Category Arts

El innovador evento “Vogue: Inventing the Runway,” una exposición inmersiva que analiza la historia del desfile de moda contemporáneo, abrirá sus puertas este otoño en Lightroom en Londres.

Con las impresionantes paredes de cuatro pisos de altura del recinto como fondo, desde el 13 de noviembre hasta el 26 de abril de 2025, los visitantes podrán disfrutar e interactuar de cerca con presentaciones de moda que definieron épocas, y a una escala sin precedentes. La producción de la exposición combinará animación, diseño de sonido de última generación y una banda sonora de música clásica y pop para evocar los numerosos desfiles icónicos que han moldeado el panorama cultural.

“En Vogue, hemos tenido la suerte a lo largo de las décadas de presenciar muchos desfiles de moda increíbles, los cuales han contado la historia de la moda tanto como las prendas mismas”, dice Anna Wintour, jefa de contenido, Condé Nast, y directora editorial global, Vogue. “Esta experiencia en Lightroom es una oportunidad maravillosa para que muchas más personas experimenten en carne propia la emoción de ver cómo la historia de la moda se despliega ante ellos.”

Desde los íntimos salones de alta costura en la Europa de principios del siglo XX hasta las extravagancias de los medios de comunicación de hoy día, “Inventing the Runway” vincula el pasado con el presente y futuro de la moda, utilizando el extenso archivo de Vogue y su red de colaboradores para crear una experiencia que une las voces creativas más destacadas de la industria.

Con una rica mezcla de casas de moda participantes, incluyendo Alexander McQueen, Balenciaga, Chanel, Comme des Garçons, Dior, Iris Van Herpen, Marc Jacobs, Thom Browne, y Yohji Yamamoto, la exhibición analizará cómo los desfiles de moda se convirtieron en la declaración definitiva de la visión de un diseñador.

Las entradas para “Vogue: Inventing the Runway” ya están disponibles.

Vogue Club se ha asociado con Lightroom London para ofrecerle un 20% de descuento en las entradas, descubra más.

Lors de ma rencontre avec Fiona via chat vidéo, la chienne croisement pitbull-retriever se tient innocemment sur une œuvre en cours de création sur le sol de l’atelier de Leslie Martinez à Dallas. La scène est surprenante à voir, mais l’artiste est impassible. “Elle se promène sur tout ce bazar—elle vit dedans,” explique Martinez. “Je travaille d’une manière très peu précieuse. N’importe qui pourrait marcher sur le matériel, et c’est acceptable.”

Les artistes possédant des chiens comprennent rapidement la nécessité de ne pas accorder trop d’importance à leurs œuvres, selon les sept artistes montant rapidement avec qui Vogue a récemment échangé. Pourtant, en grande partie, ces chiens d’art comprennent implicitement qu’il faut éviter les pièces; les incidents sont rares. Et ce qu’ils apportent aux artistes semble égaler ou dépasser l’attention ou le soin qu’ils réclament.

Quant aux promenades, par exemple, “il y a une valeur à l’interruption,” affirme Martinez; elles sont davantage une pause génératrice qu’une interruption indésirable. “Je peux m’inspirer de la lumière ou de petites choses qui scintillent au sol et revenir avec une énergie renouvelée.” Ou comme le formule l’artiste brooklynienne Dominique Fung à propos de son chien: “Il me sort de mes schémas de pensée. Sans un chien, je tournerais en rond.”

En fait, beaucoup affirment que les chiens les ramènent à leur humanité. L’artiste new-yorkaise Jean Shin qualifie son chien de “rappel du fait que, en tant qu’espèce, nous avons tous besoin d’eau fraîche ou d’air ou d’une pause. Nous, en tant qu’artistes, pensons souvent uniquement à l’œuvre, et dans le flux, les heures passent, et nous réalisons que nous n’avons pas bougé ou pris de pause. Le voir apprécier observer les oiseaux, ou poursuivre des choses, ou sentir—prendre conscience de nos environnements, jouer, ce sont toutes des choses dont nous avons besoin mais que nous sacrifions pour notre travail.” L’artiste de Los Angeles rafa esparza ajoute : “Comme artistes, il est facile de se laisser absorber par le studio. Un chien qui vous montre un amour inconditionnel et en a besoin en retour a été une expérience humiliante et ancrante.”

