Category Arts

“Trinket,” Kapwani Kiwanga’s showcase at the Canadian Pavilion during this edition of the Venice Biennale, exudes a delightful simplicity and tactile allure. This arises not only from the fundamental elements—millions of minuscule glass beads crafted on the nearby Murano island, renowned for its glassmaking heritage spanning over six hundred years, meticulously arranged into flowing drapes that line the edifice—but also from the calming arrangement of hues that transition from gradients to subtle shifts based on viewpoint: soft yellow, sunset orange, white, maroon, and the extraordinary, cherished cobalt adorning the pavilion’s facade, fluttering in the Venetian Lagoon’s breeze.

This enveloping setting, enveloping both the venue’s interior and exterior, introduces a vastness (and sheer allure) to what is undoubtedly one of the tiniest galleries within the Giardini—installations boasting such captivating aesthetic traits are notably scarce here recently. “Contemporary art is often unsightly,” a fellow evaluator comments while we admire the creation. My mind barely dwells on that thought when I catch a guard sternly reprimanding a guest for inadvertently touching the bead curtain: “Each bead is handcrafted and strung individually—all entirely by hand!”

This significance is further amplified by the fact that Kapwani Kiwanga, a Canadian-born artist residing in Paris and the first Black female artist chosen for her nation’s pavilion, perceives the diverse materials she engages with as narratives or chroniclers, carriers of past events, economic systems, and cultural narratives. Her methodology is heavily research-driven; she calculates that around 70% of her process involves research, with the remaining 30% dedicated to creation.

In “Trinket,” the minute seed beads, or conterie, embody a profound history that traces back to the 15th century when they journeyed from Murano via trade paths connecting Europe, Africa, and the Americas. Beyond serving as currency in certain regions (conterie originates from the term for accounting), these glass beads wove into local material foreign cultures, surfacing in ornaments and garments and gaining crucial ceremonial, visual, and symbolic importance. The exhibition delves into this network of commerce, dominance dynamics, influences, and cultural interchange, while scrutinizing the uneven perceptions and attributed worth of these seed beads (for example, European merchants viewed them as mere frivolities), and thoughtfully reflecting on the enduring impact of the transatlantic trade routes.

Certain performers appear perfectly crafted for specific roles, and Kristin Chenoweth in The Queen of Versailles is one such example: Not since her spirited rendition of “Popular” wrapped in pink tulle has Chenoweth embraced a role so perfectly matching her skills. This harmony is understandable, considering The Queen of Versailles reunites Chenoweth with Wicked composer and lyricist Stephen Schwartz, who conceived the character of Glinda the Good Witch with her in consideration during the early 2000s.

“Stephen has been playfully reminding me that he’s been keen on crafting an original musical for me over so many years!” Chenoweth shares with Vogue. “Every instance he declared, ‘I assure you, I’ll accomplish it before my time ends!’ my response was always, ‘Yeah, yeah, fine, buddy.’”

Although it required more than twenty years, Schwartz ultimately fulfilled his assurance. Presently showing at Boston’s Colonial Theatre, The Queen of Versailles features Chenoweth as Jacquelie “Jackie” Siegel, the actual pageant queen turned socialite who accumulates Birkin bags akin to Funko Pops. F. Murray Abraham takes on the role of her much older spouse, David Siegel, the originator of a timeshare corporation with a net value exceeding $6 billion.

The exhibition “Edges of Ailey” at the Whitney Museum of American Art is a sensory delight. Spanning the entire fifth level of the museum, the exhibition assembles a vast collection—paintings, sketches, photos, videos, archival items, journal notes, and more—in homage to Alvin Ailey, the late luminary of modern dance whose impact on Black American culture resonates powerfully even today.

Curated by Adrienne Edwards, “Edges of Ailey” took six years to conceive. While Ailey is most renowned as the founder of the Alvin Ailey American Dance Theater in 1958, his artistic exploration extended beyond dance, much like this varied exhibition. Edwards meticulously examined Ailey’s archives and sought diverse art forms that reflect his enduring influence; the result is a convergence of outstanding Black and queer visual art that embodies struggle, victory, and upliftment—central motifs in Ailey’s captivating choreographic works.

The exhibition features over 80 artists, with creations dating from 1851 to the present year. Dominating the display is an 18-channel video (with audio) presenting performance excerpts and archival conversations. Though there’s much to absorb, it is precisely this richness that renders “Edges of Ailey” so profoundly impactful. A spirit of generosity marked Ailey’s professional journey. What better homage than gathering an array of remarkable works under one roof.

