk song Czerwona Kalina (Red Viburnum) to Lil Baby’s 2020 song of solidarity The Bigger Picture, the series spans a vast range of history defining moments. With careful precision, Niedziółka embroiders each word using reclaimed Italian silk in various hues. The verses weave across the canvas, occasionally leaving behind loose ends of thread, obscuring other words, evoking a sensual haptic quality.

Armed with a needle and thread, Niedziółka’s intricate and laborious stitching offers a nuanced reflection on time, collective consciousness, and resistance. Blurring the lines between the personal and the political, the artworks in 273 Days are a visual representation of the interwoven connections between self, one another, and society.

Natasza Niedziółka lives and works in Berlin, Germany. In 2020, Niedziółka received a grant from the Pollock-Krasner Foundation, and she was an artist in residence at the Gyeongju Art Centre in South Korea in 2018.

For additional information on Natasza Niedziółka, please visit skny.com

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lnner Cosmos, Outer Universe – Pace Gallery, Geneve

Pace is pieased to announce lnner Cosmos, Outer Universe, a group exhibition showcasing works from across the gallery’s international programme by artists that share a fascination with space, from cosmological heights to the molecular foundations of the self. Running from March 15 to May 4, this exhibition will include over thirty paintings, sculptures, textiles, and works on paper, all of which investigate-at sorne level-structures of being and nothingness.

Spanning over eight decades of artmaking, the works in /nner Cosmos, Outer Universe encompass a broad range of artistic responses to the celestial imagination over the past century, both literally and metaphorically. Recalling the polished chrome and sleek surfaces of space-age design, the exhibition will include sculptures by Alexander Calder, Jeff Koons, Alicja Kwade, and Leo Villareal. Chromatic eruptions course through works by Latifa Echakhch, Sonia Gomes, Hermann Nitsch, Richard Pousette-Dart, and Lucas $amaras, suggesting nebulae that refract spectrums of speckled colour. Other, more oblique references to the cosmos recur in works by Torkwase Dyson, Adolph Gottlieb, Matthew Day Jackson, Robert Longo, Robert Rauschenberg, Arlene Shechet, Kiki Smith, and Mika Tajima, which will also be featured in the show.

Many of the works in /nner Cosmos, Outer Universe are united by the formal motif of the circle. This simple geometric shape, which can be found depicted in visual art from pre-historie sites across the globe, commonly signifies the infinite and cyclical nature of existence. Yet it also figures in pictorial depictions of basic elements invisible to the human eye: molecules, for example, and the atoms that form them are typically represented as spherical clusters.

Richard Pousette-Dart’s $pace Continuum, Part 11 (1989), featured in the exhibition, is composed of fields of the artist’s characteristic pointillist marks that coalesce into kaleidoscopic arrangements of whorls and shapes suggestive of stellar clusters, at once atomic and celestial. Monochromatic circles resurface in works by both Adolph Gottlieb, in Untitled (1966), and Robert Longo, in Untitled (After Malevich, Circle – 1915) (2008), underscoring the salience of the form of the circle to the history of Modernist pictorialism. Meanwhile, the circular canvas ofTorkwase Dyson’s (Bird and Lava #03) (2021)-whose interna! geometry refers to the huiIs of ships that carried enslaved peoples across the Atlantic Ocean-proposes the possibility that utopías of liberation might emerge from new formulations of space, shape, and geometry.

Sculptural works in lnner Cosmos, Outer Universe bridge the effervescence of the celestial with the solidity of geology. In Kiki Smith’s Standing Stars 11 (2013), seven- and nine-pointed stars burst skyward from a bronze base. Sungrazer I (2018), also by Smith, depicts a shooting star in earthy hues, with single stalks of wheat cast on its surface as if emerging from the soil itself. Openings in Mika Tajima’s Pranayama (Monolith, K, Rose Quartz) (2023), determined by applying the logic of acupuncture to sculpture, create channels in the piezoelectric material that suggest the spiritual practice of ‘opening’ the body to flows of energy and breath. These works, while substantial in their physical presence, undergo both material and conceptual transformations at the hands of the artist, inviting contemplation on the interplay between materiality and ephemerality.