Nombre d’artistes attribuent à leurs compagnons canins l’établissement d’un équilibre plus sain entre vie professionnelle et personnelle. “Après environ quatre heures, elle commence à gémir,” dit l’artiste de Chicago Yvette Mayorga à propos de sa chienne. “C’est en fait utile car je peux être tellement accro au travail et ne pas écouter mon corps. Elle aide à établir les limites.”

Here, within the elegant Vogue setting where our narrative unfolds, two fated romantics, Rachel Zegler and Kit Connor, pause to engage in a quick Q&A session for the latest episode of Off the Cuff. The young performers, who are set to make their shared Broadway debut this autumn in a fresh rendition of Romeo and Juliet helmed by Sam Gold, gathered mere days before their first night to chat about tunes, dialects, memorable red carpet experiences, and plenty more.

Their forthcoming performance might feature tunes by the brilliant Jack Antonoff, yet Connor’s current top track is…Jeff Buckley’s rendition of “Lilac Wine”? Swoon! And when deciding between Moo Deng and Pesto, Zegler, who is notably charming online, sides with Team Pesto. (As for Connor, it appears he has never encountered either term before.) However, both are eagerly anticipating Glicked next month—you know, Gladiator II and Wicked?—they concur that public restrooms are peculiar locales to encounter admirers, and they both adored Connor’s glittering full Loewe ensemble at Vogue World: London.

Regarding what Mirren conveyed to Zegler upon her Juliet casting, or if Connor prefers Zegler or his Heartstopper co-star Joe Locke as the superior romantic partner? You’ll need to view the full footage above to uncover.

Director: Madison Coffey
Director Of Photography: Josh Herzog
Editor: Michael Suyeda

Producers: Rahel Gebreyes, Gabriela Marie Safa
Associate Producer: Lea Donenberg
Assistant Camera/Camera Operator: Jack Belisle
Assistant Camera/Gaffer: Esteban Veras
Audio: Nicole Maupin
Production Assistant: Rafael Vasquez

Set Designer: Lauren Bahr
Set Design: Assistants Tom Henry, Maggie Fitzpatrick

Production Coordinator: Ava Kashar
Production Manager: Natasha Soto-Albors
Line Producer: Romeeka Powell
Senior Director, Production Management: Jessica Schier

Assistant Editor: Fynn Lithgow
Post Production Coordinator: Scout Alter
Supervising Editor: Erica DeLeo
Post Production Supervisor: Alexa Deutsch
Associate Director, Post Production: Nicholas Ascanio

Entertainment Editor: Keaton Bell
Director, Content Production: Rahel Gebreyes
Senior Director, Digital Video: Romy van den Broeke
Senior Director, Programming: Linda Gittleson
VP, Video Programming: Thespena Guatieri

Image Courtesy of SEA LIFE Melbourne Aquarium

Quanto tempo levou?

É uma pergunta evidente ao observar o trabalho da artista Liza Lou. Ela utiliza o mesmo material—miçangas de vidro—há mais de três décadas, aplicando meticulosamente milhões de pequenas joias uma a uma para criar suas instalações artísticas.

“Tenho uma relação estranha com o tempo,” confessa Lou. “Tudo que faço, você precisa aceitar que vai demorar. Faz parte do material. Está intrínseco à prática.” Não é tanto que ela seja paciente por natureza, ela me diz de seu estúdio em Joshua Tree, mas mais lenta e metódica.

Neste mês, os nova-iorquinos têm duas novas chances de admirar os resultados do detalhado trabalho de Lou. Em 5 de setembro, a galeria Lehmann Maupin inaugura “Liza Lou: Painting,” uma exposição de novas obras abstratas que elevam o vigor do Expressionismo Abstrato ao usar suas miçangas como tinta. Essas obras são alguns dos exemplos mais poderosos até agora do contínuo interesse de Lou na interseção entre arte refinada e artesanato.