Below, discover 10 notable works from “Edges of Ailey” to explore as you navigate through this expansive exhibit.

When, last year, the gleaming new Perelman Performing Arts Center (PAC) in Lower Manhattan unveiled the performances set to open its advanced theaters, a reimagining of Andrew Lloyd Weber’s Cats situated in the Harlem ballroom community caused quite a stir. The 1982 musical has a loyal following; the initial show ran for 21 years in the West End and 18 years on Broadway. However, a disastrous film adaptation in 2019, coupled with the inherent theater-kid uncoolness of the plotless piece, made it difficult to visualize it flourishing.

Now, more than a month into its immensely successful production—cherished by critics and theatergoers alike (today, the show announced its third extension)—how did Cats: The Jellicle Ball achieve this feat? Primarily, through a sincere and open interaction with stars from the ballroom scene, some of whom were cast in the show or incorporated into the creative team. The ingenuity shines brightest in the choreography by Omari Wiles, a ballroom luminary who has collaborated with Beyoncé, Madonna, and Janet Jackson, and Arturo Lyons, another scene legend best recognized outside the balls for participating in (and, one season, triumphing in) Legendary, HBO’s voguing competition. In this interpretation of Cats, instead of learning about a mystical group of feline cats desiring to ascend to another existence, we witness a peek into a realm of glamorous humans—mostly queer and of color—vying for recognition in runway cat-egories.

“I have seldom observed an audience react with such joy and love,” Lloyd Weber remarked about the performance in a recent declaration. “The environment was, quite simply, electrifying. Cats and ballroom culture both arose in the same timeframe and I am thrilled that, all these years later, they are merging once again.”

To explore how Wiles and Lyons infused ballroom enchantment into a staple of musical theater, Vogue consulted the duo, along with two of the production’s breakout talents—Chasity “Tempress” Moore, who imbues Grizabella the Glamour Cat with an unforgettably touching presence, and Robert “Silk” Mason, who delivers a sidesplitting rendition of the enchanting Mr. Mistoffelees—both of whom also originate from ballroom. These interviews have been refined and abbreviated.

Reflecting on her formative years in a quaint, farming community located in the southern region of Russia, Anastasia Samoylova is irresistibly drawn back to the vibrant imagery that played a crucial role in her early life: prominent propaganda billboards, vividly hued advertisements, and the classic red-and-gold theme of the Russian Orthodox church.

“The world has always been interpreted through an intensely visual framework for me,” comments Samoylova. “Even long before gaining literacy, my mind constantly sought patterns among shades and aimed to grasp the significance of images.”

Now in her grown-up life, the emerging modern artist has forged a flourishing vocation in the realm of observational photography, leveraging her knack for pinpointing captivating color arrangements in scenes that would typically go unnoticed. Similar to renowned documentary photographers like Walker Evans and Berenice Abbott, some of Samoylova’s most acclaimed pictures result from her road adventures—specifically, those throughout Florida, where she has resided since 2016.

In her intriguing and frequently multifaceted works, Samoylova addresses urgent topics such as environmental conservation, urban redevelopment, and fervent political movements. In Gatorama (2020), for example, she masterfully depicts an alligator soaking in an old, rusty swimming pool set against a vibrant bubble-gum pink background. Lost Wig (2017) showcases a Medusa-resembling hairstyle left tangled atop someone’s shadow. Meanwhile, Gun Shop, Port Orange (2019) directs the observer’s gaze to a mint-green building in Florida, its merry exterior marked with the silhouettes of firearms.

Quand Wayne McGregor a d’abord sollicité Alessandra Ferri pour sortir de sa retraite et piloter son ambitieux ballet Woolf Works en 2015, sa réponse positive a été rapide—et pas seulement parce que le chorégraphe britannique, d’une politesse désarmante, le lui a demandé gentiment autour d’une tasse de thé.

Actuellement, neuf années après, la danseuse italienne—l’une des rares à avoir reçu le titre de prima ballerina assoluta—a consenti à reprendre le rôle que McGregor avait conçu pour elle. Ce mois-ci, à 61 ans, Ferri se produira dans deux représentations de cette œuvre primée, inspirée par la vie et l’œuvre de Virginia Woolf, pour sa première à New York avec le American Ballet Theater. (Les danseuses principales de l’ABT, Gillian Murphy et Hee Seo, alterneront pour ce rôle les autres soirs.)