Jeff Koons’s Gazing Ba/1 (Bottlerack) (2016) invites viewers to inhabit the contemplative depths of reflection, meditating on their own place within the cosmic expanse, and becoming part of the artwork in the process. Meanwhile, Alicja Kwade’s monumental sculpture Continuum (2023) visualizes three spacetime wormholes within a cresting wave, enclosing four sodalite spheres. Here, the ultramarine mineral is veined in cloudy white and chartreuse patches, its polished surface reminiscent of The Blue Marble-the iconic photograph of Earth taken from the Apollo 17 spacecraft en route to the moon. Proposing terrestrial and interstellar sites as a coherent, progressive whole, Kwade’s Continuum gracefully navigates the boundary between the familiar and the enigmatic.

Pace is a leading international art gallery representing sorne of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martín, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy asan artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program-comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.

Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlín, where the gallery established an office in 2023. Pace maintains two galleries in New York-its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has hada lasting impact on the gallery ata global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast

activity through its flagship in Los Angeles, which opened in 2022. Pace was one ofthe first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.

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American Conspiracy: The Octopus Murders – A docuseries on Netflix: Are you ready for an important conspiracy theory? Don’t miss it

American Conspiracy: The Octopus Murders is a docuseries directed by Zachary Treitz.

A journalist named Daniel Casolaro, 44 years old, was found dead in a motel room in West Virginia under strange circumstances. His wrists were cut.

The question that may come to your mind is: what was this man investigating? And this death didn’t end there, as photojournalist Christian Hansen continued the investigations.

According to this Netflix documentary, the journalist was uncovering a vast network of high-level conspiracies involving secret services, politicians, and presidents of multiple countries.

Yes, it’s a conspiracy that seems straight out of a movie, from a man obsessed with large-scale conspiracies.

But is it reality or fiction? It all started with the computer age and a software called “PROMIS” that organized and linked legal cases.

The program, developed by a private company, was funded by the government.

Until one day, they stopped paying and the company went bankrupt.

With a program containing an extensive database of legal cases that supposedly held many secrets.

About the documentary

It’s a well-narrated spy movie with a gripping plot involving high-level implications, and it includes interviews with Hansen, the journalist who took on the “Octopus Conspiracy” case.

We must warn you, we’re afraid to even write about the government agencies involved in the case (according to this documentary), but we assure you that the ramifications are worthy of an Oliver Stone movie.

As for the documentary: with such a great story, there’s no need to invent anything or cover it up with cinematic effects. Just sit back and listen to some of the key players in this absolutely incredible story.

Our opinion

We highly recommend this story. If it were fiction, it would be absolutely monumental and incredible. But what if it’s not? A story that is definitely worth your time.

Where to Watch “American Conspiracy: The Octopus Murders”

Netflix

The Mysterious Death of Danny Casolaro: Unraveling a Political Conspiracy

In the summer of 1991, the world was rocked by the mysterious death of investigative journalist Danny Casolaro. Found dead in a hotel bathtub in Martinsburg, West Virginia, Casolaro’s death raised questions about a potential political cover-up. Was he murdered because he was on the verge of exposing a highly sensitive political conspiracy? Read more

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The Mysterious Death of Danny Casolaro: Unraveling a Political Conspiracy

In the summer of 1991, the world was rocked by the mysterious death of investigative journalist Danny Casolaro. Found dead in a hotel bathtub in Martinsburg, West Virginia, Casolaro’s death raised questions about a potential political cover-up. Was he murdered because he was on the verge of exposing a highly sensitive political conspiracy?

Early Life and Career

Danny Casolaro was born on June 16, 1947, in McLean, Virginia. He grew up in a Catholic family and developed a passion for writing and investigative journalism from a young age. After attending Providence College, he embarked on a career that included amateur boxing, writing poems and short stories, and even raising purebred Arabian horses. Casolaro also dabbled in journalism, exploring topics such as the Soviet naval presence in Cuba and the smuggling of opium into the United States by Chinese communist organizations.