Na semana seguinte, em 13 de setembro, o Brooklyn Museum revela a instalação de Lou Trailer (1998–2000), que ficará em exibição de longa duração no lobby do museu. Trailer é o contraponto masculino da obra mais conhecida de Lou, Kitchen (1991–96), seu tributo ao labor oculto das mulheres no acervo do Whitney. O interior de Trailer é igualmente coberto por dezenas de milhões de miçangas de vidro, mas enquanto Kitchen é uma confecção colorida da domesticidade, Trailer é um filme noir em tons de cinza. Pairando entre o rifle, a garrafa de uísque e a máquina de escrever há uma sensação de algo terrivelmente errado.

Em toda sua arte, “as linhas principais têm sido brincar com heroísmos,” diz Lou. Porém, esses dois eventos de setembro—um novo corpo de obras e outro ressurgido antigo que não esteve em exibição pública por mais de uma década—têm uma ligação essencial. Lou está descobrindo as camadas de um certo tipo de masculinidade: o lobo solitário, o louco, o gênio deixado por sua conta.

As novas obras de pintura estiveram em sua mente por bastante tempo. Embora ela tenha aplicado suas miçangas de forma pictórica antes—como na série de nuvens de 2018—Lou diz que este é um marco. “É o ápice de 35 anos trabalhando com este material.”

If you are feeling a thrill of exhilaration in Manhattan today, it might just be due to the fact that the 2024 Tony nominations were revealed this morning. Renée Elise Goldsberry and Jesse Tyler Ferguson, stationed at Sofitel New York on West 44th Street, formed an incredibly delightful pair as they announced the categories. With a season brimming with numerous electrifying debuts—as well as esteemed revivals, reunions, and other joyful comebacks—the list of actors, directors, playwrights, composers, and additional theater contributors nominated this year was packed with a variety of thrilling names, ranging from emerging talent to seasoned Broadway professionals.

Within the debut category: Jocelyn Bioh, who entered the Broadway playwriting scene with Jaja’s African Hair Braiding last autumn, was elated over her show’s five nominations (for best new play, best scenic design of a play, best costume design of a play, best sound design of a play, and best direction of a play). “This exceeds any dream I could have envisioned while sitting in a Harlem hair braiding salon as a child,” Bioh expressed. “That little girl never dreamed a day like this could happen, but it is a moment I will always cherish.”

Television writer Bekah Brunstetter, who crafted the book for the innovative musical adaptation of The Notebook by Michael Greif and Schele Williams, also received recognition for her initial Broadway presentation. “I’m back in LA, so I was startled awake early this morning by the BEST KIND OF EARTHQUAKE,” she shared in an email. “Collaborating with Ingrid [Michaelson, who composed the music] on The Notebook has been a genuine partnership in every sense; we constructed this together over the years, so I consider this nomination as something the entire creative team can celebrate jointly as a family. I’m deeply thankful to be part of this extraordinary season of talent.”

Kristoffer Diaz, who was a finalist for the Pulitzer Prize for drama in 2010, made his own Broadway entry this month with Alicia Keys’s Hell’s Kitchen. In response to his nomination, one of the 13 from that show, he stated, “In the mid-’90s I watched three performances that transformed my life: Rent, Crazy for You, and John Leguizamo’s Spic-O-Rama. Somewhere during that time, I decided that this was what I was going to dedicate my life to. The objective was always Broadway. The goal was always the Tonys. And today, I get to celebrate my show directed by Michael Greif (Rent) in the Shubert Theater (Crazy for You), and John Leguizamo was the first to text his congratulations. It’s incredibly meaningful to be recognized for this show alongside this company… and the best partner I’ve ever collaborated with (Alicia Keys!) and hopefully make New York City proud.”