Bien que Ferri se produise rarement ces temps-ci, elle n’a pas eu besoin de beaucoup d’arguments pour collaborer à nouveau avec McGregor—ni pour fouler les planches dans la ville qu’elle a appelée maison durant 30 ans. En réalité, elle était enchantée par l’idée. Après avoir commencé sa carrière au Royal Ballet de Londres, elle a été invitée à rejoindre l’ABT en tant que danseuse principale en 1985 par Mikhail Baryshnikov lui-même. En tant qu’artiste invitée internationale, elle a également prêté son talent au Ballet du Théâtre La Scala à Milan—où l’une de ses performances dans Romeo & Juliet, démontrant sa maîtrise non seulement comme danseuse mais aussi comme actrice, aurait un impact profond sur McGregor.

“Ça a vraiment été mon rôle préféré de ce ‘deuxième chapitre,’ si on peut l’appeler ainsi,” confie Ferri à Vogue à propos de son personnage dans Woolf Works durant une pause dans son emploi du temps de répétition. Depuis qu’elle a annoncé sa retraite en 2007, elle est apparue à plusieurs reprises pour ravir un public reconnaissant. “J’ai eu la chance d’avoir de nombreux rôles merveilleux créés pour moi, mais celui-ci est resté très profondément en moi,” remarque-t-elle. “Il a tellement de facettes, décrivant une femme et une artiste incroyable, incroyablement forte et révolutionnaire, mais à la fois si fragile et vulnérable.”

Ferri a puisé dans son propre vivier d’expériences de vie pour découvrir des parallèles personnels, parfaitement consciente que continuer à danser à son âge, et défier les idées reçues sur ce dont le corps féminin est capable, était un acte important en soi.

“Le ballet est perçu comme un domaine pour les jeunes—les ballerines prennent souvent leur retraite dans la trentaine ou quarantaine,” ajoute McGregor. “Mais pourquoi est-ce ainsi ? Pourquoi avons-nous imposé cette limitation sur l’expression physique des gens ? Je suis un fervent défenseur de la collaboration avec des personnes de tous âges parce qu’elles apportent une intelligence créative complètement différente au travail.”

In 1978, a ferocious blaze at a studio compelled artist Tina Girouard to relocate from New York City, where she had been a fixture in the downtown art milieu for ten years, back to Louisiana, the state where she originated in 1946. Despite the destruction caused by the fire, her return home was not akin to surrender. Girouard, who passed away in 2020 at the age of 73, was perpetually in a cycle of returning—both in the physical sense and in more expansive, philosophical contexts. Traversing eras and locations was a central focus of her multifaceted creative endeavor.

“This connection to place, which does not imply permanence but rather recurrent departure and return, is deeply woven into Tina’s narrative,” remarks Andrea Andersson, the inaugural director and lead curator at the Rivers Institute, a New Orleans–rooted arts nonprofit. Rivers collaborated extensively with Girouard’s estate and the Center for Art, Research, and Alliances (CARA) to curate the retrospective “Tina Girouard: Sign-In,” presently showcased at CARA’s venue in New York City following its presentation at the Ogden Museum of Southern Art in New Orleans.

Ah, estar en París durante el verano, cuando es casi tan agradable descansar en un parque como lo es explorar los museos de la capital. De hecho, a menudo es mejor disfrutar de ambos cuando están conectados: dormir una siesta en el césped después de descubrir a un artista vanguardista en una nueva galería es, en nuestra opinión, una de las mejores maneras de pasar una tarde de domingo.

Ya sea que estés en Francia para Vogue World, vacaciones, o alguna combinación de ambos, hay toda clase de convincentes exposiciones para ver este mes. Desde la obra de la artista autodidacta estadounidense Kelly Beeman hasta una nueva encuesta de Miquel Barceló, Vogue ha elegido las exposiciones imperdibles de galerías y museos en París (y más allá) este junio.

La fotógrafa y escultora franco-estadounidense Sabine Mirlesse ha centrado su trabajo en la geología durante mucho tiempo. Sus instalaciones, tanto monumentales como efímeras, invitan a los observadores a apreciar la poesía en visiones que podríamos considerar triviales—como Crystalline Thresholds | Les Portes de Givre, una serie de siete estructuras congeladas erigidas en la cima del Puy de Dôme a una altitud de 1,465 metros. Con “Voyant,” su nueva exposición en la Galerie Andréhn-Schiptjenko, Sabine Mirlesse continúa persiguiendo sus obsesiones, desvelando una serie de obras nunca antes expuestas.

“Sabine Mirlesse: Voyant” está en Andréhn-Schiptjenko (París) hasta el 20 de julio de 2024.