Towards the end of the 1970s, Casolaro shifted his focus to the computer industry, acquiring a series of computer-industry trade publications. However, in the early 1990s, he decided to return to journalism and became interested in the Inslaw case, a software scandal involving the U.S. Justice Department.

The Inslaw Case

The Inslaw case revolved around a software company called Inslaw Inc., which had developed a program known as PROMIS (Prosecutor’s Management Information System). PROMIS was designed to streamline case management for law enforcement agencies. In 1980, the U.S. Justice Department became a major client of Inslaw, but the relationship soon turned sour.

According to William Hamilton, the founder of Inslaw, the Justice Department began withholding payments from Inslaw, driving the company into bankruptcy. It was later discovered that the Canadian government was also using Inslaw’s software without proper payment. This led to a legal battle between Inslaw and the Justice Department, with allegations of stolen software and financial impropriety.

Danny Casolaro’s Investigation

Danny Casolaro believed that the Inslaw case was just the tip of the iceberg. He thought it was part of a much larger and interconnected conspiracy involving corrupt U.S. officials, organized crime, and intelligence agencies. Casolaro referred to this sprawling network as “The Octopus.”

Casolaro’s investigation led him to interview Bill and Nancy Hamilton, the owners of Inslaw Inc. They introduced him to a man named Michael Riconosciuto, who claimed to have worked for the CIA and had knowledge of illegal activities related to the distribution of Inslaw’s software. Riconosciuto alleged that funds from the sale of the software were used to finance covert operations in Nicaragua, Central America, and the Middle East.

As word of the Inslaw scandal spread, Congress began to take notice. In August 1989, the House Judiciary Committee launched a formal investigation. Casolaro saw an opportunity to expose the truth and started gathering evidence and conducting interviews. However, his investigation took a dark turn when Michael Riconosciuto was arrested on drug charges shortly after sharing his story with committee investigators.

Undeterred, Casolaro continued his investigation and met with Elliot Richardson, the former Attorney General under President Richard Nixon. Richardson believed that the Inslaw case had far-reaching implications, stating that the conspiracy surrounding it was more sinister than anything revealed in the Watergate scandal.

The Death of Danny Casolaro

On August 10, 1991, Danny Casolaro was found dead in a bathtub at the Sheraton Hotel in Martinsburg, West Virginia. The official cause of death was ruled as suicide by the medical examiner. However, Casolaro’s family and friends were skeptical of this conclusion and suspected foul play.

According to the police reports, a suicide note and a single razor blade were found in the bathtub. Casolaro had twelve deep cuts on his wrists, with eight on his left wrist and four on his right. One of the cuts was so severe that it severed a tendon. The suicide note, allegedly written by Casolaro, raised more questions than it provided answers.

Casolaro’s loved ones questioned the authenticity of the suicide note, as it seemed out of character for him to take his own life. Furthermore, they pointed out that he had been receiving death threats leading up to his death and expressed fear for his safety. The circumstances surrounding his death, including the missing documents and the unexplained bruises, raised suspicions of a potential cover-up.

Investigations and Cover-Ups

Following Casolaro’s death, West Virginia authorities opened a formal investigation, but many believe it was insufficient and lacked professionalism. The crime scene was mishandled, with crucial evidence potentially being destroyed. Additionally, the police failed to thoroughly examine the surrounding rooms and interview potential witnesses.

Elliot Richardson, a prominent figure in the Inslaw case, believed that there was enough evidence to suggest foul play. He criticized the lack of a comprehensive investigation into Casolaro’s death and the subsequent cover-up by government officials. Richardson’s opinion was shared by Casolaro’s family and friends, who felt that the truth had been concealed.

The Legacy of Danny Casolaro

The death of Danny Casolaro left behind a legacy of unanswered questions and ongoing speculation. His relentless pursuit of truth and justice in the face of a vast political conspiracy has captivated the minds of many. Despite the passage of time, the case remains unsolved, and the full extent of “The Octopus” conspiracy, if it indeed exists, continues to elude investigators.