Nadya Tolokonnikova is not someone who wavers. Best known as a co-originator of Pussy Riot, she has—subsequent to her liberation from incarceration, where she was sentenced to two years on accusations of “hooliganism” for her involvement in Pussy Riot’s “Punk Prayer” demonstration at a Moscow church—established a nonprofit organization to monitor human-rights violations in Russian prisons; launched an autonomous Russian news outlet, Mediazona, which was later defamed by Vladimir Putin’s government as a “foreign agent”; devised an ongoing apparel and accessories line; penned an inspiring and just autobiography along with an activism guide; attained a pop star status; and wed a visionary in the Web3 realm.

More lately, though, amid ongoing political activities, Tolokonnikova has been focusing on the artistic endeavor that lies at the core of nearly all her undertakings. “Rage,” her inaugural museum exhibition encompassing contemporary visual and performance creations, begins tomorrow at OK Linz, a modern art venue in Linz, Austria. (The exhibition is available until October 20.)

The display, organized by Michaela Seiser and Julia Staudach, unravels over two levels and presents 11 pieces from Tolokonnikova’s Icons series of acrylic lettering on canvas; six pieces from her Dark Matter series, incorporating calligraphy and motifs loosely derived from the orthodox cross; her imprisonment records; a video archive of Pussy Riot demonstrations including “Punk Prayer”; a novel piece featuring recycled sex dolls; a duplicate of her Siberian jail cell; and five art films—including, notably, “Putin’s Ashes,” which premiered last year at Jeffrey Deitch in Los Angeles, was recently acquired for the ongoing collection of the Brooklyn Museum, and is marking its European premiere at OK Linz.

The initial chamber, “Rage Chapel,” showcases works from the Icons series—among them, the triptych My Motherland Loves Me and I Love My Motherland, alluding to both Joseph Beuys’s I Like America and America Likes Me and Oleg Kulik’s I Bite America and America Bites Me—alongside Pussy Riot’s 2014 enactment at the Sochi Olympics, “Putin Will Teach You How to Love the Motherland,” which observed Tolokonnikova and her co-performers being assaulted, whipped, and tossed to the ground by Cossack militia. The subsequent chamber is centered around “Putin’s Ashes,” an installation inspired by a 2022 enactment at an undisclosed site featuring 12 Pussy Riot contributors from Russia, Ukraine, and Belarus incinerating a 10-foot-tall likeness of Vladimir Putin, with the residues later bottled and labeled. Suspending above the staircase leading to the second level is a colossal inscribed knife, Damocles Sword, encircled by three lofty velvet banners, with Tolokonnikova’s calligraphy reiterating an incantation: “Love is stronger than death.” (Another triptych, Love Is Stronger Than Fear, honors Tolokonnikova’s friend and ally Alexey Navalny, who faced fatality in a Russian penal establishment in February.)

È sempre un piacere incontrare Jay-Z—principalmente perché potrebbe implicare che Beyoncé sia nelle vicinanze—ma la sua presenza ai Tony Awards del 2024 è stata particolarmente entusiasmante. Certamente, lui e Alicia Keys hanno eseguito “Empire State of Mind” dal vivo insieme in passato, ma ascoltare i cantanti unirsi su questo brano vincitore di un Grammy ai Tony è stato un adeguato omaggio a Hell’s Kitchen, il contesto della cerimonia a New York City, e, di fatto, all’istituzione newyorkese che è Broadway.

L’energia della canzone—che è seguita alla performance iniziale di Ariana DeBose di una canzone originale intitolata “This Party’s for You”—non è stata affievolita dal fatto che Jay-Z si è tecnicamente unito al brano tramite collegamento video dal foyer del David H. Koch Theater (un fatto che non è sfuggito sui social media). Tuttavia, l’esibizione è stata indiscutibilmente divertente e ha apportato una gradita nota di orgoglio locale agli eventi, che negli anni passati sono stati messi alla prova dalle chiusure COVID a Broadway e da uno sciopero della WGA che ha costretto l’edizione precedente dei Tony a svolgersi senza copione.