The mysterious death of Danny Casolaro remains an enigma, shrouded in allegations of political cover-ups and unanswered questions. His investigation into the Inslaw case and his pursuit of the truth surrounding “The Octopus” conspiracy led to his untimely demise. Whether Casolaro’s death was a suicide or a carefully orchestrated murder, the truth may never be fully revealed. The memory of Danny Casolaro serves as a reminder of the risks faced by investigative journalists and the importance of uncovering the truth, no matter the consequences.

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“The Mire: Millennium” – Netflix Series: A third season just as interesting

The Mire: Millennium is s 6-episode crime thriller series starring Dawid Ogrodnik, Andrzej Seweryn, Magdalena Różczka and Zofia Wichłacz.

If you have watched the first two seasons of “Millennium2222”, you will surely enjoy this third season as it has all the strengths of the previous ones and continues to develop the political and social intrigue that has made it one of the biggest successes in the Polish film industry in recent times.

A mystery series with political intrigue, well-defined characters, and a great portrayal of a tumultuous period in European history.

If you are looking for a more mature option, a more serious and thought-provoking product, “The Mire” is definitely a good choice among the wide selection of streaming content.

Plot

Several events unfold: a murder, a shooting, and above all, a lot of intrigue among the old powers that stubbornly refuse to disappear. New cases for this third season, new characters, and also our familiar protagonists, who return to this macabre, intricate, and unique crime thriller series.

About the series

“The Mire” is one of those series that is worth watching. However, it should be taken seriously, as it is a very realistic reconstruction of the environment in Eastern Europe from the 1980s to the 2000s in this latest season. A series that takes the opportunity to paint a social, historical, and generational portrait by combining murder thriller with a lot of intrigue about power. One of those stories that is based on a good script that hooks you in, has good characters, and also knows how to make necessary concessions for entertainment.

“The Mire” is a blend of historical recreation and thriller. Told in dark tones, with gloomy photography, portraying the coldness of the Polish landscape. A very nostalgic series that spans several decades and also constantly calls to mind the difficult situation that the country went through after World War II.

We do not delve into political issues and prefer not to assign blame or innocence. In strictly cinematic terms, we can say that “Millennium” is a great third season that knows how to reconstruct a case that uncovers all the historical intrigue and is fantastically well-set, entertaining fans of murder thrillers and also contains many well-mixed secondary plots.

A plot that, at times and with so many characters, becomes difficult to follow. It is a series that requires a lot of attention but also knows how to take its time to narrate the situations and let its characters evolve.

Our opinion

Another great season for this series that continues to captivate us: a series that knows how to maintain its complexity and appeal at all times.

Where to Watch “The Mire: Millenium”

Netflix

The CastAndrzej SewerynZofia WichłaczDawid OgrodnikMagdalena Różczka

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Code 8 Part II (2024) – Netflix Movie. Review: A very worthy sequel that entertains and effectively develops the two main characters

Code 8 Part II is the sequel to “Code 8“. It stars Stephen Amell and Robbie Amell. It is directed by Jeff Chan and you can watch it on Netflix.

Today, we are presented with this sequel to a movie that, despite its low budget, was a huge success on Netflix. This second installment follows the formula of the first one, with a similar pace and aesthetic, but with better effects, a bigger budget, and identical plot lines. It is less surprising in terms of the dystopian narrative it presents, but more impactful visually, improving upon the first movie.

Code 8: Part IIPlot

In a world filled with robots, crime, and social disparities, those born with superpowers are hunted down. Now, the robotic guardians have been replaced by robot dogs, just as lethal. Connor’s life has changed: he has just been released from prison and wants to start over by working at a community center and helping others. Meanwhile, Garrett’s life has barely changed, as he continues to take advantage of others’ weaknesses for his own gain. When a teenage girl ends up at the foster home where Connor works, after her brother’s death at the hands of one of the robot dogs, he is forced to ask Garrett for help. This is the start of an adventure that will once again pit them against each other.

About the movie

Did you enjoy the first one? “Code 8 Part II” is very similar and does not betray the fans of the first installment, expanding on the story and providing an entertaining and well-constructed sequel. This second part is a bit darker and less geared towards a teenage audience, with more complex and well-developed characters, but a less solid thriller plot. The bigger budget is evident in the special effects, often overshadowing the story. As we know, it is starring two brothers, Stephen and Robbie Amell, who play two antithetical characters and both demonstrate their acting skills. This time, the movie allows for more acting prowess, although the main focus remains on the dystopian setting and the scenes with special effects. It does not overuse CGI and, despite some scenes with clear nods to “The Matrix” style, the movie manages to stay true to the story rather than relying solely on effects.

Our Opinion

A movie that will surely please fans of the first one: it continues to entertain, it is a worthy continuation, and while it does not break any new ground in terms of sci-fi cinema, it achieves its goals with great success.

Where to Watch “Code 8 Part II”

Netflix

Code 8 Part II

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David Zwirner Announces Representation of Emma McIntyre

February 27, 2024 – David Zwirner is pleased to announce the representation of New Zealand–born and Los Angeles–based painter Emma McIntyre in collaboration with Château Shatto. In the fall of 2023, McIntyre’s work was the subject of a celebrated solo presentation, An echo, a stain, at David Zwirner’s 34 East 69th Street location in New York. An exhibition of the artist’s work is planned for David Zwirner’s Hong Kong gallery.

McIntyre creates vivid abstractions imbued with chromatic and gestural energy. Instinctual yet deeply considered, her canvases explore the material and alchemical possibilities of painting. Employing oils and unconventional substances, like resin and oxidized iron, the artist juxtaposes boldly painted strokes, swaths of vibrant color, and hints of figurative imagery in her atmospheric canvases. McIntyre pairs chance-based, intuitive processes with a repertoire of motifs and compositional strategies gleaned from a close study of art history, synthesizing a range of impulses and motifs—from the aesthetic sensibilities of Renaissance and rococo artists such as Piero della Francesca and Jean-Antoine Watteau to the formal techniques, conceptual structures, and iconography of twentieth-century painters, including Helen Frankenthaler, Sigmar Polke, and Cy Twombly—and reformulating these divergent threads into a fresh and unbridled mode of painting that is uniquely her own.

David Zwirner states, “I saw Emma’s work for the first time in the spring of 2022 at Frieze New York in Château Shatto’s presentation. It may sound a bit corny, but for me it was love at first sight. Emma’s practice manages to fuse the new and the familiar in spectacular fashion. Her mark making and the pictorial intelligence of her compositions are rooted in the history of gestural abstraction, yet she manages to cover, with confidence, entirely new territory. I’m thankful to Liv Barrett for introducing this wonderful young artist to the gallery, and I am excited for our forthcoming solo exhibition with Emma in Hong Kong.”

Olivia Barrett of Château Shatto states, “Artists make work within supportive ecosystems, and our collaboration with David Zwirner and his gallery brings enriched context and heft to the gallery environment underlying Emma McIntyre’s practice. Her painterly formats and gestures are interpolated, dancing and episodic. The historical touchstones of David Zwirner’s program resonate deeply in McIntyre’s work, and the vigor, curiosity, and intelligence that David Zwirner brings to the evolving conditions of contemporary art sit in harmony with the spirit of Emma’s paintings.”

Emma McIntyre was born in Auckland, New Zealand, in 1990. After graduating from Auckland University of Technology in 2011, she received an MFA from the Elam School of Fine Arts, University of Auckland, in 2016 and a second MFA from the ArtCenter College of Design in Pasadena, California, in 2021. In 2019 she received a Fulbright Graduate Award. McIntyre is a founding board member of the cooperative gallery Coastal Signs, Auckland.  

Recent solo exhibitions of McIntyre’s work include An echo, a stain, David Zwirner, New York (2023); Pearl Diver, Château Shatto, Los Angeles (2023); Madonna of the Pomegranate, Coastal Signs, Auckland (2022); Up bubbles her amorous breath, Air de Paris, Paris (2022); and Heat, Mossman Gallery, Wellington, New Zealand (2020). 

In 2023, work by the artist was included in L’Almanach 23, the fourth edition of the biennial held at Le Consortium, Dijon, France. The artist lives and works in Los Angeles.

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Rise of Industry 2 Announced: Become The Ultimate 80s Business Tycoon

Kasedo Games is pleased to announce Rise of Industry 2, the innovative sequel to the hit indie business tycoon game coming to PC, Xbox Series X|S, and PlayStation®5.

1980’s USA is a place of rapid innovation, globalization and unprecedented profits. From establishing profitable production chains to rubbing shoulders with the great and the good of the corporate world, Rise of Industry 2 offers an immersive business tycoon experience for both casual tycoon players and wannabe CEOs. 

Rise of Industry 2 enters a new era in more ways than one, with development studio SomaSim taking over development to bring fresh new ideas to the boardroom, as well as a stylistic new art style and exciting new ways for players to become an industry leader. 

For the first time, players can climb the business ladder across 15 unique and exciting scenarios in the all-new campaign mode, while still defining their own success in the returning sandbox mode. Social connections also come to the series where players must network with CEOs of other companies to trade in materials and finished products, and get introductions to their powerful friends in the industry. 

Rise of Industry 2

“We’re thrilled to be working on a game with an existing player-base and a devoted community such as Rise of Industry 2. Being big fans of this genre, we immediately saw ways that we could build on the success of the original and take it to a new level. We know players will have certain expectations of a sequel, and we’re excited to be able to meet those, while still bringing in a range of innovative new features for new and existing players alike”, said Matt Viglione, Co-Founder of SomaSim.

“Continuing our relationship with Kasedo Games also made this an easy decision for us to make”, adds Rob Zubek, Co-Founder of SomaSim. “This will be our third game working together following Project Highrise and City Gangsters and the relationship we’ve built over the last decade has been a great foundation for us to really hit the ground running” 

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Yirui Jia: Seasonist – Mitchell-Innes & Nash, New York

Mitchell-Innes & Nash is pleased to present our first solo exhibition with Yirui Jia on view from March 14 to April 20, 2024. Featuring ten new paintings and one sculpture, the show will introduce prominent themes from the artist’s surreal world through two new series: Bouquet Body and Emotional Flowers. Seasonist explores physical and psychological presence, change and impermanence through natural phenomena.

Jia creates a new ensemble of fictionalized figures as they emerge from invented scenes surrounded by everyday objects, elements from nature and the changing of seasons. For the artist, each character represents a various range of emotions and tells a story of their individuality. Her iconic bride with an eyepatch conveys anger, desire and happiness seen either alone as an empowering female or blended into a group to show her sense of belonging. Whereas Jia’s astronaut depicts the unconquered territories and unknowable feelings we face in a futuristic world, her skeleton becomes a character of great vulnerability identifying with a distant past.

A Bouquet Body painting, stand shall I, shall I illustrates an astronaut and a bride standing side-by-side among a calamitous whirlwind. On the bride’s dress, log cabins and haystacks swirl around the hem while her bust is stuffed with dried leaves, recalling the summer tornados and autumn winds. Flames and roses grow from the astronaut’s body, evoking the rebirth of spring. Each figure seeks to find harmony within nature and themselves.

In Yellow is the color of their eyes, a skeleton stands in an upside-down field of blooming sunflowers while the word “mama” seems innocently written into a snow flurry. The infinity loop acts as a disruptive force of tension like a hovering UFO. It’s a deeply personal recollection of a photograph from Jia’s childhood of her own anxious face, indicating the yearning for her home and family.

Jia’s sculpture, Yooray-256 is made up of found objects which function like a canvas with added dimension. Painted red roses encompass the astronaut in the image and artificial green roses materialize at the end of the antenna, displaying their dual uses within Jia’s practice.

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Bonhams Spotlights Textiles As Olafur Eliasson’s Weaved Artwork Leads Spring Design Sale

London – Bonhams celebrates textiles this April with a handwoven artwork designed by internationally acclaimed artist, Olafur Eliasson and created by prestigious Swedish textile studio, Märta Måås-Fjetterström. The work, entitled The Green Glass Carpet leads Bonhams Design Sale at New Bond Street on Wednesday 24 April and is offered with an estimate of £20,000-30,000.

Interest in contemporary crafts, in particular textiles, is centre stage this spring with an exhibition at the Barbican, Unravel: The Power and Politics of Textiles in Art as well as Lubaina Himid’s impressive Lost Threads show at the Holburne Museum in Bath.

Marcus McDonald, Bonhams Director of 20th century decorative arts comments,

“We are delighted to be offering such an important piece by Olafur Eliasson which celebrates a unique collaboration between a world-renowned artist and the exceptional studio of Märta Måås-Fjetterström, creators of some of the finest handwoven rugs and tapestries in the world. Artists and designers have explored the medium of textiles for generations, but it is only now that it is finally gaining prominence and entering the mainstream. This piece is one of only two ever made and is very special indeed.”

Olafur Eliasson’s Green Glass Carpet

The Green Glass Carpet, centred on the theme of light, and made from handwoven wool on a linen warp, was conceived by Olafur Eliasson for the 2010 Textile of the Year for the Märta Måås-Fjetterström studio.  It was handwoven by three of the studio’s artisan weavers in Båstad, in a weaving technique specially developed for the work.

The Märta Måås-Fjetterström studio, established in 1919, has worked with many artists over the years and its founder, Märta Måås-Fjetterström (1873-1941) was a leading Swedish textile artist.  The studio’s carpets and tapestries are renowned for their exceptional artistic significance and quality and are held in collections from the Louvre to the Victoria and Albert Museum, as well as the Metropolitan Museum of Art and the Nationalmuseum, Sweden.

Ceramics from Lucie Rie and Hans Coper

The sale also features an impressive selection of works by some of the greatest names in 20th century British ceramics including Lucie Rie, whose work has seen a resurgence of interest. Lucie Rie achieved a world record at Bonhams Cornette de Saint Cyr in Paris last year, when a piece, Footed Bowl, sold for €406,800, nearly 10 times its estimate. Hans Coper and Rupert Spira will also feature in the sale.  

Lucie Rie, Conical Bowl with blue glaze. Estimate: £5,000-7,000Middle: Hans Coper, early globular pot, circa 1954. Estimate: £20,000-30,000Rupert Spira, large open bowl. Estimate: £2,000-3,000

Highlights include:

Hans Coper, early globular pot, circa 1954. Stoneware layered white porcelain slips and engobes over a textured and incised body, 25.4cm high, 20.2 cm diameter. Estimate: £20,000-30,000.Lucie Rie, Conical Bowl with blue glaze, 15 x 24 x 22 cm. Estimate: £5,000-7,000.Elizabeth Fritsch, ‘Cubist’ bottle, circa 1984. Stoneware, coloured slips, 24.3 x 10 x 4cm.  Estimate: £3,000-5,000.Rupert Spira, large open bowl, 17cm high, 56.1cm diameter. Estimate: £2,000-3,000.

Furniture created by Piero Fornasetti and Alvar Aalto

Works by Italian artist and designer Piero Fornasetti, whose atelier became synonymous with bringing art in to the everyday, as well as works by the Finnish architect and designer, Alvar Aalto, will also feature.  Highlights include a Piero Fornasetti ‘Geometrico Bruno’ dining table circa 1955 (estimate: £5,000-7,000), an Alvar Aalto ‘Cabinet model 810’ (estimate: £2,000-3,000) a rare day bed by the Danish designer Frits Henningsen from the 1950s (estimate: £5,000-7,000).

Bonhams Paris Design sale, Design 1900 – Now, will follow the London sale and take place on Wednesday 29 May 2024. Further information can be found here.

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